Saturday, August 31, 2013

Shout the News! A New Big Enchilada Podcast!

Let the spirit of crazy rock 'n' roll move your soul. Enjoy two high-voltage sets of rock, soul and psychobilly, then free your soul with a final explosion of primal gospel sounds. Hallelujah!

Here's the playlist:
(Background Music: Shout! by Question Mark & The Mysterians)
Heebie Jeebies by Nick Curran & The Nightlifes
I'm a No Count by Ty Wagner
Gotta Get My Eyes Done by The Voluptuous Horror of Karen Black
Slipping Away by Mudhoney
Break the Ghost by Big John Bates
Must Be Desire by Mojo JuJu

(Background Music: Wish I Could Shimmy Like My Sister Kate by New Orleans Feetwarmers)
Skulldiggin' by Black Joe Lewis 
Hey Cookie by The Dirtbombs
Jim Dandy by Tim Timebomb & Friends
In My Time of Dying by Coconut Kings
Big Bad John by Big John Hamilton
(Background Music: Hollerin' by The Campbell Brothers)

Go Devil Go by Madam Ira Mae Littlejohn
I Love the Lord by Rev. Johnny L. Jones
Jesus Gave Me Water by The Stars of Faith
God Don't Like It by Rev. A. Johnson
Jonah by The Famous Davis Sisters
I'll Just Wave My Hand by Calvin Cooke & Grace Cooke

You like the gospel? I did a whole gospel episode a few years back called Steve Terrell's Gospel Favorites. There's also a gospel set on Madness & Glory. Feel the spirit!


Santa Fe Opry Facebook BannerFriday, Aug. 30, 2013 
KSFR, Santa Fe, NM 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Side by Side Doublewides by The Hickoids
Goo Goo Muck by Southern Culture on the Skids
Mule Train by Tennessee Ernie Ford
Great Chicago Fire by The Waco Brothers with Paul Burch
Boogie Woogie Gal by Jack Padgett the Texas Wrangler
Between the Ditches by The Rev. Peyton's Big Damn Band
You're Still on My Mind by Courtney Granger
Chicken Stew by Sixtyniners
Angel is the Devil by The Supersuckers with Steve Earle
Little Community Church House by The Boys From Indiana

The Milwaukee Blues by J. Michael Combs
Shade Tree Fix It Man by Merle Haggard
Broken Moon by Rob Nikolewski 
Memphis by Carl Newman
Pancakes and Beer by Fortytwenty
Goddamn Holy Roll by Holly Golightly & The Brokeoffs 
Maybelline by Marty Robbins
The Rubber Room by T. Tex Edwards & Out on Parole
Three Dollar Baby by Lawrence Bishop

Days of 49 by Bob Dylan
I Will Stay with You by Emily Kaitz with Ray Wylie Hubbard
Moss and Flowers by Ray Wylie Hubbard
Billy's First Ex Wife by Ronny Elliott
Your Sugar is All I Want by Pat Todd & The RankOutsiders
Two Tickets to Hell by Legendary Shack Shakers
Prohibition Rose by Ashleigh Flynn

Long I Ride by Robbie Fulks
Parts Unknown by Big Sandy & The Fly-Rite Boys
Empty Bottle by The Calamity Cubes
I'm Barely Hangin' On to Me by Miss Leslie & Her Juke Jointers
Blind Willie McTell by The Band
Grandma's Hands
CLOSING THEME: Comin' Down by The Meat Puppets

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Friday, August 30, 2013

TERRELL'S TUNEUP: I'm Just Wild About Hairy

A version of this was published in The Santa Fe New Mexican 
Aug. 30, 2013

Harry Chapin was an American singer-songwriter who was most famous for his early-1970s pop hits “Taxi” and “Cat’s in the Cradle.” A dedicated activist devoted to ending world hunger, Chapin died in a car accident in 1981 at the age of 38 on his way to perform a free concert in East Meadow, New York. He was a distant cousin of singer-songwriter Mary Chapin Carpenter.

None of this has anything to do with the music I’m about to discuss. But it occurred to me that fans of the San Antonio band known as The Hickoids might not realize where the name of the band’s new album, Hairy Chafin’ Ape Suit, came from. (On their website, Hickoid honcho Jeff Smith explains, “It was kind of one of those things where you just string some words together and it sounds amusing. It also echoed our derision for Harry Chapin, though I’m sure he was a nice man.”)

The title has a long history in the Hickoids mythos. Reportedly it was first mentioned in print nearly a quarter century ago. Back in 2010 the band teased us with The Hairy Chafin’ EP — a strictly limited release, according to the back cover of the CD — that included early recordings of four songs that would later be redone. And early this year, four songs from the new album appeared on a split LP with their friends and European tour buddies, The Grannies. (More on that below.)

Harry Chapin
Just who are these Hickoids? And who are they to besmirch the memory of a noble humanitarian like Harry Chapin?

They started out in San Antonio in the mid-1980s. Known as one of the first
progenitors of cowpunk, the group was more than just a sloppy country-western parody band. Sure, they could pull off a hilarious mock hillbilly weeper like “Driftwood 40-23” and a completely nutso cover of the Hee Haw theme. But many other songs were short on twang while full of rage, fire, and profanity (though never without a big Texas grin).

The original version of the group flamed out in the early ’90s, but after a decade of dormancy, they sprang back to life in the new century. And here’s a local angle: Santa Fe punk-rock vet (and current Austin resident) Tom Trusnovic (Monkeyshines, The Blood Drained Cows, The Floors, 27 Devils Joking) has been a full-fledged Hickoid for the past couple of years. He played drums for them on one tour and then switched to guitar.

As with the band’s earlier incarnation, this latest version of the group plays music that is raw trashy joy, a drunken joy ride down Thunder Road all the way to Armageddon.

Those who discovered The Hickoids through their previous record, Kicking It With the Twits (a twisted tribute to the British Invasion and English glam bands), might be surprised that many tracks from Ape Suit are more representative of the cow part of the cowpunk equation.

