Sunday, September 29, 2019


Sunday, September 29, 2019
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Along Came Jones by The Coasters
Glad Rag Ball by Daddy Long Legs
Who Controls the Weather by Alien Space Kitchen

Alien Space Kitchen interview
One More Time by The Dildonts
Let it Come Down by Alien Space Kitchen
I Won't by The Replacements
Barely Getting By by Imperial Wax
60 Minute Man by Jerry Lee Lewis
This Year's Girl by Elvis Costello
Two Dollar Elvis by Left Lane Cruiser
The Coffee Song by Stan Ridgway

Hard Times by Jimmy "Duck"Holmes
Snake Farm by Ray Wylie Hubbard
Thee Olde Trip to Jerusalem by The Mekons
Child of Mercy by The Yawpers
No Blame by Sex Hogs 2
Automatic by Los Pepes
Risking My Heart by Råttanson
Schoolbus by The Toy Trucks
The Beast is You by The Electric Mess
A Lonely Song by Daniel Johnston

Facestabber by Thee Oh Sees
Thick Skin by The Mystery Lights
Love by Sleater-Kinney
Silver Spring by Fleetwood Mac
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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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.

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Thursday, September 26, 2019

TERRELL'S TUNE-UP: Intense Deliberation and Heavy Sadness

A version of this was published in The Santa Fe New Mexican 
September 27, 2019

Faithful readers of my music screeds should certainly realize that probably 99 percent of my record reviews are favorable. Ripping into bad music by chirpy little pop stars or stinky old classic rockers years beyond their prime doesn’t bring me much joy. But more importantly, I’d much rather tell people about great music they might not be familiar with.

But there’s one big exception. That’s when some singer or band who I absolutely love releases a record that disappoints me — music that’s so unworthy of musicians who are capable of so much more. That’s when I dip my proverbial pen into the metaphorical poison ink.

You only hurt the ones you love.

So after intense deliberation and heavy sadness, I have decided to blast The Center Won’t Hold, the new album by one of my top favorite bands of the past couple of decades, Sleater-Kinney.

In case the above verbiage seems somewhat familiar to fans of this group, that’s because I was riffing on the announcement in July by longtime Sleater-Kinney drummer Janet Weiss that she was leaving the trio. “The band is heading in a new direction and it is time for me to move on,” she wrote on social media soon after S-K had finished recording The Center Won’t Hold.

A “new direction.” That’s an understatement for the ages.

Quick historical note: Sleater-Kinney first rose from the smoldering ashes of the great Riot Grrrl scare in Olympia, Washington, in the early 1990s. But there was something special about them. It didn’t take long for S-K to slip the surly bonds of the basic girl-punk sound.

Besides Weiss’ mighty drums, there was the scorching two-guitar attack of Corin Tucker and Carrie Brownstein (also of Portlandia fame). There was Tucker’s hopped-up banshee wail (the group’s greatest weapon). And they only seemed to get better with every new album.

One of the best shows I've ever seen ...
They took a hiatus that lasted a decade or so shortly after releasing their 2005 album The Woods. I missed them dearly in their absence but their 2015 comeback album, No Cities to Love, was nothing short of amazing. (And their concert in Albuquerque in the spring of that year was one of the best shows I’ve ever seen.)

That’s one of the main things that saddens me so about the gloopy mess that is this latest record.

For reasons best known to Corin, Carrie, and Janet (if indeed the latter was part of this decision), they called in Annie Clark, better known among indie-rock circles (whatever that means these days) as St. Vincent. A lot of people, including many whose musical tastes I respect (my own beloved children among them), like her music. But I find it overly precious and boring and much of it soaked in synthy uselessness.

That’s fine. St. Annie can do what she wants. I just wish she hadn’t brought those dubious qualities to Sleater-Kinney’s new album. (Some may call me a stodgy old dinosaur, but I don’t give a flying darn.)

The dearly departed Weiss does play on the new album, but her normal power is diluted severely by synthesized beats. Also, the wild guitars of Tucker and Brownstein take a backseat to the electronic gizmos.

Seriously, had you played me this album without telling me who it was, I would not have guessed it was Sleater-Kinney.

The title song, which starts the album, is cruelly deceptive. It starts out slowly with clanking percussion and a synthesized bass line. The vocals — I think it’s Tucker — seem detached to the rest of the musical backdrop. Then about two-thirds of the way into the song, the old Sleater-Kinney seems to come back to life for the final minute of the track.

