Sunday, June 30, 2019 KSFR, Santa Fe, NM Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org
Here's my playlist :
Dirty Swerve by The Reverend Peyton's Big Damn Band
Science Fiction Double Feature by Joan Jet\
Thick Skin by The Mystery Lights
Car by REQD
Can't Slow Down by Alien Space Kitchen
69 by The Four
Green Manalishi by Fire Bad!
Medicine Man by The Fleshtones
Four Winds by Dave Bartholomew
I Got You Babe by The Cynics
Laugh at Me by Devil Dogs
Fourth of July by X
I Had a Dream by Charlie Pickett
Glad Rag Ball by Daddy Long Legs
Crawl by Eilen Jewell
Brimful of Asha by Cornershop
I Miss My Boyfriend by Folk Uke with Shooter Jennings
True Romance by Lucy & The Rats
The Captain's Dead by Paddy & The Rats
World War III by The Rats
I Smell a Rat by Big Mama Thornton
(You like rat songs? CLICK HERE)
Don't Fall Down by 13th Floor Elevators
Something's Missing Inside by CTMF
Not For Me by Miriam
My Key Don't Fit by Dr. John & Ronnie Barron
One Night of Sin by Simon Stokes
Odor in the Court by Doodoo Wah
House Amid the Thickets by The Flesh Eaters
Love Prisoner by Lee Fields & The Expressions
Watching Over Me by Cynthia Becker& The Edge
Dreaming My Dreams by Waylon Jennings
Diamond in Your Mind by Solomon Burke CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
Want to keep the party going after I sign off at midnight? Go to The Big Enchilada Podcast which has hours and hours of music like this And there's a brand new wpisode waiting for you.
Order in the court! The jury is in and The Big Enchilada has been judged the greatest rock 'n' roll podcast in the Universe -- at least by the jury in my mind. This episode -- which includes a wild tribute to the late Roky Erickson -- will show you why.
And remember, The Big Enchilada is officially listed in the iTunes store. So go subscribe, if you haven't already (and gimme a good rating and review if you're so inclined.) Thanks.
The song "Wild Thing" is an authentic garage-rock classic. Written by Chip Taylor and originally recorded in 1965 by a New York Band band called The Wild Ones, it didn't become a hit until the next year when a primitive British group called The Troggs beat it back into the Stone Age.
I guess that made it ripe for parody.
In 1967 comedian Bill Minkin channeled the voices of two U.S. senators -- Robert F. Kennedy and Senate Republican Leader Everette McKinley Dirksen (who, in real life had a pretty gallant Top 40 hit of his own in 1966) and recorded a double shot of "Wild Thing" for Parkway Records -- one side credited to "Senator Bobby," the other to "Senator Everett McKinley."
First the version by "Senator Everett"
The flip side by "Senator Bobby."
The two political giants teamed up in the spirit of "quite rightly" bi-partisan cooperation on this Donovan hit of the day.
And on the flip side of "Mellow Yellow" was another Bobby, someone called "Bobby the Poet." This is a send up not only of Bob Dylan, Bing Crosby and Irving Berlin, but also of Simon & Garfunkel's "7 o'Clock News/Silent Night." I think they were all smoking bananas.
Sunday, June 23, 2019 KSFR, Santa Fe, NM Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org
Here's my playlist:
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Surfin' Bird by Nobunny
Wild America by Iggy Pop
Filipino Box Spring Hog by Tom Waits
Woman Alone by Nots
Inside Looking Out by Eric Burdon & The Animals
Roll Me by Left Lane Cruiser
Stop it Baby by Roy Loney & The A-Bones
Shh Shh Shh by Boss Hog
Pink Lemonade by Daddy Long Legs
Time 2 Be Bad by Jon Spencer
Come Back Lord by Reverend Beat-Man & Izobel Garcia
Get On Board by Dead Moon
Deeper Way by The Jackets
You;ve Got Good Taste by The Cramps
Wasn't That Good by Wynonie Harris
Ghost Waves by The Vagoos
Dave Bartholomew
The Dead Don't Die by Sturgill Simpson
Country Girl / Shrimp and Gumbo / Can't Take No More by Dave Bartholomew
Indian Red by The Wild Tchoupitulas
Just Because by Joe Barry
I'm Clean by Shinyribs
Revolution by Dr. John
I'm Gonna Be a Wheel Someday by Fats Domino
Let's Get It On by Alien Space Kitchen
A Hard Rain's A Gonna Fall by Bob Dylan
Leave Me Along by Esquerita
You Flopped When You Got Me Alone by June Carter
Nothing Lasts Forever by The Kinks with Marianne Price
Marie by Leon Redbone
For You by Roky Erickson & Okkervil River CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
A version of this was published in The Santa Fe New Mexican June 21, 2018 Queen of the Pill(Voodoo Rhythm), the new album by The Jackets, is good, strong, punked-up variations of that wonderful 1960s sound of teenage Americans trying to imitate British bands imitating African-American blues and soul. It’s raw and rowdy and full of fuzz and fury.
