Sunday, September 29, 2013


 Hey, Sound World fans, there's a brand new Big Enchilada episode posted just a couple of days ago with serious New Orleans overtones 

Terrell's Sound World Facebook BannerSunday, Sept. 29, 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
Negro y Azul by Los Cuates de Sinoloa
New Orleans by The Plimsouls & The Fleshtones
Electrify by Left Lane Cruiser
Don't Do it by Ty Segal
Down in the Lab by Deadbolt
Blues Blues Blues by The Cramps
Sometimes Good Guys Don't Wear White by The Standells
There But For the Grace of God Go I by The Gories
I Been Hoodood by Bo Dollis & The Wild Magnolias

Su Su by Kid Congo & The Pink Monkeybirds
Your Haunted Head by Concrete Blonde
Monkey Dog by Big Foot Chester
Black Shiny Beast by Buick MacKane
I'm a Nut by Roosevelt Sykes
Wildwood Boogie by Charlie Gracie
Fire by Geno Sparks
One Track Mind by Nathan & The Zydeco Chas Chas

Gimme Rock 'n' Roll by Big Ugly Guys
Life on the Mountain by Los Tentakills
Geraldine by Figures of Light
What Goes Boom by The Pixies
Let's Snap by The Mobbs
Lost and Thirsty in Palookaville by Coconut Kings
Total Destruction of Your Mind by Swamp Dogg
Battle of New Orleans by Big Chief Monk Boudreaux 

I Thought I Heard Buddy Bolden Say by Jelly Roll Morton
All These Things by Art Neville
Indian Red by The Wild Tchoupitoulas
The Last Mistress by Body/Head
Girl on the Carousel by The Dirtbombs
Lucky Day by Tom Waits
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, September 27, 2013


Hey SF Opry Fans, there's a brand new Big Enchilada episode posted earlier tonight with serious New Orleans overtones CLICK HERE

Santa Fe Opry Facebook BannerFriday, Sept. 27, 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 Effect by Augie Meyers
A. On Horseback by Charlie Pickett
Keep on Drinkin' by David Bromberg 
Honky Tonk Merry Go Round by Kelli Jones- Savoy & Emma Young
Pay Dearly by Kim Lenz & The Jaguars
Dirty Hands and Dirty Feet by Ashleigh Flynn
Bernadette by Lynn August
Cajun Stripper by Doug Kershaw
Old Man from the Mountain by Brian & The Haggards with Eugene Chadbourne 

Dancin' to a Pack of Lies by Pat Todd & The Rank Outsiders
Briggs' Corn Shucking Jig/ Camptown Hornpipe by The Carolina Chocolate Drops
Mama Don't You Tell Me by The Howlin' Brothers
The Night That Porter Wagner Came to Town by Tabby Crabb
I've Got a Tender Heart by Merle Haggard
Chevy Beretta by Johnny Corndawg
Two Headed Baby by Angry Johnny
I Wanna Hug Ya, Kiss Ya, Squeeze Ya by Holly Golightly & The Brokeoffs

Burn the Place to the Ground by Dinosaur Truckers
Hangover Tavern by Hank Thompson
Texian Boys by DM Bob & The Deficits 
After the Fall by Terry Allen
Liquor and Whores by The Misery Jackals
A Girl Named Johnny Cash by Harry Hayward
Who Put the Turtle in Myrtle's Girdle? by The Western Melody Makers
I Ride a Tractor by The Legendary Stardust Cowboy

Chicken and Gravy by Richard Johnston & Jessie Mae Hemphill
Stoned Slow and Rugged by Rusty Wier
Middle Aged Hippie Blues by Moe Averick
Belle Isle by Bob Dylan 
Shawnee by Steve Martin & Edie Brickell 
I Know I've Loved You Before by Big Sandy & The Fly-Rite Boys
Wreck on the Highway by The Waco Brothers
Gotta Travel On by Jimmie Dale Gilmore
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

A New Big Enchilada! We Goin' to New Orleans!

We goin' to New Orleans! Next week I'll be attending the 2013 Ponderosa Stomp, billed as a celebration of the unsung heroes of American music. This year's headliners include The Standells, The Sonics, Swamp Dogg, Ty Wagner and other under-appreciated R&B, rockabilly and garage-rock warriors. In anticipation of the festival, this episode -- following some of the crazed rock 'n' soul you expect from The Big Enchilada, you'll hear a rollicking tribute to the Ponderosa Stomp.  Stomp on!

Here's the playlist:
(Background Music: Mardis Gras in New Orleans by Dirty Dozen Brass Band)
New Orleans by The Plimsouls with The Fleshtones
Do the Trash by The Cryptics
Life on the Mountain by Los Tentakillls
Your Woman by Andre Williams & The New Orleans Hellhounds

(Background Music: Way Down Yonder in New Orleans by The Kansas City Six)
That's Your Problem by Mal Thursday & The Cheetahs
Sewer Fire by Thee Oh Sees
Switched On by The Insomniacs
The Cat Never Sleeps by Mama Rosin with Hip Bone Slim & The Knee Tremblers

(Background Music: Shoo Fly by Bo Dollis, Monk Boudreaux & Rebirth Brass Band)


Mr. Nobody by The Standells
Walking Down Lonely Street by Ty Wagner
Cops and Robbers by Boogaloo
Playin' Hide Go Seek by Eddie Daniels
Makin' Love by The Sloths
Baby Doll by Charlie Gracie

(Background Music: Tin Roof Blues by Louis Armstrong)
Boss Hoss by The Sonics
Fire by Gino Parks
Rebecca Rodifer by Gaunga Dyns
Crawdad Hole by Swamp Dogg

Play it below:

TERRELL'S TUNEUP: Kid Congo Haunts Your Head

A version of this was published in The Santa Fe New Mexican 
Sept. 27, 2013

Brian Tristan, better known to his cult as Kid Congo Powers, has one of the best résumés in underground rock ’n’ roll today. Going back to the early ’80s, he’s done stints in The Cramps, The Gun Club, and even Nick Cave & The Bad Seeds. But with his band The Pink Monkeybirds, with whom he’s made three albums since 2009, the Kid has created his own unique sound, one that doesn’t sound like he’s trying to recycle those influential bands of his youth.