But it’s just a tease. By the next number, “Hurry on Home,” the new, artsy, synth-pop S-K is back and, for the most part, here to stay.

I have to admit there are a couple of tunes I actually like. “Bad Dance” comes dangerously close to rock ‘n’ roll. “And if the world is ending now/then let’s dance, the bad dance/we’ve been rehearsing our whole lives,” Brownstein sings. It’s definitely the sexiest song on the album. “Come over here and show me/that you crave a little more/Let me defang you/and defile you on the floor …”

And despite the fact that it’s just as synthy as the worst songs on the album and doesn’t really sound like the Sleater-Kinney I revere, the upbeat “Love” is so catchy it’s addictive. It sounds almost faux-’80s New Wave, maybe The Go-Gos high on pep pills and hair spray. And, somewhat ironically, it’s about S-K’s early history, even dropping the names of some of their early albums.

“Heard you in my headphones/Slipped you my address/Call the doctor/Dig me out of this mess/Tuned it down to C/Turned the amp to ten/A basement of our own/A mission to begin ...”

I’m glad the brave women of Sleater-Kinney no longer have to sleep in their van, as they sing about in “Love.” But I sure hope they turn the amp back to 10 and return to the basic sound that brought us to them in the first place.

Video time:

Here's the best song from this sub-par album

And here's a live video of "Step Aside" from 2006

Come back, Sleater-Kinney!

THROWBACK THURSDAY: The Rippin'est, Roarin'est, Fightin'est Man the Frontier Ever Knew

It was 199 years go today, Sept. 26, 1820, that Daniel Boone died.

No, he didn't die blazing a trail through unexplored territory or killed in battle by Indians pissed off about him blazing trails through their land or mauled to death by a mother raccoon who though his hat was her baby.

He died at his son's home in in Missouri at the age of 85.

Here's some basic info from

Daniel Boone was a hunter, fur trapper and trailblazing American frontiersman whose name is synonymous with the exploration and settlement of Kentucky. Crossing the Appalachian Mountains and traveling through the Cumberland Gap, Boone helped carve the Wilderness Road from Virginia to Kentucky and established the Boonesboro settlement. He fought in the French and Indian War and escaped the wrath of Native Americans many times over. 

And I like this little tidbit: "At the age of 78, Boone volunteered for the War of 1812 but was denied admission into the armed forces."

The whole "living legend" concept has been overdone and cheapened during the past few decades, but if anyone actually qualified for title, Daniel Boone was it. This was largely due to a writer named John Filson, who mythologized his days as a frontiersman.

And yes, there have been songs about him.

Here's one I bet every kid who grew up in the (19)60s will recognize, the theme song of the television show about him that starred America's favorite coonskin hat model Fess Parker, (who in the previous decade starred in and sang the theme song for the Davy Crockett tv show.

Singer Ken Carson released this strange ditty on 78 in 1955

And also in the mid '50s, country singer George Hamilton IV did this nifty tribute

Sunday, September 22, 2019


Sunday, September 22, 2019
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Hulkster's in House by Hulk Hogan
Timothy by The Buoys
World of Freaks by Harry Perry
I Sing Them by Ty Segall
Face Stabber by Thee Oh Sees
Judy in Disguise with Glasses by Jello Biafra & The Raunch 'n' Soul All-Stars
Choctaw Bingo by James McMurtry

Mr. Jones by Talking Heads
Interstate City by Dave Alvin
American Wedding by Gogol Bordello
Turncoat by Imperial Wax
Drunk Guy on the Train by Deadbolt

Kazik Staszewski set

Clap Hands
12 Groszy
In the Neighborhood
Innocent When You Dream (Polish Space Druid Mix)

Trouble in Mind by Jimmie Dale Gilmore with Pine Valley Cosmonauts
Angels Fear to Tread by Ed Pettersen
A. on Horseback by Charlie Pickett
Ley it Come Down by Alien Space Kitchen
79 Cents (The Meow Song) by Eilen Jewell
Robots of Rayleen by Xoe Fitzgerald
I'll Fly Away by Alison Krauss & Gillian Welch
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Like the Terrell's Sound World Facebook page

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.

Subscribe to The Big Enchilada Podcast CLICK HERE

Wednesday, September 18, 2019

WACKY WEDNESDAY: A Musical Celebration of Liechtenstein

Twenty nine years ago today, the great nation of Liechtenstein -- a knee-high-to-a-grasshopper landlocked country bordered by Switzerland and Austria -- joined the United Nations.