Singer Jackie Brutsche’s voice ranges from Weimar Republic diva to riot grrrl screamer. It’s such an important ingredient of The Jackets’ sound that sometimes a listener will forget that it’s her guitar — mostly thunderous, but sometimes sweet and slinky — that’s also driving the songs.
Standouts here include the frantic “Loser’s Lullaby”; “Steam Queen,” featuring some nasty blues licks from Brutsche’s guitar just under the fuzz; and “What About You,” with lyrics by drummer Chris Rosales, who also does his most ferocious drumming on this one.
But best of all is the slow-burning, mysterioso “Floating Alice,” which sounds like it sprang from a mutant exotica record by Esquivel! on a mescal and mushroom binge, perhaps. The lyrics deal with a lady astronaut helplessly floating off into outer space away from her lover. “The stars shine so bright as I’m getting lost / Slowly fading away, at any cost …” Also recommended:
*3by Nots (Goner Records). This is an all-woman punk, or maybe post-punk — or maybe, who cares about such distinctions? — band from Memphis that I discovered back in 2016 with their second album Cosmetic.
At the time, I described the record as the most urgent-sounding music I’d heard in a long time. Their new album is not such a big surprise to me as the previous one. But the sound is no less urgent.
There are some notable changes since their last album. For instance, there are no seven-minute rock odysseys here. No track even reaches four minutes, which probably is a good thing.
More significant is the loss of Nots’ keyboard player, Alexandra Eastburn, who provided Pere Ubu-like synth bloops and bleeps. Instead, singer Natalie Hoffmann fills in on keyboards on several songs, providing enough psychedelic embellishments to remain true to their sound.
As was the case with Cosmetic, it’s not easy to follow the lyrics. But you can tell Hoffmann is upset about something on basically every song. Her singing is more like desperate chanting. The song titles alone — “Woman Alone,” “Surveillance Veil,” and “Far-Reaching Shadows” — paint a bleak, maybe paranoid picture, which is reinforced by the music.
And I can’t help but wonder if Nots’ “Floating Hand” belongs to The Jackets’ “Floating Alice.”
* Meetings with giants, now deceased
Roky Erickson in the Iron Works BBQ parking lot
1995
Three musicians whose music I’ve long loved have died in recent weeks: postmodern vaudeville crooner Leon Redbone; psychedelic wailer Roky Erickson; and New Orleans voodoo rocker Mac Rebennack, aka Dr. John.
They were three very different musicians, but one thing they had in common was that I met them all, exactly once.
I interviewed Redbone in July 1981 when I was freelancing for the Santa Fe Reporter, and he was playing the late lamented Golden Inn.
Ever since his first album in the mid-’70s, Redbone was notorious for refusing to give his real age or place of birth. So naturally, that was one of the first things I asked him about. “Oh no, I’ve always answered questions,” he told me, politely adding that he was 41 years old and from Shreveport, Louisiana. This was very early in my journalism career, and I just took him at his word and included that in my story.
Decades later, I learned that Redbone, whose real name was Dickran Gobalian, was born in 1949 on the island of Cyprus. Oh well, a lot of people have lied to me in interviews since, but none of them could sing “Shine on Harvest Moon” or “Champagne Charlie” like Leon did.
Two years later, I got to interview Dr. John at Club West in Santa Fe, also for the Reporter. I lived close to downtown then, so I walked to work that night. Just down the street from Club West, I passed The Forge, where saxophone great Eddie Harris was playing. I stood in the doorway to listen to a couple of his songs thinking, Dang! This is a hopping little town!
In our interview, Dr. John talked a lot about his hometown hoodoo. Voodoo in New Orleans, he said, “is more like the Masons than religion. To me, it was more like a fraternal brotherhood thing. Also, it worked for me like therapy. I never got into it full swing. If I had stuck with it, I would have become a different type of person to deal with than I am now.”