There’s “TJ,” a song of border-town debauchery, in which Smith drawls, “If you go to Tijuana, please don’t smoke no marijuana/It might be laced with heroin and PCP/Be a good Americano, don’t mess with Mexicanas/Your poor honey’s gonna miss you when you’re gone.” The song borrows from the melody and final refrain of “Me and Bobby McGee.”

The Hickoids pay subtle tribute to the late George Jones on a song called “If Drinkin’ Don’t Kill Me, Kill Me,” which sounds like country filtered through The Rolling Stones.
Hickoids live in Austin 2012

There’s “Side by Side Doublewides,” which is sung by guitarist Davy Jones and proposes a redneck solution to the age-old problem of personal space in a relationship.

And one of my favorites is “The Workingman’s Friend,” a lazy blues about a cut-rate gas station that starts out with a vow I’ve made to myself a few times: “If I can make it to that Workingman’s Friend/I’ll never play chicken with that gas gauge again.”

On other songs, the country is less obvious. The album starts out with a fierce, hard-driving rocker called “Fruit Fly,” which is a cover of a song by another San Antonio band, Loco Gringo. The Hickoids also help themselves to a tune by the Happy Dogs, another Alamo City band — the epic, near seven-minute “Stop It, You’re Killing Me.” It’s disgusting and filthy — the press release for the record says “Not suitable for terrestrial airplay!” Ooops! Anyway, it’s irresistible.

One of the funniest songs here is “Cool Arrow,” complete with cheesy synth — the same kind that has polluted too much Latino music since the 1980s. The narrator of this ditty fancies himself a lady’s man, bragging about his “bling bling” and his Camaro and proudly says people call him “Cool Arrow,” apparently oblivious to the fact that the phrase sounds like something dirty in Spanish.
There aren’t many cooler arrows than The Hickoids.

Also recommended:

* 300 Years of Punk Rock by The Hickoids and The Grannies. I’ve already talked about all the
Hickoids tracks here, so let’s get straight to The Grannies’ side of this red vinyl delight.

I was going to call this San Francisco group a “raw, hard-hitting, no-nonsense punk band.” But that’s not true.

These cross-dressing maniacs — they’re fond of grandmotherly frocks and muumuus — are extremely pro-nonsense and proud. I’m quite fond of their previous album, For Those About to Forget to Rock, and most of the songs here are at least as strong as that effort.

Grannies Live at SXSW
The Grannies’ contributions to this record are all previously unreleased tracks. The song that sums up their sound is “Cranked Up Really High,” though my favorites here are “Eviler” (mainly for the crazed guitar solo) and their seismic cover of the Nervous Eaters’ “Just Head.”

But there’s one song that’s a serious departure for the group. The Grannies go country — obnoxiously so — on “God Loves The Hickoids,” a tribute to their friends from Texas. I’m not sure who is playing the Jew’s harp on this one.

This irregular LP is available at the regular online places. And the whole thing is streaming for free on Soundcloud.

Enjoy some videos

And here's a classic:

And here's a spiffy Grannies video

Monday, August 26, 2013

Proto-World Beat

I've said it before: Ricky Ricardo was the father of World Beat. Or at least Desi Arnaz was. The Cuban bandleader brought exotic sounds into a huge percentage of American homes via his role on I Love Lucy.

But Ricky wasn't alone. There were lots of cool international sounds -- both foreign and domestic -- flittering about the pop charts of the 1950s and early '60s.

Here are some of my favorites.

Dig the Japanese go-go girls helping Kyu Sakamoto with his hit "Sukiyaki."

Here's the great South African singer Miriam Makeba, who brought her country's music to the U.S. a quarter century before Paul Simon's Graceland.

Blame it on the bosa nova. I knew "The  Girl from Ipamena" was sexy before I even knew what sex was.

Were Art & Dottie Todd the spiritual forefathers of Stereolab?

And we love Ricky

Sunday, August 25, 2013


Terrell's Sound World Facebook BannerSunday, Aug. 25, 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
101.1 FM
email me during the show! terrell(at)

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Sex and Money by Iggy & The Stooges
Hey Cookie by The Dirtbombs
Licking the Frog by Manby's Head
I Wanna Come Back From the World of LSD by Fe-Fi-Four Plus One
Mo' Hair by Hickoids
Heebie Jeebies by Nick Curran & The Nightlifes 
Don't Slander Me by Luanne Barton
Run for Cover by The Oblivians
I'm in Love With You by Jack Oblivian 
Puddin' Truck by NRBQ

Skull Diggin' by Black Joe Lewis
Hangman's Token by Barrence Whitfield & The Savages
Must Be Desire by Mojo JuJu
Bad Bad Woman by The Molting Vultures
Falling Off the Face of The Earth by The Electric Mess
Let's Snap by The Mobbs
Sundown by El Pathos
Devil Town by Daniel Johnston
Collegiana by Fred Waring's Pennsylvanians

Dope Sick Girl by Tim Timebomb 
Timebomb by Rancid
Spook Factor by Memphis Morticians
Now by The Plimsouls
Don't Talk About Him by The A-Bones
The Beautiful People Are Ugly Too by The Clash
Can o' Worms by Churchwood
Rock 'n' Roll Murder by The Leaving Trains

Pagan Baby by Creedence Clearwater Revival
Juanita by Genie Brooks
Kiss Yourself for Me by Doris Allen
Nous Voussoirs Demandons Pardon by Stereolab
Big Black Mariah by John Hammond
Dirt in the Ground by Tom Waits
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, August 23, 2013


Santa Fe Opry Facebook BannerFriday, Aug. 23, 2013 
KSFR, Santa Fe, NM 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Marry Me by Drive-By Truckers
Dallas Alice by Doug Sahm
Stealin' All Day. By C.C. Adcock
Devil's at Reds by Anthony Leon & The Chain
Everybody's Doing It by Commander Cody & The Lost Planet Airmen
Lawdog by Town Mountain
Side by Side Doublewides by Hickoids
Never Cold Again by The Imperial Rooster