This calls for celebration!

Let's start with the dwarf nation's national anthem. This tune sounds hauntingly familiar. I think I know some of the lyrics: "The king is Donald Duck / He drives a garbage truck ..."

Polka is very popular in  Liechtenstein

Searching YouTube for  "Liechtenstein music," I found this, Let's call it Liechtenpalooza!

According to Wikipedia, which is always right, one of Liechtenstein's major stars is Al Walser, who was born in Switzerland and now lives in L.A. Al was nominated for a Grammy a few years ago and apparently showed up to the awards ceremony in a spacesuit. (This song doesn't actually start until about 3 minutes in.

Apparently even the ruling elites of Liechtenstein are musicians. Meet The Lords of Liechtenstein.

Sunday, September 15, 2019


Sunday, September 15, 2019
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Ramblin' Gamblin' Man by Bob Seeger
Someone Else is in Control by The Mystery Lights
Fire Bug by J.D. McPherson
The Joker is What They Call Me by Billy Myles
Let it Come Down by Alien Space Kitchen
Betty vs the NYPD by Jon Spencer Blues Explosion
Sucka Punch by DiNOLA
Want You Around by Råttanson
CBD by The Toy Trucks
Unaccompanied by Sleeve Cannon
Stole Away by REQD
Double Dirty Mother by Roosevelt Sykes

She's Wild by The Vagoos
Jenny Jenny by The Night Beats
Scarla by Jack Oblivian & The Dream Killers
Git Back in the Truck by Hickoids
Mother-in-Law by Ernie K-Doe
Daniel Johnson at The Electric Lounge
Austin, Tx, SXSW 1998

R.I.P. Daniel Johnston
(All songs by Daniel, except where noted)

Frankenstein Conquers the World by DJ and Jad Fair 
Like a Monkey in the Zoo
Psycho Nightmare
Speeding Motorcycle by Yo la Tengo
Scary Monsters by The Electric Ghosts
I am a Baby in My Universe by Kathy McCarty
Devil Town
You Hurt Me
I Save Cigarette Butts by P
King Kong by Tom Waits
Funeral Girl
True Love Will Find You in the End

Ain't Nobody Perfect by The Mighty Hannibal
It's Twilight Time by The Platters
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Like the Terrell's Sound World Facebook page

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.

Subscribe to The Big Enchilada Podcast CLICK HERE

Thursday, September 12, 2019

TERRELL'S TUNE-UP: What I Did on My Summer Vacation

A version of this was published in The Santa Fe New Mexican 
September 13, 2019

It was a leisurely Thursday morning in the French Quarter of New Orleans. I’d just finished my breakfast, a crawfish omelet, and had planted myself on a park bench in Jackson Square to catch up on some reading. I was enjoying the sidewalk jazz set up by Café Du Monde across Decatur Street from the park. The band was right in the middle of “(Won’t You Come Home) Bill Bailey” when all of a sudden they were drowned out by a loud, almost surreal calliope playing Scott Joplin’s “The Entertainer.”

This was the second day in a row that I heard mysterious calliope music filling the air on Decatur. I’d heard it the day before, some spooky-sounding tune I didn’t recognize, in the late afternoon upon leaving my hotel. I couldn’t figure out where it was coming from.

A local friend, who lives right across the Mississippi River at Algiers Point, later explained to me that it was coming from one of the riverboats parked nearby.

Depending on the calliope player, she said, it can actually sound great.

The Mother-in-Law Lounge
But that morning on Jackson Square, I just found it annoying as it interrupted a band I’d been digging on. So I decided to cross the park and walk around some. There, on the street facing St. Louis Cathedral, was another brass band, this one made up of younger guys, and they were even better than the group over by Café Du Monde. And by this time the calliope had subsided.

I wanted to give them a tip but had no small bills, so I went one street over to find a place to break a 20. And, lo and behold, there was yet another sidewalk band — this one with a guy playing a jazzy electric guitar along with the horn blowers and drummer — and they were nearly as good as the kids over by the cathedral.

Just another Thursday morning in August in New Orleans.

Man, I love this town! Great food, voodoo — and music is everywhere. Even the airport is named after Louis Armstrong. Music seems to permeate the streets.

Hoofing it from the French Quarter to Treme, for instance, traffic islands have little shrines featuring brightly colored murals of local music heroes. The walls on some businesses and even some houses feature musical murals.
Bruce Daigrepont and his crawfish squeeze box

My absolute favorite was Kermit’s Treme Mother-in-Law Lounge on Claiborne Avenue.