Rollins and Roky
I never actually interviewed Erickson, but I met him in Austin in 1995, the first time I went to South by Southwest. He was supposed to do a book signing at a downtown BBQ joint, having just published a book for Henry Rollins’ publishing company. As I approached the restaurant, a bearded, disheveled guy who looked like a cross between a saint and a wino walked out the door. It was him!
I introduced myself.
“Hey Roky, my name is Steve ...”
“I know.”
“I’m from Santa Fe ...”
“I know,” he said, shaking my hand. “You have any cigarettes?”
I didn’t but he still was friendly and chatty — and started bumming cigarettes from passersby as we talked in the parking lot. I learned that he had bolted the book signing after he started feeling claustrophobic inside. A few minutes later, a frustrated Rollins emerged from Ironworks BBQ, trying to coax Roky back inside. “You want me to get your iced tea, Roky?” he asked.
Finally, he got Roky to agree to get into a car and sign books there. Including one that I bought.
Roky walked with the zombie. Dr. John walked on golden splinters. And Leon never walked without his walking stick. I’ve walked with some giants, if only briefly. Rest in peace, Leon, Mac, and Roky.
With his long nightshirts and low-hanging pant, belted around the knees, his funny hat, his deadpan face -- and a truly dangerous banjo -- David Akeman, who most people knew as "Stringbean," was a comic star of the Grand Ol' Opry from the '50s through the early 70s. And he was part of the original cast of Hee Haw, which introduced him to a new generation of hillbilly music.
He was born June 17 in 1915, though I've also seen reports that say he was born in 194 or 1916. Whatever is true, he'd be well over 100 if he were still alive.
But he's not.
Following a performance at the Opry on Nov. 10, 1973, Akeman and his wife Estelle were shot and killed killed at their cabin in Goodlettsville, Tenn. near Nashville by a couple of burglars looking for a big stash of money they -- wrongly -- thought was there.
But I don't want to dwell on his murder, which has been well-covered elsewhere. This is Wacky Wednesday, so let's remember his music and the laffs he gave us.
Here's an early TV appearance with none other than Earl Scruggs on second banjo.
Sunday, June 16, 2019 KSFR, Santa Fe, NM Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org
Here's my playlist :
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Be Gone by Daddy Long Legs
Dropout Boogie by Captain Beefheart
Built Environment by Nots
Hit it and Quit it by Ty Segall
Dreamer by The Jackets
Space Brother by Alien Space Kitchen
Pretty Good for a Girl by Pussycat & The Dirty Johnsons
Two Headed Demon by Urban Jr.
Night of the Living Dead by Sickkidz
Sing it Right by Shinyribs
Voodoo Stomp by The Saucer Men
Te ta Te Ta Ta by Ernie K. Doe
Toe Up from the Flo Up by Ronnie Dawson
All I Wanna Do by The War & Treaty
Watching the News Gives Me the Blues by The Mystery Lights
Isis by Bob Dylan
Around the World in a Daze\
American Wedding by Gogol Bordello
Hold My Hips by Dengue Fever
In My Dreams by Prince Alla
Im Nin'alu by Ofra Haza
Sono Meu by Maria Bethania & Gal Costa
The Bunker by Beirut
Wait for Me by Roger Damawuzan
Lonely Dying Love by Houndog
Good Stuff by Bobby Rush Mack the Knife by Dr. John
I Walk on Gilded Splinters by Jello Biafra & The Raunch 'n' Roll All-Stars
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
One year ago this week I did my last Santa Fe Opry, the hillbilly music show I did for KSFR, Santa Fe Public Radio, for more than 20 years.
Here is the first hour of that show, featuring some of my favorite songs I played on it over the years, including a couple of live performances from musical guests. My friend Scott Gullet was there with me.
If I ever find the second hour, I'll post it here also.
It was last week's death of a man named Mac -- Mac Rebennack, aka Dr. John, that got me thinking of this wonderful song. It probably was the first song about a serial killer to become a huge American pop hit: "Mack the Knife." The Night Tripper recorded it on his last album released while he was still alive, Ske-Dat-De-Dat ... The Spirit of Satch (2014).