(Between the Two of Us) One of Us Has the Answer by Tim Timebomb
You and Your Damn Dream by Pat Todd & The Rankoutsiders 
They Call Me Country by DM Bob & The Deficits
Fruit of the Vine by Nancy Apple
Jimmyleg Man by Legendary Shack Shakers
Grandma vs. The Crusher by Rev. Billy C. Wirtz

Pretty Boy Floyd by The Byrds
Wreck of the Old 97 by Johnny Cash
Mr. Alley Cat by Cottie & The Alleycats
Hellcat by Two Tons of Steel
Mama Was a Trainwreck by Karen Hudson
Another Wreck on the Highway by Angry Johnny
Don't Go Dancin' by C.W. Stoneking
The Band Played On by Richard Thompson & Christine Collister
When Dorey's Behind the Door by Al Duval

Carlene by Robert Earl Read
I Know I've Loved You Before by Big Sandy & The Fly Rite-Boys
Saginaw, Michigan by Lefty Frizzell
Over There, That's Frank by James Hand
Guess I Got it Wrong by Robbie Fulks
What's Shakin' on the Hill by Nick Lowe
Cry Guitar by Janis Martin
CLOSING THEME: Comin' Down by The Meat Puppets

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

Thursday, August 22, 2013

TERRELL'S TUNEUP: The Tim Timebomb Project

A version of this was published in The Santa Fe New Mexican 
Aug. 23, 2013

Timebomb & Friends
It might just be a musical exercise he's sharing with the public. It's definitely a weird obsession.

But under the name of Tim Timebomb & Friends, Tim Armstrong, best known as front man for the punk band Rancid, is engaged in a crazy project that slips the surly bonds of genre.

Basically Armstrong/Timebomb backed by various musicians -- including band mates in Rancid and other musical endeavors -- has been releasing a song a day available on a website, a YouTube channel and Spotify. It all streams for free, but if you want to download, most of the songs are available for download at the usual places and more are being added every week.

That's right, a song every day, Monday through Sunday, including Christmas, Easter and the Fourth of July. There are nearly 300 now. And -- assuming he didn't suddenly quit this week -- there are several more available while you're reading this than I was aware of when I was writing it.

(Enjoy it while it's free. I wouldn't be surprised if the whole shebang isn't turned into a massive box set one day.)

"Some of the songs are my own originals, some are collaborations I've done with other artists, bandmates, and friends," Armstrong explains on the website. "We play a lot of different style from Punk, Ska, Reggae, Country, Roots, etc."

He kicked it off last October 29 with an original rocker called "Honor is All We Know." Says Armstrong, "... I wrote this song during the financial bailout of Wall Street, addressing the idea of hard times and importance of standing by your friends."

There are reworkings of Rancid songs (among them "Dope Sick Girl", "As Wicked," "Ruby Soho" and, of course, "Timebomb," which has an arrangement closer to Tom Waits than Rancid); songs culled from his 2012 musical film series Rock 'n' Roll Theater; covers of other punk tunes (Bad Religion's "Los Angeles is Burning" done on acoustic guitars; "Step Down," a song by New York punks Sick of It All, an instrumental version of The Jam's "In the City," Social Distortion’s "Bad Luck!" featuring a steel guitar and Armstrong singing in a fake British accent) and various takes on some classic rock songs. He does Elton John's "Saturday Night's All Right for Fighting" as ska, Van Morrison's "Brown-Eyed Girl" as a reggae instrumental, and Stealer Wheel's "Stuck in the Middle With You" re-imagined, according to Armstrong, as a Motörhead song.

Songwriters from Elmore James to Irving Berlin, from Dee Dee Ramone to Tom Lehrer, from Ernest Tubb to Francis Scott Key are represented in this growing batch of tunes. There are numbers by Tom Waits, Bob Dylan and Elvis Costello, covers of hits and obscurities by Otis Redding, Rolling Stones, The Who and Bruce Springsteen.

Armstrong even turns a song I used to hate -- "Summer of 69" by Brian Adams -- into one that I kind of like now. Maybe it's the piano riff lifted from "What I Say" by Ray Charles.

There are several reggae and ska-flavored numbers here, which isn't surprising if you're familiar at all with Rancid's work. But I never suspected that Armstrong was such a sucker for country and folk songs.

Among the hillbilly tunes he has done so far are John D. Loudermilk's "Abilene"; the oft-covered "Long Black Veil," (done as an acoustic instrumental); Johnny Horton's "When It's Springtime in Alaska"; requisite murder ballads like "Banks of the Ohio" and "Little Sadie" (the latter being 100 times better than Bob Dylan's version on Self Portrait); a reverent take of Charlie Rich's "Sitiin' and Thinkin'"; Hank Williams' "Ramblin' Man" (kudos here to honky-Tonk pianist John Morrical and steel man Doug Livingston); and Woody Guthrie's Depression-era tale "Hard Travelin'."

"I Wanna Be Sedated" -- with fiddle, pedal steel and country singer Lindi Ortega trading verses with Armstrong -- isn't the first country cover of The Ramones' classic. (Texas country rockers Two Tons of steel did it more than 10 years ago.) But this one's a dandy.

Perhaps the best country surprise in the Timebomb project so far is “(Between the Two of Us) One of Us Has the Answer." This is an original that Armstrong co-wrote with Nashville songwriter Dave Berg with pretty background harmonies by Aimee Allen from a band called The Interrupters.

Armstrong apparently also is fond of the hot jazz of the '20s and '30s as evidence on the Timebomb recordings of "St. James Infirmary," "Sheik of Araby," and " St. Louis Blues."

He also has fished in the jump-blues pool, (“Cho Cho Ch’ Boogie by Louis Jordan), mined the do-wop hills (“How Will I Know” by The Strands and “If You See Mary Lee” by The Rainbows) And he even tries his hand at early '60s teen pop with "Dance, Dance, Dance" -- not The Beach Boys' song, but a perky obscurity originally recorded by a group called Pearl & The Deltars.

