Sunday, November 28, 2010


Sunday, November 28, 2010
KSFR, Santa Fe, N.M.
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

Note: KSFR's Signal is down but you can still listen on the Internet

email me during the show!

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Cold Turkey by John Lennon
Thanksgiving in Reno by Too Much Joy
Rat's Nest by The Gories
Beer Time by The Ruiners
Exiles by The Scrams
Goo Goo Muck by The Cramps
Pay the Devil His Due by The Raunch Hands
Don't You Just Know It by The Sonics
Goody, Goody by Frank Sinatra

Eternity Road by Monkeyshines
Kingdom of  My Mind by Gregg Turner & The Mistaken
Winter Funeral by Manby's Head
She Floated Away by Husker Du
Playtex, The Cryptic Village Idiot by Sexton Ming 
Wild Wild Women by Tav Falco
Comme L'Agent Secret by  The Cool Jerks
Abi Gezunt by Cab Calloway

I'm Sixteen by  Dengue Fever
Cantina by Pinata Protest
Can't Find Pleasure by  Thee Mighty Caesars
Young Blood by  Thee Headcoatees
Forbidden Fruit by Oscar Brown, Jr.
Freaking Out by  Mondo Topless
Lion Tamer by Arrington De Dionyso & Old Time Relijun
Ferryboat Bill by The Velvet Underground
True Believers by The Black Angels
Hey Hey Hey Hey by Little Richard

No Man by Diplomats of Solid Sound
Took My Lady To Dinner by King Khan & The Shrines
Big Belly Giant by The Tandoori Knights  
God's Song (That's Why I Love mankind) by Etta James
Moonbeam by King Richard & The Knights
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Saturday, November 27, 2010


Sleep easy, America. Your children are safe. In a rare victory in the war on drugs, the one-man drug menage called Willie Nelson  was arrested Friday at a border stop in southwest Texas.

From the Associated Press:

SIERRA BLANCA, Texas (AP) — A U.S. Border Patrol spokesman says country singer Willie Nelson was charged with marijuana possession after 6 ounces was found aboard his tour bus in Texas.
Patrol spokesman Bill Brooks says the bus pulled into the Sierra Blanca, Texas, checkpoint about 9 a.m. Friday. Brooks says an officer smelled pot when a door was opened and a search turned up marijuana.
Brooks says the Hudspeth County sheriff was contacted and Nelson was among three people arrested.

Here's a take from Reason, which compares the Border Patrol's operations to that of the TSA:

Uh, sheriff — no it is not surprising. It is Willie Nelson. Perhaps one of the best known pot smokers on the planet. And why oh why is the Border Patrol making 70 to 100 “drug-related arrests” a week at a single US interstate barricade? That is not its job.

Nelson is 77 years old.

Friday, November 26, 2010


Friday, November 26, 2010
KSFR, Santa Fe, NM
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell

101.1 FM
email me during the show!

OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Turkey Jive by The Hormonauts
Turkey in the Straw by Sen. Robert Byrd
Two Little Fishes and Five Loaves of Bread by Odetta & The Chambers Brothers
Honkey Tonk Man by The Honky Tonk Man
The Wig Song by Bud & Darlene Chambers
I Wanna Waltz by Wanda Jackson
The Love-In by Ben Colder
Honey Baby Blues by Lightning Beat-Man
Sweet Thang by Marti Brom & Bill Kirchen
Turkey and the Rabbit by T-Model Ford
You Burned Me by Suzette & The Neon Angels

Pigfork Jambouree by The Imperial Rooster
Pigmeat by Leadbelly
Too Much Pork For Just One Fork by Southern Culture On The Skids
Alligator Meat by Johnny Ray Harris
Born Bred, Corn Fed by The Rev. Peyton's Big Damn Band
Tootie Ma Is a Big Fine Thing by The Preservation Hall Jazz Band & Tom Waits
Mark Twain by Boris McCutcheon & The Salt Licks
Dark Angel by Benny Joy

Hot Rodder's Lament by Deke Dickerson & The Ecco-Fonics
Waxahachie Drag Race by Ronnie Dawson
Me and Old Dog Tray by Peter Stampfel & The Bottle Caps
Too Sweet to Die by The Waco Brothers
I'm Troubled by The Gourds
Country Cool by Shinyribs
Swingin' from Your Crystal Chandeliers by The Austin Lounge Lizards
Hippie in a Blunder by Johnny Bucket
You Ain't Never Gonna' Live To Love Saturday Again by T.Tex Edwards & Out On Parole

Steve McQueen by The Drive-By Truckers
Devil's Game by Stevie Tombstone
Back Street Affair by Web Pierce
Red Wine in the Afternoon by The Whateverly Brothers
Big in Vegas by Buck Owens
Santa's Workshop by Dan Hicks & The Hot Licks
CLOSING THEME: Comin' Down by The Meat Puppets

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It's Black Friday and I'm inviting you to the new Big Enchilada online store at

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Thursday, November 25, 2010


How can you not love an album that begins with a slide guitar lick from a guy called “Khorn Sirrup” followed by the line, “Well I ain’t too pretty and I ain’t too bright ...”?

The album is Old Good Poor Crazy Dead, and the band responsible for it is The Imperial Rooster. They’re from Española, and the singer’s right. They ain’t too pretty. From the looks of the band photo on the inside cover of the CD, I’d hate to meet these guys in a dark alley — or even worse, a well-lit alley.

But pretty or not, I can’t get enough of this album.

This is good, rootsy hillbilly slop. I don’t hear a jug in the mix, but The Imperial Rooster has a real jug-band spirit — on top of a punk-rock soul. The band members’ funny monikers — such as “Nat King Kong,” “Cootie LeRoux,” and “Dusty Vinyl” — create a mythological musical world somewhere along an astral plane between Dogpatch and Española.

The first song, “Your Friends Think I’m the Devil,” has a melody similar to an old tune called “Wild About My Lovin’ ” (a traditional song covered most famously by The Lovin’ Spoonful). It is a serious, self-loathing blues song. “Well, I try to be a good man, try to do what’s right / But Betty Sue done told me that I’m a parasite.”