But no, even though Louis Armstong did one of the best versions of the song, "Mack the Knife" did not originate in some Storyville cat house where jazzbos picked it up, It came from Germany
According to an article by Laurence Senelick on the Boston Lyric Opera website, Die Dreigroschen Oper (The Threepenny Opera) "was a rethinking of The Beggar’s Opera, a 1728 English satire of Italian opera by the poet John Gay. Elisabeth Hauptmann had translated the work, thinking it appropriate to a Germany roiled by post-war economic depression, conspicuous depravity and political turbulence. The left-wing poet Bertolt Brecht gave it a make-over, setting it in a mythical Victorian London, and providing his own sardonic lyrics. The jazz-flavored music was by [singer/actress Lotte] Lenya’s husband, the distinguished composer Kurt Weill."
And the brightest penny from The Threepenny Opera was "Die Moritat von Mackie Messer" better known as "Mack the Knife." Says Senelick:
Macheath is a womanizing highwayman, a rollicking, amoral rogue. Brecht’s Mackie Messer is rather more ruthless, archetypal of the modern capitalist. Paulsen had devised his own foppish costume: spats, a sword-stick, a light-colored derby and a sky-blue butterfly tie that matched his eyes. Shortly before the show was to open, he demanded an entrance song that would announce his character. Brecht decided to compose one that would counteract the dandy image, and so penned . A Moritat is a murder ballad—from the Latin, mori, of death, and the German tat, deed, especially dastardly deed. A Moritat was traditionally intoned by street singers and illustrated by lurid pictures on a pole or easel. In Brecht’s verse, Mackie is not directly accused of the song’s list of crimes, as if the street singer feared the consequences; they are imputed to him. Three Pernny Opera premiered in Berlin in 1928 at the Theater am Schiffbauerdamm. A movie was made by G.W. Pabst in 1931. And when the Nazis came to power in 1933, they banned it.. Brecht, Weill and Lenya fled the country and ended up in the US.
Here's a German version of "Mack" sung by Brecht himself.
And here's Lotte Lenya singing lyrics translated by Marc Blitzstein. She starred as "Pirate Jenny" the pickpocket in both the original 1928 German production, the 1931 German movie and the 1954 Broadway version.
It didn’t take long for “The Ballad of Mack the Knife” to become a jazz and pop standard. Louis Armstrong recorded an upbeat version on September 28, 1955. Since Lenya was in the studio during the session, he added her name to the list of the killer's victims.
Here's a live video from the TV variety show Hollywood Palace in 1965
Bobby Darin recorded probably the best known and most popular version in December 1958. Here he is 12 years later on The Andy Williams Show.
Folk giant Dave Van Ronk did an pretty, somewhat spooky, acoustic version in the 1990s. He must have been a Three Penny Opera fan. When I saw him in the early 80s, he played "Alabama Song," (better known as "Whiskey Bar," which is what The Doors called it.)
Van Ronk includes a verse similar to the little-used final verse (also used by Mark Lanegan, which is based on Van Ronk's interpretation):
Some are children of the darkness Some are children of the sun You can see the sons of daylight Sons of dark are seen by none
Fast forward to the early part of this century and Polish rocker Kazik Staszewski brought Mack and company back to Europe. And yes, under the catchy title "Straszna Pieśń O Mackiem Majchrze," ("A Terrible Song About Mack Maikara"). he made it rock! This is from his Kurt Weil tribute album
And yes, the late, great Dr. John funked it up on his version featuring jazz trumpeter Terrence Blanchard and rapper Mike Ladd.
Sunday, June 9, 2019 KSFR, Santa Fe, NM Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org
Here's my playlist :
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Snagglepuss by Daddy Long Legs
Collection of Regrets by Weird Omen
I'm So Tired (of Living in the City) by The Mystery Lights
I'm a Man by Ty Segall
Boppin' the Blues by Carl Perkins
Give Punk a Chance by Alien Space Kitchen
Journey to the Center of the Mind by Amboy Dukes
She's My Witch by Fire Bad!
Poor and Broke by Trixie & The Trainwrecks
The Patriot by Unknown Instructors
Saying Nothing by Imperial Wax
The Hippies Killed the Polka Stars by The Polkaholics
Explosion by April March & The Makers
My Guitar Wants to Kill Your Mama by Frank Zappa
Steam Queen by The Jackets
Break You Down by Left Lane Cruiser
Creature With the Atom Brain by Quintron & Miss Pussycat
Hog of the Forsaken by Micheal Hurley
Dr. John Celebration
(All songs by Dr. John except where noted)
Gris-Gris Gumbo Ya-Ya
Junko Partner
Locked Down
Morgus the Magnificent by Morgus & The 3 Ghouls
Right Place, Wrong Time
Such a Night by Dr. John & The Band
A version of this was published in The Santa Fe New Mexican June 7, 2018
Here is a bunch of crazy rock ’n’ roll records that have been delighting me in recent weeks.
* Polka High by The Polkaholics(self-released). From the land of “Beer, Broads and Brats” (the title of one of their early songs) come this hopped-up, electric “Look Ma, no accordion” polka trio for their first full-length album in a whole decade. This group, led by guitarist, singer, and songwriter “Dandy” Don Hedecker, has a reputation as one of Chicago’s greatest party bands, describing their own sound as “oom pah pow.”
Severe polka purists — I don’t actually know any of these, but I suppose they’re out there — probably hate how The Polkaholics have mutated the genre. And I suppose some serious — or at least self-serious — rockers may dismiss the group (which, in early songs, declared themselves “Polka Enemy Number One” and “The Pimps of Polka” as a novelty act). But who gives a flying darn? Their music is outright infectious. If this be novelty, let us make the most of it.
There isn’t a track on Polka High that doesn’t leave me smiling. But some make me grin wider than others. The boozy, woozy waltz called “My Beer Was Talking to You” is one, as is “Space,” in which the group fantasizes about bringing polka to the final frontier. And the opening track, “Blue Haired Lady,” is a rousing ode to the dream girl of all aging polka lovers.
But best of all is “The Hippies Killed the Polka Stars,” which probably has roots in that old MTV-era song by The Buggles. It’s about how ’60s rock ’n’ roll destroyed polka (“with their long hair and loud guitars”). However, at least in this song, polka is back and those “dirty rotten hippies must pay.” At one point the song becomes a weird battle-of-the-bands of sorts with The Polkaholics alternating between playing some happy polka snippets with familiar old riffs from familiar old rock songs (“In-a-Gadda da Vida” being one of them!), which the “audience” boos.
Yes, most of these are pretty silly. But there’s a serious message here: Don’t discount fun music just because it’s based on something your grandparents thought was fun. Heed these words, my children — and learn to love the polka.
* Unwilling to Explain byUnknown Instructors (Org Music). This band basically is an ’80s indie-rock super group with bassist Mike Watt, formerly of Minutemen and Firehose (and drummer George Hurley of those two bands) along with Dinosaur Jr.’s J. Mascis on guitar and poet Dan McGuire on spoken-word vocals.
It’s a coast-to-coast production with Watt and Hurley recording their parts in their hometown of San Pedro, California, and Mascis adding guitar from a studio in Amherst, Massachusetts, with McGuire doing his parts from Toledo, Ohio. According to a blog post from Watt, McGuire asked Watt to write nine tunes for Hurley and him “to accompany his spiels.” This, he said, is a big difference between the three previous albums, on which, Watt said, the songs were all improvised.
Nevertheless, the music here has a loose, improvisational feel, with McGuire sounding like a coffeehouse beatnik backed by crazy funk-fusion noise.
The Instructors sound most ominous in the slow, intense “Election Day in Satchidananda,” featuring McGuire growling about “piles of corpses” and “the rifle crack at midnight.” The title perhaps is an homage to Alice Coltrane’s classic 1971 avant jazz album with Pharoah Sanders, Journey in Satchidananda. No, it doesn’t sound much like Alice and Pharoah (no harp, sax, or tamboura to start with), but it’s every bit as otherworldly in its own peculiar way.
* Fudge Sandwich by Ty Segall (In the Red Records). This isn’t the first covers album the ever-prolific young Mr. Segall has released. He did one a few years ago called Ty Rex, which consisted of his versions of songs by Marc Bolan and T Rex. That one was dandy, but I like this new one (released late last year) even better. Here, Ty covers songs originally performed by a wide variety of artists from Funkadelic to Neil Young, from L.A. punk rockers The Dils to The Grateful Dead.
You know the album’s going to be wild when it starts off with a take on War’s “Low Rider.” It sounds a lot like some nightmarish song by The Residents, except that Segall’s vocals could almost be Tom Waits auditioning for some doom-metal band.
He’s more faithful to the original version of The Spencer Davis Group’s “I’m a Man” (not to be confused with the Bo Diddley song of the same title) and to John Lennon’s “Isolation,” one of the most harrowing cuts on his album Plastic Ono Band.