Reading Armstrong's notes that accompany some the songs is fun also, not to mention informative. For his cover of  The Everly Brothers' "Bye Bye Love," he writes, "Husband and wife Boudleaux and Felice Bryant were among the first in Nashville to make a full-time career of songwriting. They wrote some of the most popular tunes of the 50s and 60s, and Many of the Everly Brothers’ hits. The Bryant’s had some 1500 songs recorded by over 400 artists. RESPECT!"

Respect, indeed. I already was a fan of the Bryants' works, but I bet a good number of the younger Rancid fans checking out Tim Timebomb weren't aware of these seminal songwriters. Armstrong is doing a service to the culture, so even though I’m not crazy about the way he recites the lyrics of "Bye Bye Love" instead of singing them, I have to admire what he's doing here.

Rancid never has been one of my favorite bands, though, having seen them live a couple of times back in the '90s, (Lollapalooza '96 in Phoenix and Freedom Tibet '97, New York),  I've always considered them a few cuts above virtually all the other "skate-punk" bands that flourished in the mid '90s. (RESPECT!) But this fun and daunting project has given me a new appreciation for Armstrong and his musical pals.

Which reminds me: I need to go listen to today's Tim Timebomb offering.

A Timebomb sampler:

Tuesday, August 20, 2013

New Album from Young Black Joe

Black Joe in Santa Fe last year

Black Joe Lewis and The Honeybears, who have played Sol Santa Fe twice in the past couple of years, have a new album about to drop at the end of the month.

It's called Electric Slave and the whole darn thing is streaming online at Paste magazine. 

Listen to two songs below:

Hat tip to Michael Coleman for tweeting about this today.

UPDATED 8-21- 8:25 am: Fixed to include the second song and to provide link to Paste where the whole album is streaming.

Monday, August 19, 2013

Salute to Yucca Records

Let's start this week off with a salute to a some New Mexico rock 'n' roll history: Yucca Records in Alamogordo.

This company put out some great rock, country and blues sounds in the 1950s and '60s. Probably the best known rock rocker to record there was El Paso's The Bobby Fuller Four, who released two singles on Yucca in 1961. Also bluesman Long John Hunter released several 45s on Yucca. The complete 45 Discography is HERE.

Norton Records has acquired a "motherlode" of unreleased Yucca recordings, which a recent Norton email described as "a star in Norton's ever growing constellation of able labels. Yucca’s output in the 1950’s and 1960’s is equaled by the number of world class recordings that sat in the can for fifty years."

This music is "selectively scattered throughout the ever-growing Norton Southwest series called El Paso Rock."

Here's some Youtubes of a few Yucca records:

Finally, some politically-incorrect fun with hijacking ...

Hat tip to David Barsanti for inspiring this post.

Sunday, August 18, 2013


Terrell's Sound World Facebook BannerSunday, Aug. 18, 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
101.1 FM
email me during the show! terrell(at)

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Get Out of Dallas by Mal Thursday & The Cheetahs
What Moves the Heart by Mudhoney
She's Evil by Nick Curran & The Nightlifes
Satan's Bride by Gregg Turner
Stay Away by Mondo Topless
Drop in and Go by The Molting Vultures
World of Tomorrow by Death
Henry County Meth Lab by Trophy Wives
Glow in the Dark by Lovestruck

Flat Foot Flewzy by NRBQ
Joe Bonner by The Gluey Brothers
Fall on You by The Plimsouls 
Honky Tonk Biscuit Queen by The Voluptuous Horror of Karen Black
Arrested in Shanghai by Rancid
Gentlemen of the Road by Tim Timebomb
No Hay Mas Qgui  Dar by Los Shains

Sugar by Barrence Whitfield & The Savages
The South Side of Soul Street by Genie Brooks
Nighttime is the Right Time by Bettye LaVette, Nathaniel Mayer & Andre Williams
Who's Been Warming My Oven by Gable Reed 
Control by JC Brooks & The Uptown Sound
I've Got a Thing About You Baby by Elvis Presley
The Monkey by The Great Gaylord
Mt. Everest by Royal Crescent Mob
Everybody Loves My Baby by Clarence Williams Blue Five

Backstreet Girl by Social Distortion
Mysterious Mystery by Persian Claws
Radio Police by The Masticators
Nothing is Impossible by Asha Bhosle & Bappi Lahiri
It is the Way You Name Your Ship by Gogol Bordello
My Robe Will Fit Me by The Five Blind Boys of Mississippi 
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Saturday, August 17, 2013

Karen Black Sings "Rolling Stone" (and "Memphis")

Last night on the Santa Fe Opry I played Neko Case's version OF the song "Rolling Stone."

That was a modest tribute to the late Karen Black, who died Aug. 8. Black, who portrayed a country singer named Connie White in Robert Altman's Nashville not only performed the song in the movie, she wrote the darn thing.

And yes, that's Vassar Clements on fiddle

Neko's version is on a tribute album of various alt-country types performing songs from the Nashville soundtrack.

I couldn't find footage of that performance in the movie, but here's a Youtube of that song, plus "Memphis," the other song she wrote and sang in Nashville. 