His latest album, Haunted Head, is another sturdy and impressive effort highlighting Powers’ guitar prowess without sounding self-indulgent, predictable, or wanky. The Pink Monkeybirds — guitarist Jesse Roberts, bassist Kiki Solis and drummer Ron Miller — are a tight little unit. The music is seamless, and there’s little punk-rock clatter or garage-band slop. And yet they don’t come off as too smooth or polished.

Haunted Head is heavier on the noir than the group’s previous works, especially tunes like the title song, “222,” and the slow and low album opener “Lurch,” all three of which could be set in a misty graveyard on some midnight dreary. With its reverb-soaked twangy guitar, “222” might even evoke memories of Chris Isaak’s “Wicked Game” — as used right before the car-wreck scene in David Lynch’s Wild at Heart.

Because the title song is so similar to one of Concrete Blonde’s greatest numbers (the explosive “Your Haunted Head”), it’s got something to live up to. Powers’ song doesn’t have the rage of that tune, and certainly his vocals are nowhere near those of Johnette Napolitano. But the Monkeybirds’ song has its own sinister integrity. And the intense (if too short) shredding guitar solo toward the end of the song is a wonder to behold.

Currently my favorite song on this album is “Su Su.” It’s a beefy, atmospheric rocker that shares a subtle sonic kinship with Talking Heads’ “Life During Wartime,” though it’s supposed to be a tribute to actress Susan Tyrrell, who died last year.

I’m also fond of the minimalist, almost avant-garde “Let’s Go,” which is driven by Miller’s sci-fi keyboard playing.

Undoubtedly the craziest song is an unlisted “surprise” song that appears after “Lamont’s
Requiem.” It opens with some faux doo-wop before Powers comes in reciting lyrics lifted right out of “Monster Mash”: “I was working in the lab late one night when my eyes beheld a hideous sight.” And then a story unfolds involving Humpty Dumpty. I’m not making this up.

There are a couple of songs — “Lady Hawke Blues” and “Loud and Proud” — that are built upon blues riffs. The latter, with its chicken-scratch guitar played over a spacey soundscape and caveman drums, is irresistible. Powers’ buried vocals could invite comparisons with those of The Fall’s Mark E. Smith.

Speaking of buried vocals, that’s my chief complaint with the album as a whole. It’s a weakness slightly less obvious on The Monkeybirds’ previous albums, Dracula Boots and Gorilla Rose. In all three, Powers’ vocals are mixed down way too low. Granted, he’s never pretended that his vocals are the main draw of this band. Basically, Powers doesn’t sing. He growls, reciting the words like one of those spoken-word artists fronting rock groups in the ’90s. But on the new one, the Kid’s vocals are so low that it’s difficult to make out the words in several songs.

Fortunately, the music of Haunted Head is evocative enough that it tells stories of its own.

Not recommended:

* EP1 by The Pixies. Let’s cut to the proverbial chase. This isn’t bad — well, it’s not terrible — but ultimately it’s pretty disappointing.

A little background: Rock ’n’ roll bands are like comic-book villains. They’re never really dead until you see their bodies.

Take my beloved Pixies. It looked as if they died in the early ’90s, right at the height of their popularity and influence. Not long after the release of their album Trompe le Monde, Pixie potentate Charles Thompson, aka Black Francis, aka Frank Black, announced The Pixies were no more.

And that seemed to be the case for a decade or so. But after a couple of years of reunion rumors, The Pixies actually did get back together for a tour in 2004. And apparently it was so successful that they did several subsequent tours.

At the outset of their rebirth, the band recorded a couple of new songs: Warren Zevon’s “Ain’t That Pretty at All” for a Zevon tribute album and “Bam Thwok,” a rocker written by Pixies bassist Kim Deal for (but not used in) the movie Shrek 2.

The two songs were a hopeful sign. But as far as new material went, there was no follow-up. Black Francis and the crew seemed content with playing their classics. And that’s what the fans wanted. The Santa Fe folks who packed into the Sweeney Center in November 2011 went to hear The Pixies play their breakthrough 1989 album Doolittle, not for “Bam Thwok” (though that would have made a pretty bitchen encore).

But something strange happened this year. Deal announced she was leaving the band around the same time Black Francis and the others went into the recording studio for the first time in nearly 10 years. (A guy named Simon Archer replaced her on bass for these sessions. Another Kim, Kim Shattuck from The Muffs, has since been hired for the touring band).

In July, the group released a free MP3 of a techno-edged slow-burning rocker called “Bagboy.” And now there’s this four-song EP. It kicks off with the slow, spacey “Andro Queen,” which sounds like a space-alien love ballad. That’s followed by a bland soft-rocker, “Another Toe in the Ocean.” If I’d never heard this one before and you told me this was Bob Welch-era Fleetwood Mac, I probably would have believed you.

Things start to get interesting with “Indie Cindy.” After a slow “Wave of Mutilation”-like instrumental intro, the song goes into what sounds like an angry rant by Black Francis. The chorus slows down into a pretty melody as he sings “I’m in love with your daughter.”

The finally song, “What Goes Boom,” starts off with a boom — hard ’n’ heavy, near-metal guitar from Joey Santiago. It’s the most rocked-out song here, but in the end, it’s forgettable. And that’s the case with the other three songs as well.

The Pixies surely will plow on and hopefully, even without Deal, they will keep thrilling audiences as they recreate “Monkey Gone to Heaven” and “Caribou” and “Broken Face.” But something tells me the restrooms will be crowded when they play “Another Toe” and “What Goes Boom.”

Blogging from New Orleans: Next week I’ll be in New Orleans looking for the ghost of Mr. Bojangles, eating oyster po’ boys, and attending the 2013 Ponderosa Stomp, a festival dedicated to the unsung heroes of American music. There are R&B, soul, rockabilly, zydeco, and garage-rock acts on the bill, including a few you might have heard of like The Standells, The Sonics, Maxine Brown, and the mighty Jerry Williams, better known as Swamp Dogg. Assuming I can get the crawfish off my fingers, I’ll be blogging about the Stomp right here at the Stephen W. Terrell Web Log. Bookmark it!