The song that first drew me to the Rooster was “Pig Fork.” The title should remind you of “Too Much Pork for Just One Fork” by Southern Culture on the Skids. But this tune, punctuated by frightening hog squeals and embellished with a chorus of “yeah yeah yeah” whenever the singer says “pig fork,” achieves its own level of lunacy. “Well, I keep it in my pocket right next to my thigh / If you get too close you get poked in the eye / Stick it in a socket you get electrified / I like my pork cracklins deep fried.”

They’ve even got an eight-minute minor-key epic here. “Advice of the Ages” starts off slow and spooky, led by the upright bass of “Tennessee Skilly McGee.” A lengthy instrumental starts to sound like Symphony Sid Page’s solo ins. But instead of a violin, the dominant instrument on the Rooster song is a kazoo. (“Pilgrum Hart” later comes in on the fiddle.)

The Imperial Rooster plays The Cowgirl BBQ, 319 S. Guadalupe St., at 9 p.m. on Dec. 11. Bring your own pig forks.

Other new CDs from this enchanted land:

Wheel of Life by Boris McCutcheon & The Salt Licks. Here’s the latest collection of melodic celebrations from the Massachusetts-born singer-songwriter and his capable, underrated band. Wheel is McCutcheon’s third album with The Salt Licks. While I still prefer the first, 2005’s Cactusman vs. the Blue Demon, the new one has some real delights.
Boris McCutcheon
My favorites here are the ones in which he cuts loose with honky-tonk abandon. The first song on this album (“What Ails You?”) grabs you right from the beginning with its Johnny Cash chunka-chunka beat. That’s Susan Hyde Holmes on upright bass and Brett Davis on twang guitar and lap steel.

Also notable is country-funk charmer “Boxspring Plough.” Judging from this and Tom Waits’ “Filipino Box Spring Hog,” one can only conclude that songs with “box spring” in the title are fun. This one starts out with McCutcheon singing about the annual “hippies vs. the locals” baseball game up near Picuris Pueblo. Then there’s “Peeler,” which McCutcheon, on his website, says is about “a young man who falls madly and foolishly in love with a new age stripper.”

Though McCutcheon is known mostly as a songwriter, on Wheel of Life he includes three songs written by others. There’s a decent version of Townes Van Zandt’s “No Place to Fall” and a fun take on “Lee Harvey,” a tune written by Homer Henderson but best known for The Asylum Street Spankers’ version. It’s about a guy who apparently was involved in some kind of kerfuffle in Dallas back in the early 1960s. Despite its unnecessarily slanderous lyrics about a Texas businessman named Jack Ruby, it’s a fun song, and McCutcheon does it justice.

And once again McCutcheon teams up with Albuquerque songwriter Mark Ray Lewis from the band Trilobite. On Cactusman, McCutcheon covered Lewis’ spooky “Caves of Burgundy.” Here he does a Lewis tune called “Mark Twain.” It’s not about the author. It’s a compelling tale about a fateful romance with a farmer’s daughter and a trip into the unforeseen.

The album ends with a jaunty little backroads journey called “Bad Road, Good People,” which is also the title of his previous album. Here he sings about his Northern New Mexico home, which apparently is “a good place to burn a car or shoot an old washer or dryer.”

Keep ’em Coming by The Whateverly Brothers. Longtime Santa Fe favorite Jono Manson joins forces here with an old pal, British singer-songwriter George Breakfast. The two were musical compadres in New York back in the ’80s and became The Whateverly Brothers in the early part of this century.

The first 10 tracks in this collection are new recordings. But also here is The Whateverly Brothers’ entire first album, Global Toast, which was recorded in Denmark in 2001.

The music is simple and underproduced — in my book, a good thing. Mainly just two guys and their guitars. (Was that a dog I heard yip in “Warm Love”?)

There’s a new recording of Manson’s “Red Wine in the Afternoon.” Other favorite tracks include the bluesy “I Prefer to Walk” and especially the wickedly clever “I Never Want to Be Your Ex.” The chorus goes, “I never want to be your ex / Someone with whom you used to have sex / Who got swept aside when you cleared the decks.”

The Whateverly Brothers make a rare Santa Fe area appearance at 7 p.m. on Sunday, Nov. 28, at Mike’s Music Exchange in La Tienda shopping center in Eldorado. The suggested donation (come on, pay it, ya cheapskates!) is $15.

TOM WAITS at 78 rmp

Let's be thankful for Tom Waits and the Preservation Hall Jazz Band from New Orleans. They've teamed up to produce a couple of songs that recently were released on a 78 rpm record.

The songs are “Tootie Ma Was A Big Fine Thing” and “Corrine Died On The Battlefield,” both recorded originally by a guy named Danny Barker in 1947.

They only pressed 504 hand-numbered copies to raise money for Preservation Hall and its outreach programs. The first 100 will be accompanied by a special Preservation Hall 78rpm record player (which also plays albums and 45s.) That special package will cost you $200. The record alone is a mere $50.

To be honest, I'm not sure if I'll be buying this. I can't afford the $200 and I don't know whether my iPod even plays 78s. (Actually Waits' songs are on a benefit CD released early this year including Merle Haggard, Richie Havens, Dr. John, Buddy Miller and many more.)

Here's one of those songs, below. (Thanks to Liisa for the tip.)

Wednesday, November 24, 2010


While your turkey's cooking Check out this 3-part documentary from Scion A/V. Lots of Jay Reatard and Black Lips. Enjoy

(This post has been updated. It had been in three parts -- now the complete episode is in one.)