Friday, August 16, 2013


Santa Fe Opry Facebook BannerFriday, Aug. 16, 2013 
KSFR, Santa Fe, NM 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Lost in the Ozone by Commander Cody & The Lost Planet Airmen
TJ by Hickoids
Swing Low Sweet Chariot by Don Reno
Standing at the Edge of the World by Earl Poole Ball
The Girl Turned Ripe by Merle Haggard
Wishful Thinking by Wynn Stewart
Black Eyed Daisy by Carolina Chocolate Drops
Thwarted by Rob Nikolewski
Mama Hated Diesels by Commander Cody & The Lost Planet Airmen

Elvis Tribute
Promised Land by Elvis Presley 
The Pelvis by Ditch Bank Okies
A Fool Such as I by Marti Brom
Elvis is Everywhere by Mojo Nixon & Skid Roper
(Marie's the Name) His Latest Flame by Chris O'Connell
Heartbreak Hotel by The Cramps
You Asked Me To by Elvis Presley

I'll Fix Your Flat Tire Merle / Amie by Pure Prairie League 
A-11 by Johnny Paycheck
Boney Fingers by Hoyt Axton
Rolling Stone by Neko Case (RIP Karen Black )
Coulda Woulda Shoulda by Peter Case
Soldier Boy Johnny by The Imperial Rooster
Something Happens by Peter Case
The Devil Gets His Due by The Dirt Daubers

Baby Baby Me by Big Sandy & The Fly-Rite Boys
Blackland Farmer by Steve Young
Yellow Submarine by Buddy Miller
Late Bloomer by Karen Hudson
Between the Whiskey and the Wine by Miss Leslie
World's Worst Lover by George Jones
CLOSING THEME: Comin' Down by The Meat Puppets

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

TERRELL'S TUNE-UP: Some Savage Soul

A version of this was published in The Santa Fe New Mexican 
Aug. 16, 2013

The savagery continues. Barrence Whitfield & the Savages, Boston’s — perhaps the world’s — greatest R & B/punk-rock band, is officially a going concern, and their new album, Dig Thy Savage Soul, shows they’re still going strong.

After being apart for 25 years or so, wild man Whitfield reunited with the core of the original Savages to jump-start the group. With guitarist Peter Greenberg (a resident of Taos for the past several years) and bassist Phil Lenker (like Greenberg, a veteran of Boston garage-punk giants Lyres), the Savages made their “comeback” debut in New Mexico in September 2010 (with shows in Taos, Santa Fe, and Albuquerque).

Soon afterward they toured Europe and rereleased an expanded version of their early-’80s self-titled first album and their first new record together in a quarter century, Savage Kings. Now they’re back for more — and on one of my favorite labels, Bloodshot Records, no less.

Dig Thy Savage Soul shows that Savage Kings was no fluke. Whitfield’s voice is still in fine form — 
whether he’s singing or screaming — the band is as tight as ever, and the material is inspired. Most of the songs are written by various Savages (including several by Greenberg and Taos crony and Manby’s Head bandmate Michael Mooney).

The album kicks off with “The Corner Man,” with its “love is like a boxing ring” theme, a pounding beat, and an urgent guitar riff. “You know she’s got a Sunday punch/You know you’ve got to face the feint/Kiss her hand or kiss the canvas/And love her through the standing eight.” (Later in the song the phrase “kiss her hand” is slightly altered.)

On “Sugar” Whitfield sings, “If you wanna beat me/That’s OK/ ’Cause I’m already beat up anyway. ... If you wanna slap me/That’s just fine/ ’Cause you know I’ll hardly feel it after one more glass of wine.”

My favorite on this album (and there are so many 
good tunes, this one is likely to change) is “Hangman’s 
Token,” one of the Greenfield/Mooney tunes. It starts off with a guitar riff virtually identical to the main hook of “Come Back Bird,” a forgotten garage-band classic by The Chevelle V (and recorded just a few years ago by Manby’s Head). It’s probably the only track that even comes close to having any political 

“Now some folks appear so helpless, not a penny to their name/Get accused by them in power/
It’s a lowdown dirty shame/See that rich man in his 
mansion/While the poor folks live in tents/See they’re 
only there for the blamin,’ and it just doesn’t make no sense.”

Another standout is the minor-key soul workout “I’m Sad About It.” I’ve read a couple of reviews that compare Whitfield on this cut to Screamin’ Jay Hawkins. I’ll buy that. Some of Whitfield’s most accomplished screaming is here.

The album ends with an old Jerry “Boogie” McCain 
song called “Turn Your Damper Down.” But there’s no indication that either Whitfield or his Savages intend to follow that advice. Once again they’ve made 
a near-perfect album for those of us who like a little garage rock in our soul music or a lot of soul in our garage.

Also recommended:

* The South Side of Soul Street: The Minaret Soul Singles, 1967-1976. Minaret was founded in the early 1960s in Nashville as a country and rock ’n’ roll label. A few years later a man from Valparaiso, Florida, named Finley Duncan bought the label. Duncan’s résumé — he owned a nightclub and a company that supplied jukeboxes and cigarette machines and served as a county chairman for the Democratic Party — might make him sound like a villain from some Burt Reynolds hicksploitation movie, but he’s the hero of this story.

He decided to take Minaret in a soul direction. By 1969 he partnered with Nashville producer Shelby Singleton to build Playground Recording Studio in Valparaiso, where most of the songs on this album were recorded. (The earliest ones were done at a variety 
of studios, including Muscle Shoals Sound Studio 
in Alabama.)

And yikes, what recordings! I hadn’t heard of any of the artists on this two-disc set — Big John Hamilton, Genie Brooks, Willie Cobbs, Doris Allen, Willie Gable, Johnny Dynamite, or Leroy Lloyd & The Dukes. Nearly every one of these tracks could proudly have been played on the radio right alongside of the great soul hits of the mid to late ’60s. And in fact, a lot of them should have been hits.

About half the songs here are by Hamilton, a South Carolina native who played with Etta James and Hank Ballard before coming to Minaret. While the liner notes emphasize what a nice guy and responsible family man he was, on “Big Bad John” (no, not the Jimmy Dean hit) he portrays himself as Stagger Lee reincarnated. “You know I walked in my room with my Colt .45/I saw my baby sitting with this guy/I shot him once, I shot her twice/I don’t give a ... if they’re dead or alive.” (I love how back then you could brag about killing people as long as you didn’t use the word “damn.”)

Hamilton also does a slow soul take on “Before the Next Teardrop Falls” (recorded years before Freddy Fender made it a national hit) and a rousing cover of Buddy Miles’ “Them Changes” with Doris Allen.