Meanwhile, here's a couple of videos:

First, Kid Congo.

And here's the official "Indie Cindy" video from The Pixies.

Monday, September 23, 2013

A Musical Tribute to Breaking bad

In honor of the final episode of Breaking Bad this coming Sunday, here's a musical tribute with some memorable songs from the series.

I'm really going to miss this show. When it's over Sunday, I'll probably be so depressed I might just go down to Albuquerque, check into the Crossroads and live off Dog House chile dogs ... and Wendy ... for a few days.

Have an A-1 day!

Here's the narcocorrido "Negro y Azul" written for the show performed by Los Cuates de Sinaloa

Here's Gale's delightfully strange karaoke video of "Major Tom (Coming Home)", a song originally done by German singer Peter Schilling.

Everyone knows it's Wendy (though the song by The Association actually is titled "Windy."

Sunday, September 22, 2013


Terrell's Sound World Facebook BannerSunday, Sept. 22, 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Lightning knocked KSFR off the air but we are still  Webcasting!

email me during the show! terrell(at)

Stick a Fork in It by LoveStruck
Tomboy by Acid Baby Jesus
Cops and Robbers by Boogaloo
Oscar Levant by Barrence Whitfield & The Savages
Grown in a Graveyard by Thee Oh Sees
Do the Gargon by Johnny Dowd
Back Street Hangout by The Oblivians 
Hey! Cookie by The Dirtbombs 
The In-laws by The Raunch Hands

Love Special Delivery by Thee Midnighters
Jump, Jive and Harmonize by The Plimsouls 
The Hipster by Black Joe Lewis & The Honeybears
Rebecca Rodifer by The Gaunga Dyns
Frankie Baby by Mojo JuJu
Wait for Me by Roger Damawuzan
Willie Meehan by Manby's Head 
Wish That I Was Dead by The Dwarves
The Innocent Gadfly by Brave Combo

English Civil War by The Clash 
Lost in The Supermarket by The Afghan Whigs
Ghetto Defendant by The Clash
I Fought the Law by Bobby Fuller Four
Junco Partner by The Dirty Dozen Brass Band
Jail Guitar Doors by The Clash
Rock El Casbah by Racid Taha

Haunted Head by Kid Congo & The Pink Monkeybirds
Papa Won't Leave You Henry by Nick Cave & The Bad Seeds
Mona by Pere Ubu
I'll Take Care of You by Sonny Green
Ando Queen by The Pixies
Oh No Not My Baby by. Maxine Brown
I'm a Soldier by The Blind Boys of Mississippi
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, September 20, 2013


Santa Fe Opry Facebook BannerFriday, Sept. 20, 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

Shine on Harvest Moon by Laurel & Hardy
Train in Vain by Dwight Yoakam
Brand New Cadillac by Wayne Hancock
Your Friends Think I'm the Devil by The imperial Rooster
How Far Down Can I Go by T. Tex Edwards & The Swingin' Kornflake Killers
My Life's Been a Pleasure by Willie Nelson, Merle Haggard & Ray Price
Heartaches, Meet Mr. Blues by Loretta Lynn
TJ by Hickoids

Midnight Shift by Commander Cody & His Lost Planet Airmen
Damaged and Dangerous by Rob Nikowlewski 
Playin' Hide Go Seek by Eddie Daniels
Rainwater Bottle by Chipper Thompson
She's My Neighbor by Zeno Tornado & The Boney Google Brothers
Devil's at Red's by Anthony Leon & The Chain
Buena by Joe "King" Carrasco & El Molino
Lonesome Onery and Mean by Waylon Jennings
One Day a Week by Johnny Paycheck

I'm Headed Back to Austin by Junior Brown 
Superbird by Halden Wofford & The Hi- Beams
Let's Do Wrong Tonight by Simon Stokes & The Heathen Angels
Waiting Around to Die by The Goddamn Gallows
Texas Talking by Shineyribs
Cracklings by The Gourds

Don't Let 'em Get You Down by Joe West & The Santa Fe Revue
Buffalo Hunter by J. Michael Combs
Saginaw, Michigan by Left Frizzell
Borrowed Car by Tom Adler
Your Conscience by Bobby Crown & The Kapers
Streets of Laredo by Webb Wilder
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, September 19, 2013

TERRELL'S TUNEUP: Too Much Clash for Just One Stash

A version of this was published in The Santa Fe New Mexican 
Sept. 20, 2013

Back in the late ’70s and early ’80s, when The Clash was a living band — “The Only Band That Matters” according to the hype — you never would have guessed that they would be joining Elvis Presley, Johnny Cash, and The Beach Boys as one of the most repackaged, rereleased, reissued, and recycled musical acts of the 20th century.

Indeed, Joe Strummer, Mick Jones, and Paul Simonon seemed to the very embodiment of rock ’n’ roll rebellion, combining the passion of protest music with the crazy fire of punk rock, colored by the righteous rage of reggae.

But its true, even though The Clash’s discography is modest compared to those others. In their career, The Clash only made six albums (though London Calling was a double record and Sandinista! contained three LPs).

Even so, it seems every time you turn around, there’s a new Clash compilation or box set popping up. There was The Story of The Clash Vol. 1, a double CD set from 1988; Clash on Broadway, an impressive three-CD set released in 1991; and The Singles, just one disc, from the same year. Skip ahead to 2003 and you’ll find the double-disc The Essential Clash. In 2006 there appeared another collection called The Singles, a box set with replicas of every commercially released single as well as a stray EP.

And now, in the second week of September, come three more. There’s The Clash Hits Back, a double-disc collection based on a set list from a July 1982 show in Brixton. (It’s not the concert itself. These are are the studio versions of the songs played there, plus a bunch of bonus songs.) There’s a compilation called The Clash 5 Studio Album Set (omitting the band’s much-reviled final album from 1985, Cut the Crap, made after Mick Jones was kicked out of the band, isn’t here)
Sound System spread out

And then there is the massive 11-CD-plus-a-DVD Sound System, which includes all the albums (again, minus Cut the Crap) plus a deluge of non-album singles, songs from EPs, live material, demos, outtakes, and oddities, including some tunes I’d never heard before like “The Beautiful People Are Ugly Too” and “Idle in Kangaroo Court” ( both outtakes from what would become the album Combat Rock).