Sunday, November 21, 2010


Sunday, November 21, 2010
KSFR, Santa Fe, N.M.
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

101.1 FM
email me during the show!

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Steppin' Out by Paul Revere & The Raiders
Licking the Frog by Manby's Head
Blew My Mind by The Reatards
Runaround Sue by Dion & The Belmonts
Yellow Elevator #2 by The Black Angels
The Coo Coo by Big Brother & The Holding Company
The Other Side Of This Life by Jefferson Airplane
Jungle Music by Simon Stokes

Gin and Juice by The Gourds
Get Me To The World On Time by The Electric Prunes
In a Dirty Cellar by Pirate Love
A Luz Sobre Mim by Horror Deluxe
Hot Head by Captain Beefheart
Officer Touchy by The Scrams
Death Cult Soup n Salad by The Almighty Defenders
Saved by LaVern Baker

Murder Weapon by The Rockin' Guys
Jack Ruby by Camper Van Beethoven
Lee Harvey by Boris McCutcheon & The Saltlicks
November by The Rockin' Guys
He Was a Friend of Mine by The Byrds
Tomorrow Wendy by Concrete Blonde

Palaceo of Montezuma by Grinderman
Do You Know What I Idi Amin by Chuck E. Weiss with Tom Waits
Jealous by Diplomats of Solid Sound
Bel Air Blues by Stan Ridgway
Hands on Your Stomach by Otis Taylor
Just A Closer Walk With Thee by Treme Brass Band
Caberet by Big Maybelle

MORE TO COME (Keep refreshing your browser until midnight)

CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Be Thankful For THIS: The New BIG ENCHILADA Episode


Welcome to the November episode of The Big Enchilada podcast, called Psychic Flotsam. Sit down. Relax. Look deep into my eyes. The Spirits are about to speak.

You're going to hear some mystical sounds of Carbon/Silicon, The Ding Dongs, The Tandoori Knights, The Gories,  The Rockin' Guys and so much more, all very cosmic -- in a trashy kinda way

Play it here:


Here's the playlist:

(Background Music: Cosmic Bellydance by The Monsters)
Fix That Broken Halo by The Ruiners
Ding Dong Party by The Ding-Dongs
Bandstand by The Tandoori Knights
Great Big Idol With the Golden Head by The Gories
Framed by The Coasters
The Return of the Pretty One by Lord Sundance

(Background Music: Hell of a Woman by Impala)
November by The Rockin' Guys
Turboa by Make-Overs
Man Man by Leroy MacQueen & The Gussets
Ringue by Horror Deluxe
A Poison Tree by Movie Star Junkies
Happyland by Arrington de Dionyso & Old Time Relijun
Daddy The Swingin' Surburbanite by The Weird-ohs

(Background Music: Grungy by Davie Allan & The Arrows )
Flyin' Blind by Nick Curran & The Lowlifes with Phil Alvin
El Tren de la Costa by The Del Moroccos
Outta Site by Sinister Six
Sin Eater by Th' Legendary Shack Shakers
What's Up Doc by Carbon-Silicon

Friday, November 19, 2010


Friday, November 19, 2010
KSFR, Santa Fe, NM
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell

101.1 FM
email me during the show!

OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Sweet Soul Music by Run C&W
Honky Tonk Queen by Big Sandy & His Fly-Rite Boys
Blues Keep Callin' by Marti Brom
Vang Bang by Zeno Tornado And The Boney Google Brothers
Treat Me Right by Suzette & The Neon Angels
Red Velvet by The Kirby Sisters
Go-Go Truck by The Defibulators
Hey Sexy by Robbie Fulks
Rollergirl Gail by The Misery Jackals
Rub-A-Dub-Dub by Hank Thompson

Your Friends Think I'm the Devil by Imperial Rooster
Rainbow Stew by Merle Haggard
The Squeeky Wheel Gets the Oil by The Coal Porters
It Ain't Nobody's Biz'ness What I Do by The Hoosier Hot Shots
Hound Doggit Blues by Cordell Jackson
Rockin' Granny by Nancy Apple
Cheap Living by Eric Hisaw
Animal Hoedown by Harry Hayward

What Ails You by Boris & The Saltlicks
Pill-Poppin' Country Weirdo by Halden Wofford & The Hi-Beams
I Hold the Bottle, You Hold the Wheel by Reckless Kelly
Everything's Raising by The Rev. Peyton's Big Damn Band
Whoop and Hollar by Ray Wylie Hubbard
The Hills of Hell by Legendary Shack Shakers
Gypsy Lou by Bob Dylan
Monkey Rag by Asylum Street Spankers

Smoke Along the Track by Doug Jeffords
I Never Want to Be Your Ex by The Whateverly Brothers
Wreck on the Highway by The Waco Brothers
Whispering Sea by Eilen Jewell
Drinkin' Thing by Gary Stewart
Fit For a King by Joe Diffie
Summer Wages by David Bromberg
Treasures Untold by Doc and Merle Watson
CLOSING THEME: Comin' Down by The Meat Puppets

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

Thursday, November 18, 2010


A version of this was published in The Santa Fe New Mexican 
November 19, 2010

It has been five years since Martí Brom released an album (Martí Brom Sings Heartache Numbers). This was about the time she and her family moved from Austin, Texas, to Washington, D.C. I was worried Brom might have hung it up.

So seeing her new CD, Not for Nothin’, was a true sight for sore eyes — in more ways than one. The artwork, based on old detective-story pulp magazine covers, is one of the sexiest album covers I’ve seen lately. Trouble ahead, lady in red!

Brom makes sweet, rockabilly-informed, R & B-influenced retro country. Her voice has been compared to that of Patsy Cline. (Think Cline during her mid-1950s rockabilly flirtation, such as her tune “Stop, Look and Listen.”) But back during her teenage years, Brom’s main musical turn-on was proto-punker Suzi Quatro.

And one of the first times she played before an audience was when her husband, Bob, a career Air Force officer, convinced her to audition for an officers’ wives club musical called The 1940s Radio Hour, for which she sang “Blues in the Night.”

(Another cool tidbit about Brom: she allegedly named her daughter Ivy, now 20, after The Cramps’ Poison Ivy.)

Not for Nothin’ (subtitled Tales of Tension & Romance) is Brom’s tribute to singers, musicians and songwriters from the Washington, D.C., area. Fortunately, none of the songs have anything to do with government or politics. And even more fortunately, the album shows Brom in top form, despite her five-year absence from recording.

The first song is a fun little hopped-up bopper called “Finders Keepers” by Wynona Carr, a singer best known for her gospel songs though she later turned to R & B. Brom’s high-charged version is driven by a screaming sax.

“Mascara Tears” is a honky-tonk weeper written by Artie Hill, a fine performer in his own right. Backed by steel guitar and fiddle, Hill makes it weep.

One of the standout songs is one made famous by Elvis Presley: “A Fool Such as I.” The song, done here as a country shuffle, is a perfect vehicle for Brom’s voice. Elvis would be proud.

She teams up with D.C. picker/singer Bill Kirchen on “Sweet Thang.” It’s a delight, but also seek out the 1967 version by Ernest Tubb and Loretta Lynn.

Not For Nothin’ is full of spunk and heartache. It’s great to have Brom back.

Also recommended:

Tex-O-Billy by Suzette & The Neon Angels. Tejana almost became a dirty word during the recent gubernatorial campaign in New Mexico.

So maybe I should clarify that when Suzette Lawrence sings, “Yo Soy Tejana (I’m a Texas Girl),” I don’t think her purpose is to steal New Mexico’s water from working families. This song is a stomping rocker with some crazy slide and a melody similar to Terry Allen’s “Amarillo Highway.”

Lawrence left Texas for Los Angeles in the early 1990s. There she became a fixture at the Palomino Club and fell in with the “Town South of Bakersfield” crowd (her picture appears on the cover of the third volume of the album series of that name) along with the likes m Lauderdale, Rosie Flores, and James Intveld.

Now a Nashville resident, Lawrence also has roots in rockabilly. That’s obvious in the opening number, “Kitty Cat Scratch,” which also owes a debt to Ted Nugent’s “Cat Scratch Fever.”

But good bluesy roadhouse roots-rock is Lawrence’s foundation. When she sings “Tear Up the Honkytonk,”  her fervor makes you take the threat seriously. And when she sings “Go Girl Go,” it’s tempting to shout along with her.

Eilen Jewell Presents Butcher Holler: A Tribute to Loretta Lynn. Jewell’s voice doesn’t really sound much like Lynn’s blue Kentucky drawl. And to her credit, she doesn’t try to imitate Lynn. But like any real country fan, Jewell clearly admires Lynn’s songs. Aided with an able country band and her unaffected alto, she does them justice in her own style on this appealing tribute.

She includes several of Lynn’s best-known songs: “You Ain’t Woman Enough (To Take My Man),” “Don’t Come Home a Drinkin’ With Lovin’ on Your Mind),” “Fist City,” and “I’m a Honky Tonk Girl.” But she also does several lesser-known gems from the Lynn songbook.

There’s the defiantly religious “Who Says God Is Dead,” as well as the sweet adultery odes “A Man I Hardly Know” and “Another Man Loved Me Last Night.” And I had never heard the original “Deep as Your Pocket,” a song about a gold digger (“Her love for you is as deep as your pocket”).

Local alert: Born in Idaho and now living in Boston, Jewell, according to several sources, lived in Santa Fe around the turn of the most recent century, attending St. John’s College. Apparently she used to play at the farmers market. I couldn’t find her anywhere in The New Mexican’s computer archives. Anyone remember her?


John Lydon might have sung, "God save the Queen/she ain't no human bein'," with The Sex Pistols all those years ago, but according to an interview in The Sun, the Rotten one has nothing but nice things to say about Prince William and his bride-to-be.

"People think I hate the Royal Family, but that's not true. My animosity is towards the institution, not the people themselves. ... They really appear to have stars in their eyes. I can see it, and that is a lovely thing. So much more important than diamonds and tiaras. I can't stand it when people have a jealous reaction to this - saying she is a gold-digger and he is marrying beneath him. ... They'd probably be happy with a small wedding. But in their situation the State requires a load of pomp and ceremony. And why not? I love a bit of flag-waving."

Here's the Johnny Rotten I remember:

Wednesday, November 17, 2010

eMusic: Getting What They Wanted, Losing What They Had

eMusic, a subscription download service to which I subscribe, used to be known as a paradise for independent music.

Then last year they started hooking up with major companies. The price went up -- strictly coincidence, they assured the world -- but it was still a good deal.

Now they're adding another major, Universal, supposedly next week. And they're screwing with the price structure. No more credits. Now it's all dollars and cents.

But, the service just announced they're losing lots of independent labels: Matador, Merge and others. "This is as heartbreaking to us as it is to you," says a note on the eMusic Web forum. "Please know we have done everything we could to keep them from leaving."

Hopefully Norton, Bloodshot, Voodoo Rhythm and other favorites won't join the exodus.

I'll stick around to see whether eMusic remains a good deal. But, as Benjamin J. Grimm used to say, "What a revoltin' development."

UPDATE: Pitchfork has a story about this with label responses. Both Merge and Beggar's Group blame the new deals with the majors. Says Merge, "Unfortunately, eMusic’s unilateral changes in effort to bring on the major labels has created a situation where it would be harmful to the interests of Merge and our artists to continue our partnership at this time."

Tuesday, November 16, 2010


We hold patents on a few gadgets we confiscated from the visitors. Velcro, microwave ovens, liposuction. This is a fascinating little gadget. It'll replace CDs soon. Guess I'll have to buy the `White Album' again.

Tommy Lee Jones as Agent K in Men in Black, 1997

Yes, I liked The Beatles. Yes, they changed my life and made me want to start a band when I was in 5th grade and saw them on The Ed Sullivan Show. Yes, I cried openly when John Lennon was murdered in 1980.

And yes, I re-purchased several of their albums when they came out on CD -- mostly from the used bin -- though I truly believe almost everything you need can be found on Beatles For Sale (which I first knew as Beatles '65), Revolver and the Past Masters compilations.

So forgive me if I'm cynical about all the hoopla about the "unforgettable news" that Apple Corps finally reached accord with Apple iTunes and The Beatles catalog is available on iTunes.

Honestly, I was more excited when I stumbled across the MP3 of "Frankenstein Meets the Beatles" a few weeks ago. What did The Clash say about "phony Beatlemania"?

If nothing else you have to give credit ot  EMI or the surviving Beatles and their heirs or whoever for their amazing talent in creating publicity and fresh waves of nostalgia for the simple act of accepting technology that most of us accepted years ago.

They did the same thing 20 years ago when they finally agreed to allow The Beatles music to be sold on CD. The secret is simple: Just drag your feet for a few years and you've got the makings of a prefab Fab Four frenzy. It's an old trick, but when you're selling The Beatles, apparently it always works.

But let's get real. Those of you who own Beatles CDs, haven't you already ripped those albums, or at least your favorite songs from those albums, onto your computer? No matter what the RIAA says, you can do that and put 'em on your iPods too.

So no, Agent K, you don't have to buy 'The White Album' again.

Let's let the witty Beatle put this all in perspective:

Monday, November 15, 2010


This music can't help but make you feel good.

Enjoy some "Spike Driver Blues."

That's Pete Seeger introducing him. Not sure who the woman is. I wonder if Mississippi John ever answered her question at the end: "Why'd he have a big hammer?"

Sunday, November 14, 2010


Sunday, November 14, 2010
KSFR, Santa Fe, N.M.
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

101.1 FM
email me during the show!

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Land of the Freak by King Khan & The Shrines
Catastrophe by Mark Sultan
Lovers Moon by The Tandoori Knights
Let Me Bang Your Box by The Toppers
By My Side by The Elois
Beer Time by The Ruiners
Zip My Lip by Pierced Arrows
Graveyard by Dead Moon
Two Bottles of Wine by Rev. Peyton's Big Damn Band
I Must Be Dreamin' by The Coasters

Back Off by The Diplomats of Solid Sound
Lovey Dovey by Otis Redding & Carla Thomas
There But For the Grace of God Go I by The Gories
A Natural Man by The Dirtbombs
Muck Muck by Yochanan
Daddy You Lied To Me by The Del Moroccos
Rockin' Man by Richard Berry
Pink Champagne by Don & Dewy
Nervous by Willie Dixon & Memphis Slim

Martin Eden by The Twilight Singers
Sin Eater by Legendary Shack Shakers
Le Mistrail by The Fleshtones
Amazons & Coyotes by Simon Stokes
Take Up The Slack Daddy-O by The A-Bones
Hot Rodding in San Jose by The Legendary Stardust Cowboy
Jungle Fever by Grand Prees
Fattening Frogs For Snakes by Sonny Boy Williamson & The Animals
Pachuco Boogie by Orquesta Don Ramon

Pappa Legba by Pops Staples with The Talking Heads
I Walk on Gilded Splinters by Dr. John
Hoochie Koochie Man by Muddy Waters & The Electrik Mud Kats
Hoodoo Man by Junior Wells
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
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Friday, November 12, 2010


Friday, November 12, 2010
KSFR, Santa Fe, NM
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell

101.1 FM
email me during the show!

OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Wild, Wild Friday Night by Hasil Adkins
Chuckie Cheese Hell by Tim Wilson
Voodoo Bar-B-Q by Big John Bates
Get a Little Goner by Marti Brom
Baby He's A Wolf by Werly Fairburn
Kitty Car Scratch by Suzette Lawrence & The Neon Angels
Spitfire by Bill Logsdon & The Royal Notes
The Gravy Shake by The Defibulators
Lost to a Geisha Girl by Skeeter Davis
You Always Keep Me in Hot Water by Carolina Cotton with Bob Wills & The Texas Playboys

East Texas Red by James Talley
Hesitation Blues by The Nitty Gritty Dirt Band
Hey Bub by Halden Wofford & The Hi Beams
Magpie Song by Delaney Davidson
Havin' a Ball by Kim Lenz & Her Jaguars
Untamed Love by Hipbone Slim & The Knee-Tremblers
Fort Wayne Zoo by The Rev. Peyton's Big Damn Band
Are You Ready for the Country by Southern Culture on the Skids

Kansas City Star by Roger Miller
Talking Bear Mountain Massacre Blues by Bob Dylan
The Fourth Night of My Drinking by Drive-By Truckers
A Man I Hardly Know by Eilen Jewell
High on a Mountain Top by Loretta Lynn
Thirty Days in the Workhouse by Peter Case
You're Going to Love Yourself in the Morning by Brenda Lee & Willie Nelson
Black Wings by Ray Wylie Hubbard

The Big Battle by Johnny Cash
Walking to the End of the World by Amy Allison
A Girl In The Night by Ray Price
The New Bye and Bye by Chip Taylor & Carrie Rodriguez
American Boy by Eleni Mandell
I Belong to the Band by Mavis Staples
CLOSING THEME: Comin' Down by The Meat Puppets

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Thursday, November 11, 2010


A version of this was published in The Santa Fe New Mexican 
November 12, 2010

It’s probably no big surprise to anyone who regularly reads this column that of all the many faces of Bob Dylan — folkie Bob, country Bob, gospel Bob, singer-songwriter Bob, Las Vegas Bob, etc. — my favorite is electric Bob. And it’s probably a good thing that I didn’t go to the Newport Folk Festival in 1965 or see a performance from that tour in 1966 where folkies were screaming “Judas!” at him. I’d have been the 12-year-old Okie kid in the cheap seats shouting “Turn it up!”

But even for us rock ’n’ roll die-hards who secretly believe that Dylan’s career really began with the rockabilly/Johnny Cash-informed “Mixed Up Confusion” instead of with all those acoustic ditties, there’s no denying that the genius that is Dylan — the rebelliousness, the humor, his grasp on history, and his insights into the American character — is readily apparent in his earliest songs.

That’s the main thing I pick up from the latest (ninth) volume of Dylan’s Bootleg Series, titled The Witmark Demos 1962-1964.

Here is a kid in his early 20s who was about to transform the entire song-publishing industry — as well as expand our concept of folk music and the boundaries of rock ’n’ roll — singing earnestly in that tiny studio at M. Witmark & Sons, his New York publishing company in those days.

These versions of his songs were not meant to be heard by the general public. They were recorded quickly and transcribed into sheet music so the publishing company could pitch them to other recording artists. Back in those days, few singers actually wrote their own songs. (That custom was changed not in small part through the efforts of one Bob Dylan.)

The sound quality is lo-fi, not to mention inconsistent. Some tracks truly sound like bootlegs. There are false starts and obvious mistakes. For instance, “Talking Bear Mountain Picnic Massacre Blues” begins with a Dylan cough. And he stops after one of the verses, explaining that he’d recited the wrong punch line to a verse.

So basically, although there are several of Dylan’s best-known songs included in this collection — “A Hard Rain’s A-Gonna Fall,” “Masters of War,” “Mr. Tambourine Man,” (played on piano), and (of course) “Blowin’ in the Wind” — this is a collection for fanatical fans who like to see how the Dylan sausage is made.

I like the more obscure cuts the best. You’ve got to wonder how many times must record companies put versions of “Blowin’ in the Wind” on a Dylan album. (The answer, my friend ...)

One of my favorites is “Bear Mountain.” As with some of the more “serious” tunes Dylan wrote during this period — “Ballad of Hollis Brown” and “The Lonesome Death of Hattie Carroll” come to mind — this song was ripped from the headlines. Dylan read a newspaper account about an ill-fated Father’s Day cruise up the Hudson River. Someone had counterfeited tickets, and the overloaded boat sunk well before it reached Bear Mountain.

Several were treated for injuries, but nobody was killed. Dylan saw the wicked humor of the situation and, according to legend, wrote the song overnight. “Just remember wakin’ up on a little shore/Head busted, stomach cracked/Feet splintered, I was bald, naked.” I still laugh when pondering how a boating accident can make you bald.

Another old favorite here is “Rambling, Gambling Willie.” Like “Bear Mountain,” this was recorded back in 1962 but never made it to an “official” album until the first Bootleg Series collection in the early ’90s. (Most real Dylan fans heard these from real bootlegs long before there were CD box sets.)

The melody of “Willie” came directly from the Irish song “Brennan on the Moor,” which Dylan’s pals the Clancy Brothers and Tommy Makem recorded back in the folkie days. Willie Brennan was a Robin Hood-like “brave young highwayman” who divided his loot with “the widow in distress.”

Dylan’s Will O’Conley shared his winnings with the poor as well. But apparently a large chunk of his income also went to child support. He’s a womanizing card shark who had “twenty-seven children, yet he never had a wife.” Dylan Dylan assures us “ He supported all his children and all their mothers too.”

And who would have ever thought that “Talking John Birch Paranoid Blues” would ever be relevant again? Dylan says, “Well, I investigated all the books in the library/Ninety percent of ’em gotta be burned away/I investigated all the people that I knowed/ Ninety-eight percent of them gotta go.”

Unfortunately, the sound quality of this version is so bad that it seriously detracts from the listening experience. (Someone has to be responsible for that. The Commies? The vast right-wing conspiracy?) Seek out instead the live versions on The Bootleg Series, Vol. 6:  (his  1964 concert at Philharmonic Hall) or The Bootleg Series, Vols. 1-3.

The Witmark sessions also have a few gems I’d never heard. One of these is “Gypsy Lou,” an ode to what sounds like the sexiest heartbreaking hobo girl alive — “a ramblin’ woman with a ramblin’ mind/Always leavin’ somebody behind.” And downright lovely is y tune about looking at trains and recalling a friend who died a tragic death.

One thing these demos do is show how Dylan was appropriating old blues tunes as his own from the beginning. “Standing on the Highway” is basically a rewrite of Robert Johnson’s “Crossroads.” And “Poor Boy Blues” owes a small debt to Leadbelly’s “Where Did You Sleep Last Night” and a big debt to Howlin’ Wolf’s “Smokestack Lightning.”

If you think Dylan dropped this habit, listen to his composition “Rollin’ and Tumblin’” from 2006’s Modern Times or “If You Ever Go to Houston” from last year’s Together Through Life.

Bob Dylan turns 70 in May. Not quite as amazing is the fact that the Dylan Bootleg Series will be 20 years old next year. I’m hoping the next one will be full of rockers. Or maybe a duets album of recordings and live songs he’s done with others. Maybe Sony can find two CDs worth of Dylan stuff from the ’80s that didn’t suck. Maybe a crazy rocked-out show from “The Never Ending Tour” from the last 10 years or so.

Even if Volume 10 consists of songs Dylan sang in the shower, it’s bound to add to the enigma that is Bob.


Sunday, November 07, 2010


Sunday, November 8, 2010
KSFR, Santa Fe, N.M.
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

101.1 FM
email me during the show!

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Chicken Flop by Hasil Adkins
Psycho by The Sonics
Big Fat Alaskan by Donnie and the Outcasts
Doghouse by The Screamin' Yee-Haws
Hog-Eyed Man by Th' Legendary Shack Shakers
Killer 45 by The Immortal Lee County Killers
I Came From Hell by The Monsters
I Don't Dig Your Noise by Barrence Whitfield & The Savages
Journey To The Center Of A Girl by The Cramps
I Lost My Kielbasi by Dave Stacey

Tandoori Party by The Tandoori Knights
Dumb All Over by Frank Zappa
Hetero Skeleton by Butthole Surfers
Everythinng's Wild in Wildwood by The Treniers
Evil! by Grinderman
Busload of Faith by Lou Reed
Go Berserk by Mark Sultan

Leyenda Negra by Movie Star Junkies
Vaseline by Kid Congo Powers
Lusty Lil Lucy by Nick Curran and the Lowlifes
My Time Will Come by Andre Williams
She's a Liar by Thee Ludds
Love/Hate (Eat Me Alive) by The Ruiners
Surfbored by Make-Overs
She Can Rock by Little Ike

Cosmic Shiva by Nina Hagen
Kurious Oranj by The Fall
Tombstone Blues by Bob Dylan
New York Is Killing Me by Gil Scott-Heron
Last Train by Mavis Staples
The Wallflower (Roll With Me Henry) by Etta James
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Saturday, November 06, 2010

eMusic November

* Sin & Soul... And Then Some by Oscar Brown Jr. I sought this album out mainly for a song called "Mr. Kicks." It portrays the devil as a one snazzy, jazzy cat with a slick, bongo-beatin' early '60s style. "Permit me to introduce myself ..." the narrator says. I bet The Rolling Stones heard this before they wrote "Sympathy For the Devil" a few years later.

But that's just one of  the great songs here. It starts off with "The Work Song," which Brown co-wrote with trumpeter Nat Adderly. There's also a vocal version of Mongo Santamaria's "Afro Blue" (I'm most familair with John Coltrane's version) and  a song called "Watermelon Man" -- which isn't the Herbie Hancock standard, which came out around the same time (later becoming a hit for Santamaria.).

And most stunning is "Bid 'em In" This is an a capella song, except for occasional drum beat, in which the narrator is a slave auctioneer. "She's healthy and strong and well-equipped/ make a fine lady's maid when she's properly whipped," he sings of one of the slaves on the auction block.

Before he was a recording artist, Brown was a journalist and political activist. As a teenager in Chicago, he was a writer for Studs Terkel's radio show Secret City. In 1944 Brown hosted Negro Newsfront, America's first black radio news broadcast. He ran for Illinois state Legislature and for U.S. Congress, but lost. He'd been a member of the Communist Party but left -- or kicked out -- in the mid 1950s, partly because of his concerns over the puritanical nature of the party and what he considered their stifling of creativity and art. But Brown, who died in 2005, remained active in protesting the Iraq War.

This album is a great introduction to this fascinating artist.

* Curry Up It's The Tandoori Knights by The Tandoori Knights. Canadian rockabilly Bloodshot Bill might be the logical person to step in and heal the rift between King Khan and BBQ.

After all, just this year he's released records with both -- recording as The Ding Dongs with BBQ (Mark Sultan) and as The Tandoori Knights with Khan. Maybe he could instigate the melding of the two -- a trio called "The Tandoori Dongs."

If I had to choose between the two, Tandoori Knights would get my nod. It's got the same spirit of lo-fi rockabilly zaniness as The Ding-Dongs. But there's also a flavor of East Indian exotica here.

Plus I like their sour-grapes dismissal of DIck Clark on the song "Bandstand."

* The Kudzu Ranch by Southern Culture on the Skids. Some folks dismiss Southern Culture on the Skids as a novelty act. I’ve probably done it a couple of times myself.

After all, for more than 20 years the musicians have cultivated a goofy faux-hillbilly image wearing funny hats, cheap sunglasses, backwoods/thriftshop clothes — and singer/bassist Mary Huff sports a beehive that would frighten most bees.

The only thing is, while they’re plenty funny, these North Carolinians are real musicians. As a trio (most of the time), SCOTS is a tight little outfit, playing a unique blend of country, rockabilly, surf, swampy R & B, garage, occasionally bluegrass, and exotica. Huff has a voice as big as her hair (I always hope for more songs where she sings lead), and Rick Miller is a fine rock ’n’ roll guitarist.

See my full review HERE

I spent a more than usual amount of my credits on stray tunes instead of full albums like I usually do.

* Two songs from Rare Rock N' Roll Masters, namely "Monster's Holiday" by The Plainsmen (a rocking version of my favorite Buck Owens novelty Halloween hit) and "Mojo Workout" by Larry Bright, just so I could share it with my pals on Real Punk Radio's Mojo Workout show. There's some other interesting looking stuff on this collection, as well as some crap ("Bingo" by Pat Boone for instance. Why was he trying to lead the children astray into the dismal world gambling addiction?)

* Speaking of Halloween, I downloaded three tunes from Halloween Classics: Songs That Scared The Bloomers Off Your Great-Grandma just for my radio shows. I got "With Her Head Tucked Underneath Her Arm" by Rudy Vallee & His Connecticut Yankees (a Henry VIII satire); "Ghost in the Graveyard" by The Prairie Ramblers; and "'Taint No Sin" by Fred Hall. which ha almost a western-swing feel to it. Tom Waits, using William Burroughs on vocals, revived this bizarre little ditty for The Black Rider back in the '90s.

* "The Ex President's Waltz" by David Massengil. I heard this strange little folk tune 3 or 4 times on KUNM back in the mid '80s and have been looking for this song for years. It has a verse for each living ex-president at the time -- Carter, Ford, Nixon, plus one for JFK and one for the then-current president. Funny, yet touching in a weird way. Great song for election season.

* "Collegiana" by Waring's Pennsylvanians. I always loved The Nitty Gritty Dirt Band's version on their 1968 album Rare Junk. It's a snazzy little 23-skidoo number about college life in the '20s. "Danced til I dropped, and I'll never stop!" It's on a compilation called Collegiate 1920s that has some other cool Roaring '20s jazz craziness. I might pick up some more tracks someday.

* Two of the three tracks from Take A Good Look Bonus Tracks Super Rock! I picked up "Time Will Tell" and "Le Mistral." I already had "Bigger and Better." This reminds me -- Take a Good Look was The Fleshtones' previous album and that was in early 2008. Good news is they've been working on a new one, and apparently Lenny Kaye is involved on at least a few tracks. Meanwhile, you can watch this documentary about the band, Pardon Us for Living but the Graveyard Is Full for free right HERE.

* The five tracks I didn't get last month from Phosphene Dream by The Black Angels. And they're just as good if not not better than the first ones I downloaded. Read my full review HERE

Friday, November 05, 2010


Friday, November 5, 2010
KSFR, Santa Fe, NM
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell

101.1 FM
email me during the show!

OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Billy Richardson's Last Ride by Grandpa Jones
Keep on Truckin' by Hot Tuna
Move It On Over by The Maddox Brothers & Rose
Finders Keepers by Marti Brom
Tear Up the Honkey Tonk by Suzette Lawrence & The Neon Angels
Kiss and Tell Baby by Kim Lenz & Her Jaguars
Wrecking Ball by Angry Johnny & The Killbillies
Get What's Coming by The Defibulators
Juke Box  Boogie by Big Jeff & The Radio Playboys

Oh! Susana by Don Charles & The Singing Dogs
Oh! Susana by Ronny Elliott
As Long As You Still Got a Song by Kell Robertson
Corn Liquor Made a Fool Out of Me by Bad Livers
Fiddling Man by Michael Martin Murphey
Flyin' Blind by Nick Curran & The Lowlifes with Phil Alvin
Long White Cadillac by The Blasters
Moonlight Midnight by The Coal Porters with Peter Rowan
Horny Hound by Roy D. Mercer

Don't She Look Like a Rodeo Star by Kris Hollis Key
Artificial Flowers by Cornell Hurd Band
Danny Diamond by The Squirrel Nut Zippers
Collegiana by Fred Waring & The Pennsylvanians
Why Me Lord by Ray Charles with Johnny Cash
Busy Road by Southern Culture on The Skids
Cathead Biscuits and Gravy by Nancy Apple by Rob McNurlin

Bootleggers Blues by South Memphis String Band
Taint Nobody's Business If I Do by Hammie Nixon, Van Zula Hunt & The Beale Street Jug Band
Play It Again Sam by Chip Taylor & Carrie Rodriguez
She's Acting Single, I'm Drinking Doubles by Gary Stewart
Husbands and Wives by Bill Kirchen with Chris O'Connell
Be My Love by NRBQ
CLOSING THEME: Comin' Down by The Meat Puppets

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Thursday, November 04, 2010


A version of this was published in The Santa Fe New Mexican
November 5, 2010

Kill City is hardly Iggy Pop’s greatest album — not by a long shot. But this relatively obscure record, rereleased in October and credited to Iggy and his collaborator James Williamson, has a brand new mix and represents a point at which Iggy was desperately clawing his way out of the abyss.

Few bands in the history of the known universe disintegrated as spectacularly as The Stooges did.

The story’s been told a jillion times — how, following the release of the David Bowie-produced Raw Power, the drugs, music-industry frustrations, internal conflicts, and the craziness of life on the road caught up with the band, which went down in a blaze of inglorious glory, as documented on the live album/crime-scene document Metallic K.O.

In the immediate aftermath of The Stooges, Iggy Pop ended up in a Los Angeles mental hospital, the Neuropsychiatric Institute in Westwood. There, according to his 2007 biography Iggy Pop: Open Up and Bleed by Paul Trynka, he was diagnosed with “hypomania, a bipolar disorder characterized by episodes of euphoric or overexcited and irrational behavior succeeded by depression.”

However, Trynka points out that Iggy’s doctor now says this diagnosis, which reads like a review of a mid-’70s Stooges show, might not be accurate. Iggy’s mental problems back then might have just been a temporary condition brought on by all the drugs.

Whatever the case, in 1975 Iggy was at a low point. He was in the funny farm, his career was in shambles, and most of his bridges were burned. But not all of them.

Before checking into the hospital, Iggy had been hanging out and writing songs with Williamson, who had been the lead guitarist in the Raw Power-era Stooges. Williamson arranged for some recording sessions at the home studio of Jimmy Webb — yes, the man who wrote “MacArthur Park” and “By the Time I Get to Phoenix.” Webb’s brother Gary engineered the recordings. According to Open Up and Bleed, Webb’s buddy Art Garfunkel showed up to the studio one night and watched one of the sessions.

Now there’s a Marvel Team-Up for you: Iggy & Garfunkel.

According to Ben Edmonds, a former Creem editor who was involved with the project, Iggy wanted to maintain the spirit of The Stooges, “but show people The Stooges could make something that resembled music.”

But by 1975 very few in the music industry were interested. Remember the state of the music industry at this point. True, The New York Dolls were making some noise on the East Coast and Patti Smith was riding her Horses to weird unimaginable places. But most of the “rock” you heard on the radio at the time was happy, poppy California soft-rock sounds like those of Fleetwood Mac and The Steve Miller Band.

Who wanted to hear some junkie mental patient bellowing harsh and ugly craziness like, “I live here in Kill City where the debris meets the sea/It’s a playground to the rich, but it’s a loaded gun to me. ... The scene is fascination man and everything’s for free/Until you wind up in some bathroom overdosed and on your knees ...”

So Kill City was shelved for two years. In the meantime, Iggy persevered and, with the help of his pal Bowie, achieved his big comeback with The Idiot and Lust for Life, both released in 1977. It was only after this that the independent Bomp Records released Kill City — on green-colored vinyl. The sound was terrible — “muddy” being an adjective frequently applied to it. That problem, after more than 30 years, has finally largely been solved on the new version through the magic of modern technology.

But still, Kill City doesn’t have the punch, the raw power of Raw Power — much less the fun of Funhouse. A lot of it is dark and pensive, perhaps a harbinger of the introspective moodiness of The Idiot. Garfunkel would have fit in on the mellow “No Sense of Crime.”

But there’s some inspired Stoogey craziness here. “Johanna” is a rocker The Stooges had performed. Here, it’s driven by John Harden’s sax madness. “I’ve been a dreamer, I’ve been a screamer,” Iggy shouts. And even better is the title cut, which is charged with Williamson’s stinging guitar and a chorus of “Give it up, turn the boy loose.” And Iggy proves he’s still a menace, declaring “I’m sick of keeping quiet and I am the wild boy/But if I have to die here, first I’m gonna make some noise.”

“I Got Nothin’,” another final-daze Stooges tune, is an angry cry of defiance from someone at the bottom. I think my favorite here, though, is “Lucky Monkeys.” It’s a put-down of L.A. scenesters trying to look like Bowie and be “as sick as Mick.” It starts off slow, like a lion sizing up a stray zebra. But then Iggy takes aim at himself and ends by shouting, “I was born dead in prison, in prison born dead.”

While this isn’t an essential effort, fans of The Stooges and or Mr. Pop shouldn’t pass it by.


Sunday, April 14, 2024 KSFR, Santa Fe, NM, 101.1 FM  Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terre...