Allen is responsible for one of the stranger songs here, “Kiss Yourself for Me.” She sings to a faraway lover, “Make believe you’re in my arms just like you used to be/Walk up to your mirror and kiss yourself for me.”

Genie Brooks provides the title song, “South Side of Soul Street,” which is clearly inspired by Wilson Pickett’s “Funky Broadway,” while Gable Reed’s “Who’s Been Warming My Oven” has echoes of Joe Tex. “Patty cake, patty cake, baker man/Groundhog’s gonna be his mailman,” Gable threatens here.

That's not the only Minaret track that refers to children’s rhymes. Willie Gable playfully reworks “Row, Row, Row Your Boat” into something soulful and sexy. The other Gable song on this album, “Eternally,” features an electric sitar, an instrument that had a short shelf life, though I think it deserves revival.

“Blue Diamonds,” by a band called Double Soul, is a slow, sultry soul ballad, while Willie Cobbs’ “Don’t Worry About Me” and Hamilton’s “Lift Me Up” are straight-up blues.

Things apparently slowed down drastically for Minaret after 1970. Only four sides after that year appear on this album. The glory days of Southern soul were gone, and the age of disco was approaching. But these sounds are immortal, and these musicians 
deserve wider recognition. I’m grateful to Omnivore Recordings for digging up this beautiful, if overlooked, music.

Video time!

Tuesday, August 13, 2013

Thee Oh Sees Live at Primavera Sound 2013

Thee Oh Sees

A few weeks ago I slobbered all over Floating Coffin, the latest album by Thee Oh Sees in my Terrell's Tuneup review.

I'm still loving that album and I was happy to stumble across a vicious live set recorded last May that includes several Floating Coffin songs -- and more.

Give this a listen! And if you like it, you can download it free and legal over at Free Music Archive.

They've also got Primavera sets by The Meat Puppets, Tinariwen and more. CLICK HERE

Sunday, August 11, 2013


Terrell's Sound World Facebook BannerSunday, Aug. 11 , 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
101.1 FM
email me during the show! terrell(at)

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
What's New Pussycat by The Malarians
Shoot the Freak by Lovestruck
I'm a No Count by Ty Wagner
A Girl Like You by The Mummies
On Film by Ex- Cult
Row Row Row by Willie Gable
In My Time of Dying by Coconut Kings
Fruit Fly by Hickoids
Ain't No Easy Way by Nancy Sinatra & Jon Spencer
Nancy Sinatra by Johnny Dowd

Betrayal Takes Two by Richard Hell & The Voidoids
Pretty Little Head by Chump
Just Head by The Grannies
Un Amor Sin Igual by Los Nivram
I'm Sad About It by Barrence Whitfield & The Savages
Born to Die by King Khan & The Shrines
Take it Away by Pietra Wexstun & Hecate's Angels
Mainline by The Standells 

John the Conquerer (Truth is Always the Same) by Gogol Bordello
Lavar dy Sara by Cankisou
Saints & Sinners by Flogging Molly
Tip My Canoe by Dengue Fever
Voice From the Inner Soul by The Confusions
Out of Our Heads by Dropkick Murpheys
Casa del Sol Naixent by Els Dracs

Blues in the Night by Eydie Gorme
Pawn Shop by The Voluptuous Horror of Karen Black
Black Hole Sun by Steve Lawrence & Eydie  Gorme
Rocks Off by Tim Timebomb
Disorder and Disarray by Rancid
Jail Guitar Doors by The Clash
River by JC Brooks & The Uptown Sound
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, August 09, 2013


Santa Fe Opry Facebook BannerFriday, Aug. 9, 2013 
KSFR, Santa Fe, NM 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)
OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Blink of an Eye by The Waco Brothers
Come and Get it by Southern Culture on the Skids
St. John's Isle by Karen Hudson
Drank So Much (Just Feel Stupid) by The Gear Daddies
Texas Tornado by Doug Sahm
If Drinkin' Don't Kill Me, Kill Me by The Hickoids
God Loves The Hickoids by The Grannies
The Window Up Above by The Blasters
Closing Time by The Pleasure Barons featuring Dave Alvin

Hillbilly Child by Paul Siebel
Blood, Sweat and Murder by Scott H. Biram
Blue Diamond Mines by Kathy Mattea
Sleeper Hold on Satan by Rev. Billy C. Wirtz
Uppers by Two Ton Strap
Willie the Weeper by The Nitty Gritty Dirt Band
Get Along Stray Dog by Steve Martin & Edie Brickel
It Took 4 Beatles to Make One Elvis by Harry Hayward

I Won't Forgive You by Pat Todd & The Rankoutsiders
Under the Chicken Tree by The Texas Sheiks  
Alcohol and Drugs by Anthony Leon & The Chain
Tavern Town by Kenny Roberts
Best to Be Alone by Wayne Hancock
You Better Not Do That by Tommy Collins
Hard Travelin' by Tim Timebomb 
Hairy Ass Hillbillies by Jerry Jeff Walker
Lying Your Way to the Promised Land by Angry Johnny

Anything Goes at a Rooster Show by The Imperial Rooster
Do You Know Thy Enemy by Slim Cessna's Auto Club
Short Life of Trouble by Ralph Stanley
Sing it Boy by Earl Poole Ball
I'll Stand in Line by Miss Leslie
Cry Guitar by Janis Martin
Good Time Charlie's Got the Blues by Elvis Presley  
In My Time of Dying by Dad Horse Experience
CLOSING THEME: Comin' Down by The Meat Puppets

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

Thursday, August 08, 2013

TERRELL'S TUNEUP: Born With Singing Heart

A version of this was published in The Santa Fe New Mexican 
Aug. 9, 2013

“Borders are scars on the face of the planet,” Gogol Bordello frontman Eugene Hütz sings in his thick Eastern European accent on “We Rise Again,” the opening song on the band’s new album, Pura Vida Conspiracy.