His fuzzed-out guitar solo on the stripped-down rendition of Funkadelic’s “Hit It and Quit It” might confound George Clinton devotees. But I do believe that Eddie Haze, Funkadelic’s late original guitarist, would understand and appreciate.
While he’s best known for these guitar ragers, Segall displays his softer acoustical side on a couple of Fudge Sandwich songs, most notably an obscure punk song, The Dils’ “Class War” (which starts off quietly but builds up steam) and a tune called “Pretty Miss Titty,” by proto-prog-punk band Gong. (Segal’s version isn’t all that different from the original.)
At the moment, my favorite Fudge Sandwich song is “Archangel Thunderbird,” originally by Amon Düül II, who, according to AllMusic, was named for a “German art commune whose members began producing improvisational psychedelic rock music during the late ’60s.” I haven’t listened to them much before (I’m amazingly deficient in my knowledge of German art commune rock) but Segall’s tough minimalistic blast — with just a trace of “Louie Louie” — makes me want to learn more about them.
Seventy two years ago today a girl named Laurie Anderson was born in Glen Ellyn, Illinois. She grew up to be an artist -- a master of all kinds of art -- music, visual, film, performance artist, spoken-word artist, multi-media artist ... and though she never claimed to be a comic, and isn't in the traditional sense, her wry and twisted humor is an important part of her work.
I'm pretty sure the first time I ever heard Laurie Anderson was in the early '80s on Dr. Demento's show. She didn't really fit in with most of the doc's material -- Weird Al, "Dead Puppies," Shaving Cream" etc. (Though I bet she'd appreciate Barnes & Barnes' Demento hit "Fish Heads,") But Demento apparently got a kick out of "O Superman" and the show won her a lot of fans -- like me.
Here's the song that first made us all fall in love with Laurie.
That song appeared on her first album, Big Science in 1982. Then in 1984 she released next record, Mister Heartbreak, which came up like a big bald head. I still believe this was the greatest album of the '80s. It opened with this song ...
In 1986 Laurie released a concert film called Home of the Brave, which, I thought was even better than The Taking Heads' Stop Making Sense, which came out a couple of years before. This song, full of joyful craziness, was one of the highlights:
This quickie appeared on Laurie's 4-record box set United States Live.
By the mid 90s, Laurie became romantically involved with Lou Reed. (They married in 2008) Lou dedicated his 1996 album Set the Twilight Reeling to Laurie and I always thought that this song, my favorite from that album was about her. I could imagine Laurie being surrounded by ex-lovers who just wanted to be around her -- and Lou fantasizing about throwing them off the roof.
Finally here's a PSA (personal service announcement) by the birthday girl. She actually did several of these, which reportedly ran on VH-1 in the early '90s.
Sunday, June 2, 2019 KSFR, Santa Fe, NM Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org
Here's my playlist :
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
The Art of Projection by Imperial Wax
Monkey David Wine by Scott H. Biram & Jesse Dayton
Rational Actor by Nots
Jj by Priests
Enrique El Cobradore by Thee Oh Sees
Pineapple Mama by King Salami & The Cumberland 3
Persimmon Pie by Roosevelt Sykes
Dreamer by The Jackets
Pinstripe Willie by The Oblivians
Necrophilia Twist by Fire Bad
Speed Freak by The Stomachmouths
Smoke Keep Rising by Left Lane Cruiser
Lonely by Lonesome Shack
I'm Gonna Leave You by Barrence Whitfield & The Savages
I Just Dropped In to See What Condition My Condition Was In by Mojo Nixon
Lucille by The Beat Farmers RIP ROKY ERICKSON (All songs by Roky except where noted)
Goodbye Sweet Dreams (with Okkervil River)
Don't Shake Me Lucifer (with The Aliens)
Slip Inside This House by 13th Floor Elevators
I Met Roky Erickson by Jad Fair & Daniel Johnston
Don't Slander Me by Lou Ann Barton
Please Judge
Angel Baby
Bo Diddley's a Headhunter (with The Nervebreakers)
I Have Always Been Here Before by The Hickoids
Bloody Hammer (with The Aliens)
Hot Cars by The Angry Samoans
White Faces by The Blood-Drained Cows
Starry Eyes
Rocky by Butthole Surfers
You're Gonna Miss Me by by 13th Floor Elevators