Sound System is selling for $177 and change at Amazon ($100 for the MP3 version of the songs). All these new products strike me as serious overkill. I can’t help but imagine the late Strummer rolling over in his grave at the idea of such an expensive extravaganza with his band’s name on it.

And yet, I also worry about the fact that, despite the endless stream of Clash compilations, there are those who never knew the pleasures of “White Riot” or “London’s Burning” or “This Is Radio Clash” or even “Should I Stay or Should I Go.” It tugs at my conscience that there are bored kids in the U.S.A. who have never heard “I'm So Bored With the U.S.A.” So if these new Clash products stir up some attention for this glorious band and help lead new generations to them then heap on the hype. Kids, heed the call and pick up a copy of The Clash Hits Back (truly a bargain at $10) or better yet, the Clash’s first, self-titled album, Give ’Em Enough Rope, and/or London Calling, and prepare for revelation.

Listening to several hours of The Clash in preparation for this column inspired me to compile a couple of lists.

Clash covers: a Magnificent Seven (and no, The Clash’s song of that title was not a cover of the Elmer Bernstein Western theme).

1. “I Fought the Law.” The original was by The Bobby Fuller Four, written by Sonny Curtis, one of Buddy Holly’s Crickets. Fuller’s version was great, but The Clash actually topped it. The refrain is the same: “I fought the law and the law won.” But Strummer and crew sound like they want a rematch.

2. “English Civil War.” This is a blazing update of “When Johnny Comes Marching Home,” which was written during the American Civil War by bandleader Patrick Gilmore, an Irish immigrant. According to the Library of Congress’ online Performing Arts Encyclopedia, Gilmore wrote the song in 1863, when he was posted at occupied New Orleans, serving as a Grand Master of the Union Army, with the duty of reorganizing the state military bands. Though “When Johnny Comes Marching Home” was an upbeat “support the troops” song that became popular in both the North and South, its melody is based on an old Irish anti-war protest song, “Johnny I Hardly Knew Ye,” which is as mournful as The Clash’s mutation of the song is ferocious.

3. “Brand New Cadillac.” First recorded by British rockabilly Vince Taylor in 1959, one of my favorite versions is the rockabilly/swing cover by Wayne Hancock.

4. “Junco Partner.” This is a New Orleans staple about a junkie who was “knocked-out loaded,” first recorded by James Waynes in 1951, though I’ve always been partial to the Professor Longhair version.
Junior Murvin

5. “Police and Thieves.” One of several reggae songs The Clash covered, this was first recorded by Jamaican reggae singer Junior Murvin a year or so before The Clash included it on their first album. Murvin’s version is much slower and featured falsetto vocals. Apparently the Jamaican was not happy with the cover by these upstart punks. His reaction was reportedly, “They have destroyed Jah work!”

6. “Wrong ’Em Boyo.” This was a rewrite of a song — “Wrong Emboyo” by a Jamaican band called The Rulers — which in turn was drawn from the classic early-1900s outlaw ballad “Stagger Lee.” Both The Rulers and The Clash start out with a verse that sounds like Lloyd Price’s hit R&B version of the song.

7. “The Man in Me.” Bob Dylan did this on his 1971 album New Morning. The Clash’s lo-fi, reggaefied version wasn’t released until 2004 as part of “The Vanilla Tapes,” an old reel of demos that became Disc 2 of the 2004 London Calling 25th-anniversary reissue. I’ll admit this isn’t in the same stratosphere as any of the previous covers. I include it just to show the range of The Clash’s influences.

My favorite versions of Clash songs by other artists.

Racid Taha
1. “Rock el Casbah” by Rachid Taha. Algerian-born singer Taha’s take on “Rock the Casbah” is sung in Arabic and is even heavier on percussion than The Clash’s original.

2. “Lost in the Supermarket” by Afghan Whigs (from Burning London: The Clash Tribute). This soulful take with Gregg Dulli on lead vocals and Harold Chichester doing a trademark falsetto response, was the best track on this various-artists album.

3. “Train in Vain” by Dwight Yoakam. This is Bluegrass Clash! And yes, that’s Dr. Ralph Stanley himself playing banjo and singing on a Clash song.

4. and 5. “Should I Suck or Should I Blow” by Thee Stash. This actually is a parody of the Clash hit by an ad hoc Billy Childish band in the early ’90s. Childish was angry that a Clash song was being used in a Levi’s commercial. The flip side of this single showed Childish wasn’t so bored with Clash parodies. It was titled “We’re Selling Jeans for the U.S.A.”


Two of their greatest

Here's Racid Taha, The Clash's Mick Jones and Brian Eno rockin' the Cashbah

Billy Childish puts it in perspective

Shine On Harvest Moon

Last night I saw a couple of tweets from astrophysicist Neil deGrasse Tyson:

Harvest Moon tonight -- the full moon that lands closest to the September equinox. There's nothing special about it. At all

Harvest Moon tonight. Enjoy it as you would any of the other dozen full moons in a year. No more. No less.
Well, you can believe that.

Or you can believe Oliver Hardy.

Tuesday, September 17, 2013


Here's an event early next month that's worth driving to Taos for: Terry and Jo Harvey Allen are presenting The Bleeding Wall of Taos which they describe as a "unique evening of music, poetry and tall tales of love, blood, mystery and adventure" for SOMOS Storytelling Festival.

They'll be doing this at the Taos Center for the Arts on Oct. 5.

"Love, blood, mystery and adventure ..." As one of my favorite songwriters (Terry Allen) might say, "Ain't no Top 40 song ..."

Terry's been a favorite musician of mine for years. Here's a profile I wrote about him for the old No Depression magazine more than a few years ago. And here's my review of his latest album, Bottom of the World.

His wife, Jo Harvey is a major talent also. She's an actress, writer and performer of  one-woman shows. My favorite Jo Harvey role was that of "The Lying Woman" in David Byrne's movie True Stories. She also was the force behind Chippy, Diaries of a West Texas Hooker, a musical based on the actual diary Jo Harvey found at some Texas pawn shop or garage sale. (Terry showed me the actual diary once.) The 1994 album Songs From Chippy, which featured, the Allens, Joe Ely, Butch Hancock, Wayne Hancock, Robert Earl Keen and Jo Carol Pierce currently tops my list of criminally out-of-print CDs.

Terry and Jo Harvey will do the at the Taos Center for the Arts.

Tickets are $10 for the Storytelling Festival's StorySlam on Friday, October 4th, and $20 for the Terry and Jo Harvey Allen performance the next night. ($45 for a special VIP event on October 5th .This includes admission to the performance).

Tickets are available at the Taos Center for the Arts or at SOMOS at Please call 575-758-0081 for more information.

Here's a classic Terry Allen song.

Sunday, September 15, 2013


Terrell's Sound World Facebook BannerSunday, Sept. 15, 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
Sewer Fire  by Thee Oh Sees with Lars Finberg
Seething Psychosexual Conflict Blues by Figures of Light
Jesus Christ Twist by Rev. Beat-Man
The Wolf Song by LoveStruck
Hey Jackass by Geek Maggot Bingo
Love All of Me by The Jon Spencer Blues Explosion 
Negative and Hostile by The Grannies
The Cutester Patrol by The Grandmothers
No More Rainy Days/ Interlude by The Dirtbombs
Vampire by Black Joe Lewis

Lockdown Blues by The Angel Babies
Head-On Collision by Big Ugly Guys
Drug-Stabbing Time/Sean Flynn by The Clash
Another Toe by The Pixies

Journey to the Center of the Mind by The Ramones
Don't Be Angry by Nick Curran & The Nightlifes
Baby Doll by The Del Moroccos
The Corner Man by Barrence Whitfield & The Savages
Dreaming by The Go-Wows
Like a Pill by The Nevermores
She Said Yeah by The A-Bones
A House is Not a Motel by Marshmallow Overcoat
Stoned by The Black Lips
Trash Truck by TAD
Lumumba Calypso by E. C. Arinze

The Sky is a Poisonous Garden by Concrete Blonde
Weight by Chief Fuzzer
Night of Broken Glass by Jay Reatard
The North Seas by Thee Verduns 
Malandrino by Gogol Bordello
Too Dry to Cry by Willis Earl Beal
Lonesome Stranger by Pietra Wexstun & Hecate's Angels
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, September 13, 2013


Santa Fe Opry Facebook BannerFriday, Sept. 13, 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
Single Girl by The Dirt Daubers
You Knee'd Me by The Hickoids
Truck Drivin' Son of a Gun by Dave Dudley
Trashy Women by Jerry Jeff Walker
Too Much by Rosie Flores
White Freightliner Blues by Halden Wofford & The Hi Beams
Gimme a Ride to Heaven Boys by Terry Allen
Honey, Do You Love Me, Huh? By Hank Williams with Curley Williams
Pig Fork by The Imperial Rooster
Road to Ruin by Anthony Leon & The Chain
Everybody's Getting Paid But Me by The Rev. Peyton's Big Damn Band
I Can't Make It Without You by The Haddix Family
11 Months and 29 Days by Johnny Paycheck
Warmed Over Kisses. By Dave Edmunds
One Swell Foop by The Honkey Tonk Merry Go-Round
The Rains Came by The Sir Douglas Quintet
Sleepless Nights by The Mekons

Artificial Flowers by Cornel Hurd featuring the Sex-Sational Blackie White
Highway Cafe by Kinky Friedman & The Texas Jewboys
Empty Bottles on a Broken Shelf by Jayke Orvis
Crazy Date by T. Tex Edwards
Down in the Flood / Little Sadie by Bob Dylan 
Wish You Would Kiss Me by James Hand
Boogie Woogie Lou by Zeb Turner
River in the Rain by Roger Miller

Rainy Days by Ashleigh Flynn
The Many Disguises of God by Robbie Fulks
Tonya's Twirls by Loudon Wainwright III 
I Trained Her to Love Me by Nick Lowe
Gauzy Dress in the Sun by Richard Buckner
Precious Time by Broomdust Caravan
CLOSING THEME: Comin' Down by The Meat Puppets

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Thursday, September 12, 2013

TERRELL'S TUNEUP: Pop That Bubblegum!

A version of this was published in The Santa Fe New Mexican 
Sept. 13, 2013

An actual bubblegum album by a serious grown-up band in 2013?

Yes indeed. Ooey Gooey Chewy Ka-blooey is a bubblegum album by The Dirtbombs, long promised by the group’s singer and guitarist Mick Collins.

The Dirtbombs are a serious band, right?

In my book they are. Started by Collins in the ’90s following the demise of his previous group, The Gories — an inspired blues/punk/slop band — The Dirtbombs were the best (if not the most famous, which would be The White Stripes) group to come out of the Detroit garage scene.

But bubblegum? Those of you who weren't around when bubblegum ruled the AM airwaves might not know what the term means. Sometimes “bubblegum” is used to describe any vapid teen pop, but that’s not what The Dirtbombs are doing on this album.

According to the All Music Guide, “Bubblegum is a lightweight, catchy pop music that was a significant commercial force in the late ’60s and early ’70s. Bubblegum was targeted at a preteen audience whose older siblings had been raised on rock & roll. It was simple, melodic, and light as feather — neither the lyrics or the music had much substance. Bubblegum was a manufactured music, created by record producers that often hired session musicians to play and sing the songs.”

The true giants of the genre were Buddha Records groups like The Ohio Express (known for hits like “Yummy Yummy Yummy” — yes, there was love in their tummies — and “Chewy Chewy”); The 1910 Fruitgum Company (“1, 2, 3, Red Light,” “Simon Says”); The Kasenetz-Katz Singing Orchestral Circus (“Quick Joey Small”); and made-for-TV bands like The Partridge Family, The Banana Splits, The Archies, and Lancelot Link & The Evolution Revolution.

Now technically, The Archies weren’t human. They were, in fact, cartoon characters. And the Banana Splits were human, but they were humans dressed like cartoon animals.

But even more out-there is the fact that Lancelot Link and his band were trained chimpanzees dressed in wigs and hippie costumes who appeared on Lancelot Link, Secret Chimp, a live-action Saturday-morning kiddie show in the early ’70s. An album of their music was actually released back then, and a video of the Lancelot Link song “Wild Dreams (Jelly Beans),” posted in a recent Ooey Gooey preview piece on, shows these chimps indeed sounded a little like the Dirtbombs do on their new album.

Back during the great bubblegum scare, I was a little older than the target age group for this stuff, and for the most part I didn't share Collins’ affection for it. In fact, I hated the stuff. But little by little, I began to see at least a little value in the genre. Wilson Pickett had a hit with The Archies’ “Sugar Sugar.” A few years later, The Talking Heads covered “1, 2, 3, Red Light.” Meanwhile, The Dickies, an L.A. punk group, did a magnificent version of The Banana Splits theme song. And The Cramps covered “Quick Joey Small.”

And now The Dirtbombs have bubblegum on the soles of their shoes. They didn’t do covers of bubblegum hits. Instead, as Collins explained in an interview in Ghetto Blaster, “I wasn’t trying to make a period piece; I was more seeing if I could pick up where bubblegum left off ...”

If nothing else, Collins and crew capture the weird essence of many bubblegum elements. Just look at the song titles: “Sunshine Girl,” “We Come in the Sunshine,” “Sugar on Top,” “No More Rainy Days,” “Hot, Sour, Salty, Sweet,” “Hey! Cookie,” etc. I don’t know whether I’m in more danger of sunstroke or a diabetic coma after listening to this.

There are several songs that — apart from the candy-coated lyrics — don’t sound like a big stretch for The Dirtbombs. “Hot, Sour, Salty Sweet” is one of those, and so are “Sugar on Top” and “It’s Gonna Be Alright.” Collins’ guitar is righteously raunchy in these songs, even if the melodies are poppier than your usual Dirtbombs tune. And “Hey! Cookie” sounds like, well, a garage-rock number. It would have fit seamlessly in early Dirtbombs albums.
Mick Collins playing with The Gories
Lincoln Center, NYC, 2010

But other tunes sink deeper into the bubblegum goo.

“We Come in the Sunshine” owes a big debt to “Good Vibrations,” but there also are strange components such as the Bobby Sherman-style horns and vocal harmonies that sound closer to The Cowsills than The Beach Boys. “The Girl on the Carousel” is a dreamy slow dance featuring an oboe.

But the biggest leap is “No More Rainy Days,” which, after a minute or so of what sounds like an Oompa Loompa march, goes into a weird interlude featuring the voice of the sun. That’s right, the actual sun, whose droning rumble was recorded by a solar observatory run by Stanford University.

I’ll admit, these tunes all are fun and catchy, even if the childlike lyrics and lollipops and rainbows start to wear down a listener used to grittier themes. My main beef is that this is the second genre exercise in a row for the Dirtbombs — the previous album, Party Store, being a tribute to Detroit techno bands. I just hope the next album by this band I love so much is less gooey and has more ka-blooey.

Also recommended: 

* Electric Slave by Black Joe Lewis. This is the hardest-edged record so far in the short but thrilling catalog of Lewis, an Austin native who, according to a recent piece in his hometown paper, recently moved to Montreal.

Unlike his previous two albums, this one is released under Lewis’ name alone, not with his band The Honeybears. The horn section is still there, but the soul and funk elements of Lewis’ early work are less apparent.

Also missing are any obvious crowd-pleasers, such as the funny spoken-word segments like “Mustang Ranch” from previous albums. I’m not saying crowds won’t be pleased. Electric Slave is raw, punk-infused electric blues rock. Less jive and more wallop.

The album starts out with “Skulldiggin’,” which has such a distorted, fuzzed-out bass that in a just world, every obnoxious kid with a weapons-grade car stereo would be blasting this at every intersection in America.

Black Joe in Santa Fe
“Guilty” is a frantic rocker with tasty guitar-sax interplay. The nearly seven-minute “Vampire” sounds like a stripped-down cousin of Concrete Blonde’s “Bloodletting (The Vampire Song).” Screamin’ Jay Hawkins could have done this one.

Two other standouts are the highly-caffeinated “Young Girls,” which reminds me of Barrence Whitfield & The Savages, and “The Hipster,” a ferocious cruncher built on a mutated “Everybody Needs Somebody to Love” guitar riff and incorporating some lyrics of “Wang Dang Doodle.”

I bet the Electric Slave song that gets the most airplay is “Come to My Party.” I hope a lot of new fans respond to that invitation. Black Joe Lewis always throws an amazing musical party.

Blog bonus: Lotsa videos this week

And a little history for you, kiddies:
Talking Heads liked bubblegum when bubblegum wasn't cool

These chimps rock!

Monday, September 09, 2013

R.I.P. Cal Worthington

Cal Worthington, the man responsible for the best used-car commercials in the history of television is dead at the age of 92.

From the Los Angeles Times:

If you watched television in Southern California in the 1970s and beyond, it was impossible to miss Cal Worthington, the lanky pitchman in the cowboy hat touting deals on a sprawling car lot with his "dog Spot." 

"Spot," however, was anything but a dog — think lion, tiger, bull, penguin, anteater, iguana, even a whale. And Worthington, the Oklahoma transplant who rode and wrestled with the exotic creatures in one of TV's wackiest and longest-running ad campaigns, kept the gag going for decades, building a cult following along with one of the most successful car dealerships west of the Mississippi. "Go see Cal" became a part of Southern Californians' vocabulary.

If you had cable TV in Santa Fe in the '70s chances are you saw Cal and his dog spot too. Back then the cable system mainly ran L.A. stations.

I thought Cal was a genius. I just regret I never had the opportunity to buy a car from him -- and maybe get a free elephant ride for the kids.

Here's how we'll remember Cal:

Sunday, September 08, 2013


Terrell's Sound World Facebook BannerSunday, Sept. 8, 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell, Guest Co-host Stan Rosen
101.1 FM
email me during the show! terrell(at)

Plenty Tuff and Union Made by The Waco Brothers
Solidarity Forever by J. Michael Combs & Stan Rosen (live)
Working Man's Blues by Merle Haggard & Willie Nelson
Union Fights the Battle of Freedom by Bucky Halker
There is Power in the Union by Solidarity Singers
Big Boss Man by Jimmy Reed

J. Michael Combs live set 
Which Side Are You On
Babies in the Mill
Gone, Gonna Rise Again
Arizona Estada de Verguenza
Banks of Marble
By the Sweat of My Brow
Roll the Union
Bread and Roses

Pie in the Sky by Utah Phillips & Ani DiFranco
Talking Union by The Almanac Singers
Pastures of Plenty by Cedarwood Singers 
Joe Hill by Paul Robeson
Brother Can You Spare a Dime by Phil Alvin 
Working Man by Bo Diddley
Union Medley by Peter, Paul & Mary

Red Neck Blue Collar by James Luther Dickinson
Republic Steel Massacre by Acie Cargill
Don't Look Now by Creedence Clearwater Revival
I Say Union by The Rabble Rousers
How Can a Poor Man Stand Such Times and Live by The Del-Lords
Call My Job by Son Seals 
The Work Song by The Animals
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, September 06, 2013


Santa Fe Opry Facebook BannerFriday, Sept. 6, 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
Cool Arrow by Hickoids
Leavin' Amarillo by Billy Joe Shaver
Whiskey's Gone by Kirk Rundstrom
Hooker Bones 2 by DM Bob & The Deficits
The Women ('Bout to Make a Wreck Out of Me) by Buddy Jones
Oklahoma Bound by Joe West
This Life of Mine by Two Tons of Steel
Gettin' High For Jesus by Holly Golightly & The Brokeoffs

The Pharmacist from Walgreen's by Gregg Turner
47 Crosses by The Goddamn Gallows
Do You Know Thee Enemy by Slim Cessna's Auto Club
Hellfire Remedy by Big John Bates
They Raided the Joint by Chuck Murphy
In My Time of Dyin' by Dad Horse Experience
Nine Miles Over the Limit by Rob Nikowlewski 
I'm Sending Daffydills by The Maddox Brothers & Rose
The Pill by Loretta Lynn

Yet Another Dang Self Portrait set 
Songs from Self Portrait, Another Self Portrait and Self Portrait songs by others
(All songs by Bob Dylan except where noted)
All the Tired Horses ( original version)
Annie's Going to Sing Her Song
Little Sadie by The Sadies
Working on a Guru
It Hurts MeToo by Elmore James
Railroad Bill by Hobart Smith
Belle Isle (Another Self Portrait version)
Wallflower by David Bromberg
The Mighty Quinn by Bob Dylan & The Band
Days of '49 by Doughbelly Price
Take a Message to Mary by The Everly Brothers
Pretty Saro by Iris Dement
Tattle O'Day

Over There's Frank by James Hand
Don't Monkey ' Round My Widder by Doc Watkins & Chet Atkins
You're All Bad (and That's Why You've Been Invited) by Eleni Mandell
Mr. Jukebox by Ernest Tubb
CLOSING THEME: Comin' Down by The Meat Puppets

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New Zealand Singer in SF Tonight

My old pal and former Santa Fe musician John Egenes, who has been living in New Zealand for the past several years (rumors that he earns his living as a hobbit trapper are utterly false and hurtful), is bringing a New Zealand singer to town tonight.

Donna Dean is playing at 7:30 p.m. at Garrett's Desert Inn, 311 Old Santa Fe Trail. I've heard her and she's good. (I forgot to get a sub for The Santa Fe Opry tonight, or I'd be going.) Santa Fe's own Jono Manson is opening.

 Tickets are $15 advance/$20 at the door. So take a break from Fiestas and check it out.

TERRELL'S TUNEUP: New Dylan Portrait Reveals New Colors

A version of this was published in The Santa Fe New Mexican 
Sept. 6, 2013

It's interesting that Columbia Legacy would release an two-disc "bootleg" set of unreleased Bob Dylan recordings centered around one of his most critically un-acclaimed albums in his 50-year career.

But that's the case of Another Self Portrait (1969-1971) The Bootleg Series Vol. 10. About half the songs are alternative versions, demos, or cutting-room-floor songs originally meant for Self Portrait, Dylan's album (it was a double album in the days of vinyl, though it all fit on a single CD) Released in the summer of 1970. There also are several different versions of songs that appeared on New Morning, (which came only months after Self Portrait), plus a smattering from Nashville Skyline and other projects.

At the time of its release, Self Portrait was the most controversial thing Dylan had done since "going electric" at the Newport Folk Festival five years before. In his autobiography, Chronicles, Vol. One, Dylan described this album: "I just threw everything I could think of at the wall and whatever stuck, released it, and then went back and scooped up everything that didn't stick, and released that too."

The critics raved. Actually, the critics ranted and it wasn't pretty. It was as if they felt personally that the most important artist of a generation had released a record that wasn't a grand revelation. Instead, despite the portentous title, Self Portrait was just a fun and sometimes sloppy musical notebook of Dylan singing some favorite folk and country songs, mixed in with a few live recordings and musical experiments.

"What is this shit?"was the opening sentence of the review in Rolling Stone (in those days a rock 'n' roll magazine, believe it or not) by Greil Marcus. Marcus, in the liner notes for the new collection, wrote that those were "the words that were coming out of everybody's mouth" when first hearing Self Portrait.

But not everybody.

I was just a high school kid when Self Portrait came out and, for the most part I liked it. And for the most part, I still do. Sure there were some clunkers -- his undercooked version of Simon & Garfunkel's "The Boxer," the bafflingly over-produced "Bell Isle," the mediocre take on Elmore James' "It Hurts Me Too," and the outright bizarre "In Search of Little Sadie," which sounded like a stoned private joke. And, as is the case with many other classic double albums, Self Portrait could have, should have been boiled down to a single disc.

But there was so much to love in Self Portrait. The first song was the enigmatic "All the Tired Horses." Dylan didn't sing this. It was a chorus of three women singing, "All the tired horses in the sun / How am I supposed to get any riding done / Ummm ummm..." over and over again like some plantation dirge with a string section coming in. There was a raucous live version of "Quinn the Eskimo" (with The Band) that sounded like a saloon fight. And there was a straight version of "Little Sadie" on which Bromberg on guitar sounded so much like Doc Watson, I had to check the credits.

The Original
Speaking of "Little Sadie," my favorite aspect of Self Portrait was what seemed to be an Old West/frontier/gunslinger undercurrent. One of the best was "Alberta #1," a funky old folk song (I remembered it from seeing Parnell Roberts, Adam from Bonanza, perform it on some TV variety show.) "I'd give you more gold than your apron could hold" sounds like a love-sick promise by the world's horniest prospector.

Dylan's laconic version featured a tasty dobro by David Bromberg and call-and-response vocals by the same trio that sang "All the Tired Horses." Later in the album there was a slightly faster "Alberta #2" and I liked that too. (And, to get ahead of myself a little, I also like "Alberta #3" on Another Self Portrait, despite its abrupt end.)

One of the most moving songs on the album was a moonshiner ballad, "Copper Kettle" where Dylan, in the voice of a proud defiant hillbilly Everyman, sings, "My daddy he made whiskey, my granddad he did too / We ain't paid no whiskey tax since 1792." There was The Everly Brothers' "Take a Message to Mary," with that haunting introduction by a female chorus, "These are the words of a frontier lad, who lost his love when he turned bad..."

But best of all was Dylan's version of "Days of 49," an old gold rush song about a sad '49 lamenting the loss of old compadres, a motley, whoring gaggle of drunks, brawlers and card-cheats -- the kind of men who built this great land of ours. "They call me a bummer and a gin-shot too, but what cares I for praise?" Dylan snarls. The verses document the lives and violent deaths of pals like Poker Bill, New York Jake and Ragshag Bill.
David Bromberg, the secret hero of the
Self Portrait sessions.

The devastating final verse puts it all in perspective: "Of all the comrades that I've had, there's none that's left to boast / And I'm left alone in my misery, like some poor wandering ghost ..." Makes you wonder whether Dylan has harbored a fear of being the last man standing among his glory-days contemporaries.

"Railroad Bill," a fine old American outlaw ballad included in Another Self Portrait, would have fit in perfectly among the Old West tunes on the original album. Why it was excluded while "The Boxer" was included we'll never know.

While any fan of any performer enjoys hearing out-takes and versions of familiar songs at various stages of development -- "New Morning" with horns, "Wigwam" without the horns, "Sign on the Window" with orchestra! -- my favorite tunes on the new collection are the ones like "Railroad Bill," that I'd never heard Dylan do before. There are a few, such as "Annie's Going to Sing Her Song" (written by folkie Tom Paxton) and a folk song called "Pretty Saro" that can only be described as gorgeous.

For sheer fun, it would be hard to beat the bluesy "Working on a Guru," featuring George Harrison on guitar, from the New Morning sessions. And for the pure mystery of folk music, Dylan, backed by Bromberg's guitar and pianist Al Kooper, sings a song called "Tattle O'Day," full of nonsense lyrics of animals with fantastic powers.

While I prefer the familiar versions of the Self Portrait songs to the versions on the new "bootleg" collection, there are exceptions. Both "Copper Kettle" and "Belle Isle" are stripped of their over-dubbed sweetening strings, leaving performances that only seem more passionate.

If nothing else, Another Self Portrait is forcing a second look of the original Self Portrait. Maybe it wasn't as big of a revelation as Highway 61 Revisited or Blonde on Blonde. But in its own strange way, it had its own revelatory power.

Some video for yas:

Dylan's "Alberta"s are cooler, but Pernell's is the first version I heard.

Tuesday, September 03, 2013

Turner-Terrell Tango This Saturday at Jean Cocteau Cinema

Geniuses at work
Photo by Ronn Spencer

I'm very honored that my pal Gregg Turner and I have been asked to be the first musical entertainers to perform at George R.R. Martin's newly re-opened Jean Cocteau Cinema. This Turner/Terrell Tango will take place 9 p.m. this Saturday night, Sept. 7.

Tickets are $5 (cheap).

Turner, a mild-mannered math professor by day, is best known for being a former member of the Southern California punk rock band The Angry Samoans. His latest album is simply called Gregg Turner Plays the Hits. 

I'm probably best known as a newspaper reporter, though in a former life I had delusions of being a musician and actually released two albums -- Picnic Time for Potatoheads and Pandemonium Jukebox -- on the dynamic Blue Elf label.

Hope to see you Saturday.

Here's a little preview of the music:

Sunday, September 01, 2013


Terrell's Sound World Facebook BannerSunday, Sept. 1, 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
Murky Waters by Big John Bates
Some Other Guy by The Hentchmen
Astral Plane by The Malarians
Mo Hair by Hickoids
Eviler by The Grannies
La Carta by Los Mustangs
Waiting for the Next Check by The Terrorists
Big Ass on Fire by The Pocket FishRmen
Thrift Baby by J.J. & The Real Jerks
Jump and Shout by The Dirtbombs

You Better Run by Iggy & The Stooges
Devil Again by Thee Oh Sees
Oscar Levant by Barrance Whitfield & The Savages
A Different Kind of Ugly by Sons of Hercules
Nice Guys Finish Last by The Electric Mess
The Train by Big John Hamilton
Shout by Question Mark & The Mysterians

Puzzlin' Evidence by Talking Heads
Hang Up by The Cramps
Nancy Sinatra by Johnny Dowd
Lightning's Girl by Nancy Sinatra
Sick Bed by The Voluptuous Horror of Karen Black
Pretty Girl Snatcher by Lovestruck
Switched to Drinkin' Gin by Mojo Juju
See It on Your Side by Dinosaur Jr.

Starry Eyes by Gregg Turner
Little War Child by The Oblivians 
She Done Him Right (Mae West Sutra) by Pietra Wexstun & Hecate's Angels
Don't Taser Me Bro by Carbon Silicon
When I Rise in the Morning byThe Drinkard Singers
All the Way by Richard Hell & The Voidoids 
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Sunday, June 9, 2024 KSFR, Santa Fe, NM, 101.1 FM  Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell Email...