And where better to make such a proclamation than a real live border town. Maybe that’s why Gogol, a New York-based multinational group, decided to record the album in El Paso late last year.

Actually, I’m not really sure why Hütz and Gogol chose El Paso, which has never been known as a major recording Mecca, to put down tracks for all but one of the songs on Pura Vida Conspiracy. (“We Shall Sail” was recorded in Río de Janeiro.)

But one thing that’s noticeable is that the Latin influence on the band’s international smorgasbord of sound — which first became apparent on their previous album, Trans-Continental Hustle, recorded after the Ukraine-born Hütz’s move to Brazil — is even more audible on the new album.

This influence perhaps is most pronounced on “Malandrino,” a lovely melody you can almost imagine Vicente Fernádez singing. “My birth I hardly can remember/But I remember from the start/My midwives looking at each other. … This boy is born with singing heart.” Of course, it’s a little harder to imagine Fernádez performing this song after the point in the chorus, when it breaks into Gogol’s trademark breakneck rhythm. Either way, the mariachi trumpets at the end of the song are a tasty touch.

Throughout the album you can hear a smattering of Spanish lyrics and flourishes of flamenco and samba, along with Gogol’s regular arsenal of Gypsy violin (Russia-born fiddler Sergey Rjabtzev is, next to Hütz, the band’s most valuable player) and accordion, plus occasional reggae rhythms and Celtic melodies. Part of the melody of “The Other Side of Rainbow,” according to the album’s liner notes, is based on a traditional Ecuadorian song. And then there’s the bossanova-like “I Just Realized,” an uncharacteristically mellow tune for this band renowned for its sweaty, exhilarating attack.

And perhaps the ghost of Marty Robbins — or wicked Felina — haunting modern-day El Paso persuaded Gogol to “go country” on “We Shall Sail.” It’s an acoustic number with only a guitar and Hütz’s vocals that has a melody that sounds like some long-forgotten cowboy lament.

In case you’re not familiar with this band — and I don’t want to hear your sniveling excuses — here’s some history. The band was formed not long after Hütz landed in New York City in the early ’90s and, naturally fell in with like-minded musicians, many of them immigrants as well. (According to Gogol-lore, the Hütz family fled Ukraine after the Chernobyl nuclear accident in 1986.) They created a sound Hütz himself labeled “Gypsy Punk.”
Gogol in NewYork, 2010

Several songs here could have appeared on virtually any of Gogol Bordello’s previous five studio albums. “We Rise Again” is one of those rousing anthems — such as “Start Wearing Purple,” “Not a Crime,” and “Dogs Were Barking” — the band does so well. “With a fist full of heart/And relics of future/Mama we rise again,” Hütz and other Gogols sing.

Then there’s a rowdy ode to wandering called “My Gypsy Auto Pilot,” in which Hütz sings, “I’ve been watching trains swiftly rolling by/I’ve been jumping them without long goodbyes/To uncover rules of life and how to break them well.”

Another instant Gogol Bordello classic is the fierce but moving “Lost Innocent World,” in which the narrator yearns to find a place that has long passed, the place where “my father showed me my first guitar chord” and “where my friends are still alive.”

Though Pura Vida Conspiracy on the whole is not as immediately satisfying as the band’s masterpieces Super Taranta! and Gypsy Punks: Underdog World Strike, it’s an impressive and ultimately crazy whirlwind global tour. I hope Hütz keeps jumping those trains and telling his tales.

Also recommended:

* Faÿt by Cankisou. This group’s most recent album, released in late 2011, is another testament to the power and the glory of a band that has a following in its native (the Czech Republic) and parts of Europe but has yet to catch on in these United States.

Cankisou has its own strange mythology. The website bio reveals: “Cankisou music is based on an old legend about one-legged Canki people, and the band also learnt their language which is understandable all over the world.” No, I don’t understand the words. But the musical language is very clear.

Like Gogol Bordello and the British band 3 Mustaphas 3 before them, the seven-member group Cankisou takes musical influences from several cultures and blends them into an exciting, seamless style of rock ’n’ roll. There are melodies and horn riffs that sound Mideastern; saxophones that sound like a jazz band that made a wrong turn in Bucharest; very subtle touches of electronica; and joyously overpowering drums and percussion (two members are drummers).

Faÿt begins with a short, slow invocation called “Absintro,” which sounds a little like Delta blues — except for the Tuvan throat singer and the otherworldly rumblings from a didgeridoo. This slips into the album’s title song, a lively, celebratory rocker.

The song “Khreyyy” has overtones of metal, while “Vardusa Saza” starts off with a throbbing bass and wah-wah guitar that made me think it was going to be a Canki version of a Blaxploitation theme. It’s not. In fact, the song later features a group of women singing in a style reminiscent of Bulgarian choral music.

The album ends with “Kambines,” which begins with a flute solo and then goes into a lilting melody that might remind you of South African music.

Cankisou has yet to release anything on an American label. But that doesn’t mean that much anymore. You can download Faÿt at the usual places at the regular prices, and if you like bands like Gogol Bordello, I suggest you do.

Some videos. First a couple from Gogol Bordello

Here's Cankisou performing the song "Faÿt" live in Borneo last year

GaragePunk Hideout Open Again

Great news for fans of  “traditional garage rock to trashy punk, surf/instro to rockabilly, ’60s garage to swamp rock, broken blues to greasy R&B, soul to funk, frat rock to psych, freakbeat to power pop, proto punk to new wave, noise to lounge/exotica, and anything in between.”

My favorite internet music hangout, the GaragePunk Hideout is back in business.

The place had been closed since early July because Ning, the social network platform that had hosted the place for years, was about to hit the Hideout with a hefty price increase and other drastic changes.

It took longer than expected, but the Hideout migrated to a new platform powered by SocialEngine. It reopened yesterday and the place is just starting to get re-populated with all the bands, fans, DJs, podcasters and other outcasts and ne'er-do-wells.