Part of the building features current owner and jazzman Kermit Ruffins playing his trumpet as well as beloved local weirdo rock group Quintron & Miss Pussycat. That’s right next to a larger mural featuring former owner, the late R&B star Ernie K-Doe, hyphen and all (his big hit was “Mother-in-Law” back in 1961) and his wife Antoinette in full royal-highness regalia.

The first night I was in town, I found a little bar on Bourbon Street called Tropical Isle’s Bayou Club, where an accordion-and-fiddle-driven group called The Cajun Drifters was playing. Led by singer Bruce Daigrepont, who plays a red accordion with a painted-on crawfish, they’ve got a good stompin’ sound that doesn’t drift far from traditional Cajun music.

I liked the Cajun Drifters so much I decided to go back to the Bayou Club my last night in town. Alas, they weren’t playing there the second time around, but another band, T’Canaille, was there.

Led by another singer/accordionist, Lance Caruso, this Cajun group also veers into “swamp pop” (basically R&B-infused Cajun music.)

Weeks after booking this trip, I was excited to learn that my Texas friends and cow-punk pioneers the Hickoids were playing NOLA while I was there. (Guitarist Tom Trusnovic is a Santa Fe boy.) They were at d.b.a., a club on Frenchmen Street, a district full of music clubs.

I’ve seen their show — always rocking, always hilarious, always filthy — a dozen times or more. But
this show was special. Only days before their New Orleans gig, while the band was touring Spain, head Jeff Smith, learned that his older brother Barry had died. Barry’s memorial service was the day before the gig.

So Jeff was the essence of “the show must go on.” It wasn’t easy, but he pulled it off with raunchy grace. (Here’s a little plug: The Hix just released a live album, All the World’s a Dressing Room on Saustex Media that’s a fine representation of their live show.)

Though the Hickoids isn’t a New Orleans band, their opening act, DiNOLA is. Fronted by singer Sue Ford (her husband Jimmy Ford is the drummer) DiNOLA has a hard-edged, sludgy sound has a pre-metal ’70s feel.

I was back on Frenchmen Street the next night to see Kevin Ruffins & The Barbecue Swingers at a club called Blue Nile.

Louis Armstrong’s gone, Professor Longhair’s gone, Allen Toussaint’s gone, Fats Domino’s gone, Dr. John’s gone … Now Kermit with his trumpet and raspy voice is arguably New Orleans’ greatest living showman.

Kermit invoked Armstrong on his snazzy version of “On the Sunny Side of the Street,” then did a fantastic version of the ever-goose-bump-inducing “St. James Infirmary” (his arrangement had more Cab Calloway than Satch) and made the classic “Jock-A-Mo (Iko Iko)” his own.

As the show progressed, Kermit shared the stage with some of his friends, the most memorable being Judy Hill, daughter of Jessie Hill, best known for his 1960 R&B hit “Ooh Poo Pah Doo.” (Unfortunately, Judy didn’t play that song that night.)

I didn’t learn this until later, but Kermit, now in his 50s, started out his career playing for tips with friends in Jackson Square.

That means that one of the young players I saw there could grow up to become the next Kermit Ruffins.

Now for some videos:

Here's the Cajun Drifters at the same place I saw them.

Ladies and gentlemen, the fabulous Hickoids

I'm glad DiNOLA didn't die when I was in New Orleans

And here's the mighty Kermit


I've been reading John Waters' latest book, Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder, which is, as are all things Waters, hilarious. But this Throwback Thursday was inspired by one particular chapter called "I've Got Rhythm," in which Waters expounds upon his wide-ranging musical tastes -- including hillbilly music."

A lot of people today claim country-western music ain't what it used to be, and I kind of agreed until I started listening to the Outlaw Country radio station  on Sirius in my car. God, there were so many beyond-cool hillbilly musical gems before and after Patsy Cline, Loretta Lynn, Hank Williams and Ferlin Huskey that I had never known before. Sure I had hung around redneck bars all my life, but now I felt the weight of my faux-cracker musical ignorance. Suddenly I realized I was an old Caucasian listener who needed to stick his citified ears through the twanging glory hole of country music to have them rearoused.

Waters suggests making an 8-track tape (!) of several hillbilly songs he suggests to beef up your appreciation of hillbilly music old and new "... then play them over and over so they are drilled in your mind like the Catholic catechism."

I don't have the equipment to make an 8-track tape, so I'll just put 'em all in a blog post.

(So no, this is not your typical Throwback Thursday where most the music I babble about is several decades old. But as my favorite filth elder wrote in this chapter, "...retro is a state of mind,not a year."

He starts with this song, "Firebug" by J.D. McPherson. Says Waters, " `Burn it up, burn it down,' J.D. sings, and you can bet if there's a horndog arsonist listening anywhere nearby, he'll come sliding down your pole and ignite on contact."

Waters also suggested one of my favorite tunes by one of my favorite artists, Ray Wylie Hubbard, which he calls "a real mating call for the ill-bred."

This song by Kevin Fowler, "If I Could Make a Livin' Drinkin'," Waters says, "would be the perfect pickup song if you were looking for a date either in the welfare or unemployment office."

Turning now to some older stuff, Waters admires Hank Thompson's "Hangover Tavern." Says the author, "I told you a hangover can sing if you'll just let it."

Finally here's song Waters calls the "saddest, most heartbreaking, most ridiculous but touching down-home narration ...": Hawkshaw Hawkins' "Lonesome 7-7203."

Sunday, September 08, 2019


Sunday, September 8, 2019
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist:

(substitute) OPENING THEME: The Holygram's Song (Back from the Shadows Again) by Firesign Theatre
I Wanna Die in New Orleans by Dinola
Whatever by Ty Segall
Wild Honey by Weird Omen
My Life to Live by The Flesh Eaters
Driftwood-40-23 by Hickoids
Wild America by Iggy Pop
Jock-a-Moe (Iko Iko) by Kermot Ruffins & The Barbecue Swingers

Jimmy Jones / Space Brother by Alien Space Kitchen
Questions by The Toy Trucks
White Lily by Ghost Wolves
Snack Crack by Wild Billy Childish & The Musicians of the British Empire
Evil Eye by Dead Moon
Raw Meat by Black Lips
Smooth Commander by Left Lane Cruiser
Ooh-Poo-Pah-Doo by Jesse Hill

Bad Neighborhood by Daddy Long Legs
One and the Same by The War & Treaty
Dog by The Bottle Rockets
Feel So Good by Shirley & Lee
Dirty Love by Frank Zappa & The Mothers
Rathole Guest by Rattanson
Plant the Seed by Imperial Wax
Big New Prinz by The Fall
Teenage Warning by Kazik & Zdunek Ensemble

Stole Away by REQ'D
You Cared Enough to Lie by Eilen Jewell
Dream Killer by Jack Oblivian & The Dream Killers
Cry On by Irma Thomas
I Wish I Was in New Orleans by Tom Waits
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Like the Terrell's Sound World Facebook page

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.

Subscribe to The Big Enchilada Podcast CLICK HERE

Wednesday, September 04, 2019

WACKY WEDNESDAY: Just Monkeying Around

Go Ape!

Let's start with Sam the Sham.Dig those crazy go-go girls!

Andres Williams gets all philosophical

Hank Penny on de-evolution

B.B. King has something to sell you

Buck Owens wants to swing -- but not in a tree

We'll stop this show with Big Maybelle.

And if you like this, you might enjoy this classic Wacky Wednesday on Musical Chimps

Monday, September 02, 2019

TERRELL'S TUNE-UP: A Buncha Recent Albums

A version of this was published in The Santa Fe New Mexican 
Aug. 30, 2019

So you kids like the rock ’n’ roll? I sure do. Here are several albums that have been making me happy in recent weeks.

* Lost Weekend by Jack Oblivian & The Dream Killers (Black & Wyatt): The man born Jack Yarber was a member of the iconic 1990s garage-punk trio out of Memphis known as The Oblivians. They split up about 20 years ago (though they reunite every so often, and in 2013, released a fantastic album called Desperation).

This album is a collection of tracks that, according to the record company, are mainstays in Jack’s live shows. Most of the songs were recorded in his home studio, which means the sound lacks a polished sheen but is rich in immediacy.

My favorites are the sweaty, urgent minor-key rockers like “Lone Ranger of Love” and “Scarla,” the latter driven by a slithering slide guitar. Then there’s “Boy in a Bubble,” (no, not the Paul Simon song), which starts out, “I was born on the 15th floor/New Year’s Eve in the Psycho Ward …”

I also like the sleazo, jazzy “Guido Goes to Memphis.” Starting out with a soulful electric piano part (which reminds me of the old Hugh Masekela hit “Grazing in the Grass”), the tune just screams “Memphis!”

* First Taste by Ty Segall (Drag City): It seems like only yesterday — actually it was early June — Fudge Sandwich, which consisted of wild covers of songs by the likes of John Lennon, Neil Young, Funkadelic, The Grateful Dead, War, and various obscure punk groups.
when I wrote about the prolific Segall’s album.

The ink was barely dry when he released this new one. (And actually, I recently learned that he released a live record, Deforming Lobes, sometime between Fudge City and this one). The kid’s barely over 30, and he’s driven.

Like Segall’s best work, most the songs on First Taste are fuzzed-out guitar attacks. But he also embellishes his sound with tasteful electronics that never overwhelm the rock, a horn section on the five-minute “Self Esteem,” and on at least a couple of songs, mandolin.

Standouts here include the frantic-paced tune called “The Fall” — funny, The Fall never recorded a song called “Ty Segall” — that includes an actual drum solo; the upbeat “I Sing Them,” where you hear that mandolin as well as what sounds like a crazy flute (though I suspect might actually be some electronically altered sound); and the hard-edged “I Worship the Dog,” a profound statement of religious faith.

* Surrealistic Feast by Weird Omen (Dirty Water): I was trying to figure out what made this hopped-up psychedelic French trio sound so unique. Then I learned that instead of a bass, Weird Omen has a baritone sax player — Fred Rollercoaster — who used to play with King Khan & The Shrines. Along with guitarist-singer Sister Ray (thank you, Lou Reed) and drummer Remi Pablo, Weird O is an aural treat.

The accurately titled “Earworm” is a 100-mile-an-hour blast, as is the hypnotic but muscular “Trouble in My Head.” But the fast-and-loud aesthetic isn’t the only trick Weird Omen knows. “The Goat” starts out slinky and bluesy but soon transmutates into some kind of audio Godzilla stomping on your city.

And in the last song, “I Will Write You Poetry,” the band mines the rich vein of doo-wop in their own peculiar way. I take that as an omen for more weirdness to come from this inventive band.

* Lowdown Ways by Daddy Long Legs (Yep Roc): Here’s a blues-stomping trio who rose from the The Vampire, the one they did with R&B maniac T. Valentine) before moving to their current label.
swamps of backwoods Brooklyn, New York, to create an addictive kind-of-rootsy, kind-of punky sound. Led by a long, tall, full-throated singer, guitarist, and harmonica honker named Brian Hurd (originally from St. Louis), DLL recorded three albums on the venerated Norton Records (four if you include

I was afraid that leaving Norton might detract from Daddy Long Legs’ magic.

Naw. They sound as strong as ever.

Like the best lowdown blues, nothing on this album will make you feel low down. Just about every track here is a delight. I never thought I’d hear a blues tune called “Pink Lemonade,” but there’s one on Lowdown Blues, made especially memorable by Murat Aktürk’s tremolo-heavy guitar licks. Other favorites include “Glad Rag Ball” (in which Hurd invites someone “to meet me in the bathroom stall”); and “Célaphine,” in which Hurd’s harmonica sounds like a zydeco accordion.

* Night Beats Play The Sonics’ ‘Boom’ by Night Beats (Heavenly): I was happy to see this new album by this garage/psychedelic band from Seattle — mainly because they released an album earlier this year called Myth of a Man that was disappointing. It probably was Dan Auerbach’s pop-heavy production, or maybe it was the fact that two of the three members of the band had quit, leaving singer Danny Lee Blackwell alone with a bunch of studio musicians.

So this tribute to the fabled Washington State band from the ’60s was a nice step back to the Night Beats’ roots.

Blackwell succeeded in taking the older group’s sound and giving it his own twist. This especially is obvious on “Don’t You Just Know It.” This is a funky old New Orleans R&B classic originally recorded by Huey “Piano” Smith & The Clowns in 1958. Night Beats mutates it into a mysterioso, minor-key slow-burner.

I’m not claiming this record puts Night Beats in the same stratosphere as The Sonics — who played what I consider to be the greatest rock ‘n’ roll show I’ve ever seen at the Ponderosa Stomp a few years ago. But I have to admire Blackwell for even attempting this.

Video Time!

Hi-Ho it's Jack O

One from Mr. Segall;

Weird Omen gets your goat

Pink Lemonade never tasted better

Night Beats let some good times roll


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