I first stumbled on an earlier incarnation of The Hideout back in 2007. Not long after, I wrote about it in a Tuneup column. I stuck around and eventually went native. My major contribution there is producing The Big Enchilada podcast, one of many great shows on The GaragePunk Pirate Radio network.

So if you like the kind of music I play on Terrell's Sound World and The Big Enchilada, check out the Hideout. Stop by my page and shoot me a friend request.

Sunday, August 04, 2013


Terrell's Sound World Facebook BannerSunday, Aug. 4, 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
101.1 FM
email me during the show! terrell(at)

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
FOH by Superchunk 
The Corner Man by Barrence Whitfield & The Savages 
Lost and Thirsty in Palookaville by Coconut Kings
Ides of March by Figures of Light
Rock This Joint by Tim Timebomb
Smokes by Question Mark & The Mysterians
Liars Beware by Richard Hell & The Voidoids
Let Me Entertain You by Rusty Warren
Setima Patrula by Los Bellkings 
We're Gonna Have a Real Good Time Together by The Velvet Underground 

Slander by Ty Wagoner
Palm Trees, Sun and Parking Lots by The Terrorists
Makin' Love by The Sloths
What About Us by The Fall
I Got a Feelin' in My Body by Elvis Presley 
Bank Robber by The Clash
Solo Estoy by Lorella y Los Shakers

My Gypsy Auto Pilot by Gogol Bordello
I Create in the Broken System by Arrington de Dionyso's Malaikat Dan Singa 
Pretty Boy by Johnny Dowd
Space II by Butthole Surfers
Social Fools by Devo
Hound Dog by Gefilte Joe & The Fish
I Come From the Mountain by Thee Oh Sees
Longview by Richard Cheese

Them Changes by Big John Hamilton & Doris Allen
Mixed Up Crazy World by Nick Curran & The Nitelifes
The Devil's Daughter by Buddy Guy
Quitter La Ville by Thee Verduns
Summer Wine by Nancy Sinatra & Lee Hazelwood
The Kindness of Strangers by Nick Cave & The Bad Seeds
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Some Bluegrass Gospel for a Sunday Morning

Jimmy Martin: Going to Heaven in a flashy suit

Here's some sweet gospel sounds bluegrass style. If these songs don't touch your soul, I don't know what will.

Leading off is the great Jimmy Martin, singing a beautiful song in a pretty snazzy suit.

Next is a couple who aren't as famous as they ought to be, Tammy & Jerry Sullivan

Finally, here's Ricky Skaggs appearing on Marty Stuart's show

Friday, August 02, 2013


Santa Fe Opry Facebook BannerFriday, Aug. 2, 2013 
KSFR, Santa Fe, NM 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Warmed Over Kisses by Dave Edmunds
I'm Gonna Dig Up Howlin' Wolf by Mojo Nixon & Skid Roper
Dirty Mouthed Flo by Robbie Fulks
Cajun Joe (The Bully of the Bayou) by Doug & Rusty Kerhaw
Hooker Bones 2 by DM Bob & The Deficits
How the West Was Won by Anthony Leon & The Chain
(Between the Two of Us) One of Us Has The Answer by Tim Timebomb
This Ain't a Good Time. By Big Sandy & The Fly-Rite Boys

Billy the Kid by Ry Cooder
Miss Bonnie and Mr. Clyde by Joe Ely & Joel Guzman 
Mama Hated Diesels by Commander Cody & His Lost Planet Airmen
Your Greedy Heart by Hazel Dickens
She and Us Pets by The Dirt Daubers
Oh Lonesome Me by Jerry Lee Lewis
Play My Boogie by Bill Mack
Beaver Hat Boogie by. Halden Woffard & The Hi- Beams

The Lord Knows I'm Drinkin' by Cal Smith
Penny Instead by Charlie Pickett
Skull and Crossbones by Bell & Shore
Hoboes Are My Heroes by. Legendary Shack Shakers
Don't Be Angry by Dale Watson
Beatin' My Head by Jayke Orvis
Nervous Breakdown by Whiskeytown 
Rehab Rendezvous by Rod Balch
Old Chunk of Coal by Billy Joe Shaver
Alligator Man by Jimmy C. Newman

Prohibition is a Failure by John Cohen & The Dustbusters
If You Don't Know Me by Now by Shineyribs
It Wasn't God Who Made Honky Tonk Angels by Kitty Wells
Tonya's Twirls by Loudon Wainwright III
When Two Worlds Collide by Roger Miller
Between the Whiskey and the Wine by Miss Leslie
CLOSING THEME: Comin' Down by The Meat Puppets

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


Terrell's Tune-up got held today for space in Pasatiempo. Happens sometimes. So instead of that, here's this:

I got a press release this morning for an upcoming soundtrack album for an upcoming movie about CBGB, that famouse dump in New York City's Bowery that was the proving grounds for many of the bands that became the cream of American punk rock.

I only got to go there once, back in the late 90s. I was with my daughter, then a teenager, and her friend. The band playing that night was one none of us had ever heard of, This Bike is a Pipe Bomb. I kept trying to imagine that they were The Patti Smith Group or The Ramones. (They weren't even close, but they were kind of fun.)

"The film tells the story of Hilly Krystal, played by Alan Rickman, and his legendary Bowery club that brought punk to life and helped birth the underground music scene in the U.S." So says the press release. "The film also stars Malin Akerman, Ryan Hurst and Ashley Greene. The movie will premiere at the CBGB Festival, and will open in select cities on October 11th."

The soundtrack, to be released Oct. 8 by Omnivore Records features lots of the bands who rose out of CBGB -- including Richard Hell & the Voidoids, The Dead Boys, Television, The Talking Heads -- and those that influenced them like The Velvet Underground, The Stooges, The MC5, etc.

Any who, here's some videos of some bands playing CBGB before they got famous.



Sunday, July 21, 2024 KSFR, Santa Fe, NM, 101.1 FM  Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrel...