Friday, March 08, 2013
THE SANTA FE OPRY PLAYLIST
Friday, March 8, 2013
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell
101.1 FM
email me during the show! terrel(at)ksfr.org
OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Cajun Stripper by Doug Kershaw
Keep on Truckin' by Hot Tuna
The New World by Texas Sapphires
Coulda Shoulda Woulda by J.P.McDermott & Western Bop
There Stands the Glass by Gal Holiday
Hot Tamale Pete by Bob Skyles & His Sky Rockets
Cool Front by Electric Rag Band
Your Face or Mine by Pure Luck
I Got Texas in My Soul by Tex Williams & His Western Caravan
Then I'll Be Moving On by Mother Earth
Hard-Hearted Hannah by Cliff "Ukulele Ike" Edwards
Nothing at All by The Waco Brothers
I Push Right Over by Robbie Fulks
The White Trash Song by Shooter Jennings with Scott H. Biram
The Beautiful Waitress by Austin Lounge Lizards
Sidekick Anthem by Terry Allen
American Trash by Betty Dylan
Trucks, Tractors and Trains by The Dirt Daubers
Fool's Hall of fame by Johnny Cash
Anchor's the Way by The Calamity Cubes
And In Time by Country Blues Revue
Blah Blah Baby by Zeno Tornado & The Boney Google Brothers
I Like Drinking by The Gourds
The Land Where the Crow Flies Backwards by Roger Knox & The Pine Valley Cosmonauts
Your Heart Turned Left (And I Was on the Right) by Don Rich
TV Party by Asylum Street Spankers
Cathead Biscuits and Gravy by Nancy Apple & Rob McNurlin
Let's Invite Them Over by John Prine & Iris DeMent
Waltz Acroaa Texas by Ernest Tubb
The Winner by Bobby Bare
What Ya Doing in Memphis by Jason Ecklund
Louise by Ramblin' Jack Elliott & Tom Waits
CLOSING THEME: Comin' Down by The Meat Puppets
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Steve Terrell is proud to report to the monthly Steve Terrell is proud to report to the monthly Freeform American Roots Radio list
Thursday, March 07, 2013
TERRELL'S TUNEUP: Fresh Sounds from Churchwood & Copper Gamins
A version of this was published in The Santa Fe New Mexican
March 8, 2013
Coming straight from the deep Euphrates — actually Austin, Texas — is the nonslumping sophomore effort by the band known as Churchwood. The CD, called 2, appropriately enough, proves that the group’s self-titled first album was no fluke.
Both albums are steeped in the blues. Churchwood is tight and capable, but nobody is going to confuse the band with the generic Texas Stevie Ray Vaughanabe groups. “Saving the blues from the blahs” is a motto found on Churchwood’s ReverbNation page, but that barely scratches the surface.
Fronted by singer Joe Doerr, whose day job is English professor, Churchwood has a definite literary edge. The first words Doerr sings on the opening track, “Duende,” tip you off to that.
“Coming straight from the deep Euphrates/Orfeo’s gift from the realm of Hades/Don’t look back, baby, take his hand/Gonna lead us all to the promised land,” Doerr shouts over jungle drums and a guitar riff that lands somewhere between Howlin’ Wolf and Nirvana’s “Serve the Servants.”
Don’t think these guys are all that highbrow. For instance, on one verse of “Weedeye,” Doerr declares, “Mushroom tea, razor blade, I’m going down to Mississippi ’cause I gotta get laid.” The refrain of the song is “We don’t have to anything ’cept live ’til we die,” an expression Doerr says he picked up from his dad (whenever his mom told him he had to do something).
Writing about the origins of Churchwood on The Rock Garage website, Doerr says longtime Austin-band veteran guitarist Bill Anderson — with whom he played in a couple of groups in the ’80s — approached him in 2007 about starting a new band. “Bill envisioned taking Captain Beefheart’s Spotlight Kid/Clear Spot as a point of departure and using it as a means of exploring the musical and lyrical interests that he and I have shared for the past 25 years or so: blues, punk, country, psychedelic, and so on.”
(Anderson, by the way, works by day for the Texas Legislative Council, a job this political reporter can relate to. He was also a member of The Meat Purveyors, one of the cool- est country/punk bands ever — something I can relate to even more.)
Fortified by a second guitarist, Billysteve Korpi, and an explosive rhythm section (Adam Kahan on bass and drummer Julien Peterson), Churchwood is an authentic threat.
While blues is the band’s foundation, Churchwood subtly branches out on 2.
On “Aranzazu,” the musicians drop hints of a lilting jam-band vibe. “You Be the Mountain (I’ll Be Mohammad)” is funkified in a swampy kind of way (including some Princely falsetto vocals). “A Message From Firmin Desloge” and “Money Shot Man” feature a guest horn section, giving the former song a soul sheen and the latter an early Boz Scaggs feel.
Then there’s “Keels Be Damned,” on which the band displays a Threepenny Opera cabaret influence. Gogol Bordello could get away with playing this one.
The song advises against accepting the official version of anything. “I just can’t see what’s mad in asking proof of what we’re told/So I’ll be hangin’ here with minds that cannot be controlled.”
So don't take my word for it. Check Churchwood out yourself.
Also recommended:
▼ Los Niños de Cobre by The Copper Gamins. In reviewing the five-song self-titled debut EP of this hopped-up punk-blues duo from the mountains of Mexico last year, I said that it sounded like it was recorded “in an abandoned gas station.” That basically holds true for this, the Copper Gamins’ first full-length album (17 songs, 55 minutes). And once again the lo-fi music is so loud I’m not sure how that gas station is holding up.
The Gamins — singer/guitarist José Carmen and drummer Claus Lafania — follow a line of blues-bashing twosomes, going back to the Flat Duo Jets through early Black Keys and White Stripes on up through The King Khan & BBQ Show. The lads from Mexico are less slick than any of those bands — far less slick than what the Stripes or Keys eventually evolved into, and unlike KK & BBQ, the Gamins have not yet discovered the magical joys of doo-wop.
For those who heard the EP, there are no huge surprises on Los Niños de Cobre. It has the same basic sound, but in a handful of tracks, the group shows some healthy restlessness by expanding its sound.
For instance, toward the end of “Silver Monkey,” Carmen plays a strange-sounding organ. It’s downright refreshing. But the biggest surprise is “Angelitos Negros,” the title song of the 1948 Mexican movie starring silver-screen lothario Pedro Infante. I hope on the group’s next album the musicians incorporate more sounds from their native land.
Technically this album won’t be available commercially until March 19, but you can hear three cuts at www.reverbnation.com/thecoppergamins .
BLOG BONUS
Got some videos ...
Here's the Copper Gamins in action a cople of years ago
And here's Pedro ...
March 8, 2013
Coming straight from the deep Euphrates — actually Austin, Texas — is the nonslumping sophomore effort by the band known as Churchwood. The CD, called 2, appropriately enough, proves that the group’s self-titled first album was no fluke.
Both albums are steeped in the blues. Churchwood is tight and capable, but nobody is going to confuse the band with the generic Texas Stevie Ray Vaughanabe groups. “Saving the blues from the blahs” is a motto found on Churchwood’s ReverbNation page, but that barely scratches the surface.
Fronted by singer Joe Doerr, whose day job is English professor, Churchwood has a definite literary edge. The first words Doerr sings on the opening track, “Duende,” tip you off to that.
“Coming straight from the deep Euphrates/Orfeo’s gift from the realm of Hades/Don’t look back, baby, take his hand/Gonna lead us all to the promised land,” Doerr shouts over jungle drums and a guitar riff that lands somewhere between Howlin’ Wolf and Nirvana’s “Serve the Servants.”
Don’t think these guys are all that highbrow. For instance, on one verse of “Weedeye,” Doerr declares, “Mushroom tea, razor blade, I’m going down to Mississippi ’cause I gotta get laid.” The refrain of the song is “We don’t have to anything ’cept live ’til we die,” an expression Doerr says he picked up from his dad (whenever his mom told him he had to do something).
Writing about the origins of Churchwood on The Rock Garage website, Doerr says longtime Austin-band veteran guitarist Bill Anderson — with whom he played in a couple of groups in the ’80s — approached him in 2007 about starting a new band. “Bill envisioned taking Captain Beefheart’s Spotlight Kid/Clear Spot as a point of departure and using it as a means of exploring the musical and lyrical interests that he and I have shared for the past 25 years or so: blues, punk, country, psychedelic, and so on.”
(Anderson, by the way, works by day for the Texas Legislative Council, a job this political reporter can relate to. He was also a member of The Meat Purveyors, one of the cool- est country/punk bands ever — something I can relate to even more.)
Fortified by a second guitarist, Billysteve Korpi, and an explosive rhythm section (Adam Kahan on bass and drummer Julien Peterson), Churchwood is an authentic threat.
While blues is the band’s foundation, Churchwood subtly branches out on 2.
On “Aranzazu,” the musicians drop hints of a lilting jam-band vibe. “You Be the Mountain (I’ll Be Mohammad)” is funkified in a swampy kind of way (including some Princely falsetto vocals). “A Message From Firmin Desloge” and “Money Shot Man” feature a guest horn section, giving the former song a soul sheen and the latter an early Boz Scaggs feel.
Then there’s “Keels Be Damned,” on which the band displays a Threepenny Opera cabaret influence. Gogol Bordello could get away with playing this one.
The song advises against accepting the official version of anything. “I just can’t see what’s mad in asking proof of what we’re told/So I’ll be hangin’ here with minds that cannot be controlled.”
So don't take my word for it. Check Churchwood out yourself.
Also recommended:
▼ Los Niños de Cobre by The Copper Gamins. In reviewing the five-song self-titled debut EP of this hopped-up punk-blues duo from the mountains of Mexico last year, I said that it sounded like it was recorded “in an abandoned gas station.” That basically holds true for this, the Copper Gamins’ first full-length album (17 songs, 55 minutes). And once again the lo-fi music is so loud I’m not sure how that gas station is holding up.
The Gamins — singer/guitarist José Carmen and drummer Claus Lafania — follow a line of blues-bashing twosomes, going back to the Flat Duo Jets through early Black Keys and White Stripes on up through The King Khan & BBQ Show. The lads from Mexico are less slick than any of those bands — far less slick than what the Stripes or Keys eventually evolved into, and unlike KK & BBQ, the Gamins have not yet discovered the magical joys of doo-wop.
For those who heard the EP, there are no huge surprises on Los Niños de Cobre. It has the same basic sound, but in a handful of tracks, the group shows some healthy restlessness by expanding its sound.
For instance, toward the end of “Silver Monkey,” Carmen plays a strange-sounding organ. It’s downright refreshing. But the biggest surprise is “Angelitos Negros,” the title song of the 1948 Mexican movie starring silver-screen lothario Pedro Infante. I hope on the group’s next album the musicians incorporate more sounds from their native land.
Technically this album won’t be available commercially until March 19, but you can hear three cuts at www.reverbnation.com/thecoppergamins .
BLOG BONUS
Got some videos ...
Here's the Copper Gamins in action a cople of years ago
And here's Pedro ...
Sunday, March 03, 2013
TERRELL'S SOUND WORLD PLAYLIST
Sunday, March 3, 2013
KSFR, Santa Fe, N.M.
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
I'm a Man by The Yardbirds
No Particular Place to Go by The Troggs
Happy Now by Lyres
We Kill Evil by Pocket FishRmen
Into the Drink by Mudhoney
Burroughs by Chelsea Light Moving
A Message from Fermin Deslodge by Churchwood
Make Her Cry by The Things
Second Hand Man by The Raunch Hands Bigg Topp
Free and Freaky by The Stooges
Stop It, You're Killing Me by The Hickoids
Silver Monkey by The Copper Gamins
Devil's Rope by Red Hot Rebellion
Seasons in the Sun by Too Much Joy
Hodad Makin' the Scene With a Six Pack by The Silly Surfers
Creep in the Cellar by The Butthole Surfers
The Beat by Elvis Costello & The Atrractions
Miss Phenomenal by King Automatic
Live With Me by The Rolling Stones
Gold on the Shore by Ty Segall
Dumb All Over by Frank Zappa
Fried Neckbones by King Khan & The Shrines
Cosma Shiva by Nina Hagen
Good Cheer by Mission of Burma
Jerry Was a Race Car Driver by Primus
Tower of Song by Nick Cave & The Bad Seeds
Mudflap Girl by Timbuk 3
Mystery of Love by Marianne Faithful
Way Down in the Hole by Compulsive Gamblers
I'm Sick and Tired of Picking Up After You by Tom Waits & Crystal Gayle
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
Like the Terrell's Sound World Facebook page
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Friday, March 01, 2013
THE SANTA FE OPRY PLAYLIST
Friday, March 1, 2013
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell
101.1 FM
email me during the show! terrel(at)ksfr.org
OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Oh You Pretty Woman by Milton Brown & His Musical Brownies
Only Daddy That'll Walk the Line by Buck Owens
I Washed My Hands in Muddy Water by George Thorogood & The Destroyers
The Meaning of Love by The Beaumonts
Sugar Baby by Legendary Shack Shakers
There to Stay (Small Town Girl) by The Electric Rag Band
Sam Hall by Tex Ritter
Under the Stone by Jono Manson
Cowboys are Frequently Secretly Fond of Each Other by Willie Nelson
Keg Party at the Muldoon Farm (Ultimate Mix) by Joe West
Cowboy Boots by Dale Watson
Can't Hardly Stand It by Charlie Feathers
She Do the Taboo by Jason Ecklund
San Antonio Romero by Cathy Faber's Swingin' Country Band
Love Bug by Don Rich
Killed a Chicken Last Night by Scott H. Biram
Boogie Woogie Baby of Mine by Bob Burton
Didn't Leave Nobody But the Baby by Emmylou Harris, Allison Krauss & Gillian Welch
Lookout Mountain by Drive-By Truckers
Meet Me in the Alleyway by Steve Earle
When the War Was On by 3 Mississippistaphas 3
Victim of the Tomb by Red Allen
Tramp on the Street by Carl Story
New Lee Highway Blues by David Bromberg
I'll Take the Blame by Ralph Stanley & Rhonda Vincent
I've Been Fooled by Eleni Mandell
Please Don't Tell Me How the Story Ends by Joan Osborne
My Heart Was the Last One to Know by Kris Kristofferson
Gypsy Songman by Jerry Jeff Walker
Jolie Louise by Daniel Lanois
It's All in the Movies by Merle Haggard
Touching Home by Jerry Lee Lewis
CLOSING THEME: Comin' Down by The Meat Puppets
Like the Santa Fe Opry Facebook page
Subscribe to The Big Enchilada Podcast! CLICK HERE
Steve Terrell is proud to report to the monthly Steve Terrell is proud to report to the monthly Freeform American Roots Radio list
No Tuneup on the ol' Blog Today
The Terrell's Tuneup I posted in the blog last week got held and didn't appear in Pasatiempo. It's running there this week, so, there's no Tuneup in the blog this week.
Hopefully things will return to "normal" next Friday.
Meanwhile here's some more videos of some of the songs that appeared on mymovie music lists.
Rock on ...
This version of the King Missile classic has been censored. But you'll probably get the idea.
"Ate a hotdog, it tasted real good / Then I watched a movie from Hollywood ..."
This one's from the heart ...
Hopefully things will return to "normal" next Friday.
Meanwhile here's some more videos of some of the songs that appeared on mymovie music lists.
Rock on ...
This version of the King Missile classic has been censored. But you'll probably get the idea.
"Ate a hotdog, it tasted real good / Then I watched a movie from Hollywood ..."
This one's from the heart ...
Monday, February 25, 2013
eMusic February
I've gotten so far behind in this, I've actually got two months worth of eMusic downloads to write about this time. It's a long one, so hang on! (And don't miss the videos at the bottom)
* The Beat Generation: Music & Poetry by Various Artists. This is a massive collection -- 132 tracks that lasts more than nine hours. (All for less than $6 for eMusic members.)
It looks like a major chunk of the 3-Disc Rhino Records Collection The Beat Generation ended up here.
Like the subtitle says, there's music -- including classics by bop and cool jazz giants like Dizzy Gillespie, Charlie Parker, Charles Mingus, Miles Davis, Thelonius Monk, Gerry Mulligan and more -- and there's poetry and other readings by the beat elite -- Jack Keruoac, Allen Ginsberg, William Burroughs, Lawrence Ferlinghetti ... And there's combinations of poetry and jazz that the beats were so noted. My favorite of these here being Kenneth Rexroth's "Married Blues," recited over a bluesy number by an unidentified jazz combo.
There's also Beat comedy including Lenny Bruce's "Psychopathia Sexualis," and the entire How to Speak Hip album by Del Close and John Brent (plus Close's Do It Yourself Psychoanalysis Kit.) There's a few songs poking fun at the crazy beatniks, such as Perry Como's "Like Young" and Bob McFadden & DOR's song "The Beat Generation." This song, written by Rod McKuen served 20 years later as Richard Hell's inspiration for the punk-rock manifesto "Blank Generation."
And there's several interviews with Beat icons and lengthy news features on the Beatnik phenomenon by journalists like Charles Kuralt and Howard K. Smith.
The best way to listen to this massive, over-stuffed, everything-including-the-kitchen-sink compilation is on shuffle mode. Hearing the inspired music, poetry and writings by these visionary artists juxtaposed with the jokers, the probing, sometimes dismissive interviewers makes me realize the Beats truly were onto something big. The rest of the world seemed torn between wanting to jump in and join the fun or belittle it as something foreign and vaguely threatening. Yes, the Beats were onto something. But most, including the Beats themselves never really figured out what it was.
(And in case you hadn't guessed, this mad collection was the inspiration for my recent Big Enchilada podcast Bargain Basement Beatniks. Dig it!)
* Live at Max's Kansas City by The Troggs. Back in the latter days of the British Invasion, The Troggs were the most overtly primitive of the hitmakers. "Wild Thing" and "I Can't Control Myself" couldn't really be called "garage" music. It was more like something-living-under-the-garage rock.
Troggs frontman Reg Presley died Feb. 4.
This record, originally released in 1981, was recored at the famed New York punk cradle in the late '70s or early '80s. The Stooges unquestionably were influenced by The Troggs, but here The Troggs sound like they've been influenced by The Stooges.
And that's not a bad thing. They sound supercharged. You can hear echoes of Iggy on the cover of The Stones' "Satisfaction" and even on covers of Chuck Berry classics like "No Particular Place to Go" and "Memphis."
Yes, Reg and pals playing the obligatory "Wild Thing" and "Love is All Around," but more exciting are lesser-known songs like "Strange Movie" (a Reg original) and "Gonna Make You."
This makes my heart sing.
* Feel It by The Raunch Hands Bigg Top. Back in 2007, it had been 14 years or so since The Raunch Hands had recorded a studio album (Fuck Me Stupid, 1993) Their guitarist Mike Mariconda was working with another band in Austin when, he decided to call his old Raunch mates, singer Michael Chandler and drummer Mike Edison to help out.
The result was this fine stripped down rock 'n' soul screamer. It's slightly slicker than The Raunch Hands of yore -- but only slightly. There was plenty of filth and fury on this album, starting with the opening cut "Sophisticated Screw."
There's a crunching cover of an Andre Williams song that keeps crossing my path in recent months, "Mojo Hannah," but my favorite is the crazed "One Way Ride," which has a refrain where Chandler slyly quotes a Bessie Smith song, "Moan all you moaners!"
* The Very Best of Slim Gaillard & Slam Stewart. I'm a newcomer to Slim Gaillard. Back a few months ago when I was raving about Harry "The Hipster" Gibson, a friend pointed me the way to Slim, who I realize shared a spiritual kinship with the jive-talking Hipster.
Jive talk? Gaillard invented his own damned language! Seriously. He called it "vout" His performances were so wild, Jack Keruoac even wrote about him in On the Road.
'... one night we suddenly went mad together again; we went to see Slim Gaillard in a little Frisco nightclub. Slim Gaillard is a tall, thin Negro with big sad eyes who's always saying 'Right-orooni' and 'How 'bout a little bourbon-arooni.' In Frisco great eager crowds of young semi-intellectuals sat at his feet and listened to him on the piano, guitar and bongo drums. When he gets warmed up he takes off his undershirt and really goes. He does and says anything that comes into his head. ..."The material in this generous collection (54 tracks) was recorded a couple of decades before On the Road, when Gaillard was playing with pianist Slam Stewart as Slim & Slam. It's got the duo's first hit, "The Flat Foot Floogie," as well as novelty hits like "Groove Juice Special," "Dopey Joe," "African Jive," the insane "Laughin' in Rhythm," and perhaps their best known song, "Chinatown, My Chinatown."
I'm no stuffy audiophile, but even my old ears can tell that the sound quality is pretty bad on some cuts. In particular, the pretty ballad "Champagne Lullaby" apparently was recorded off a scratchy old 78 with little, if anything done to mitigate the defects.
But for the most part this album is right-orooni.
* Mr. Supernatural by King Khan & The Shrines. This was a happy discovery. It's an early (2004) Shrines album, one I didn't have before. None of the songs here even appear on the compilation The Supreme Genius of King Khan & The Shrines, so it was all new to me.
For the unitiated, Arish Khan is a Canadian who immigrated to Germany several years ago. The Shrines is a Berlin-based soul band complete with funky horn section (and for live performances, a lovely cheerleader.)
The thing that has amazed me about this band from the first time I ever heard them is how much Khan messes around, how much energy he puts into dirty jokes and silly costumes, and other fucking around. And yet this band is extremely tight and energetic. As I saw for myself at the Pitchfork Festival in Chicago a few years ago, thsi band is a powerhouse.
My favorite songs here are "Frogman," an urgent workout showcasing organist Freddy Rococo, and "I Gomez," a fast-paced chugger which at one point seems to borrow the refrain from Steppenwolf's "Sookie Sookie."
* Phosgene Nightmares by The Black Angels. The Angels are my favorite young band of psychedelic commandos from Texas. This is a six-song EP, a B-sides collection released especially for Record Store Day in April 2011, just a few months after their 2010 album Phosphene Dream.
The first thing I noticed about this this album is that it's more laid back than their other albums -- which tend to be full-fledged sonic excursions. Some tracks here basically are acoustic numbers. You even can hear country music echoes in "At Night," while "Choose to Choose" might be a channeled Buddy Holly song.
But on "Entance (Rain Dance Version)" you definitely can tell it's the Black Angels kicking open your doors of perception.
Heads up: The Angels are scheduled to release a new full-length album, Indigo Meadow in April.
* Lady from Shanghai by Pere Ubu. Ubu mastermind David Thomas and crew, this time around, are apparently obsessed with dance music.
I’m not kidding.
“Smash the hegemony of dance. Stand still. The dancer is puppet to the dance. It’s past time somebody put an end to this abomination. Lady From Shanghai is an album of dance music fixed.” Cryptic as it is, this quotation from Ubu’s website just about says it all.
Just about. But I said more a few weeks back in Terrell's Tuneup. Read that HERE.
* Introducing Seasick Steve. I guess you could call bluesman Steven Wold a late bloomer. The ex-hobo, ex-session musician and now ex-pat (living in Norway)was in his 60s released his first album Cheap in 2004.
This compilation is a modest compilation of five of his early recordings. There's a couple of tracks from Cheap with his old trio Level Devil, including the title song, which could fit in with most any punk-trash-blues project coming out of Voodoo Rhythm Records.
Also here are a couple from his second album Dog House Blues including the John Lee Hooker-influenced title song. And there's the title song from a 2007 EP It's All Good, featuring Seasick talking and singing over a repeated lick similar to the main hook on Jimi Hendrix's "Voodoo Chile.."
This is a decent introduction -- it's all good, you might say -- but I wish eMusic would offer some of those early works in their entirety.
Plus
* Conjure Man by Kid Congo & The Pink Monkeybirds. This is a new single by Kid Congo Powers (formerly of The Cramps, The Gun Club and Nick Cave's Bad Seeds) It's a slow, smokey, minor-key psychedelic tune that wouldn't sound out of place on a The Black Angels record. The "flip side" (yes, there are two songs), "Lose Your Mind" has a Bo Diddley beat behind Kid Congo's growled vocals. This set is here to whet our appetites before the release of the new Monkeybirds album Haunted Head, expected in the near future.
* tUnE-yArDs as Yoko by tUnE-yArDs. This is a two song collection. I picked it up for "We're All Water," which is is my favorite Yoko Ono song of all times. I still prefer the original, on the John & Yoko album Somewhere in New York, on which Yoko is backed up by the rough and rowdy Elephant's Memory.
But I am a new fan of tUnE-yArDs, which features a gal named Merrill Garbus creating crazy sounds from percussion and vocal tape loops.
The flip side here is a Yoko song, "Warrior Woman" remixed by tUnE-yArDs. According to Pitchfork, this project is part of a series of singles Ono is currating to benefit the Rockaway Waterfront Alliance, which was set up to aide victims of Hurricane Sandy. Proffitrs from the vinyl versions and 100 percent of the download income from these records go to the Alliance.
Check out this video of a live version of "We're All Water" with a cameo by Yoko herself.
* "Strip Polka" by The Andrews Sisters. Believe it or not, this is one of two songs my late mother taught me as a kid. Actually she just taught me the first verse of this saga of Queenie, the cutie of the burlesque show. I always joked this is what led me to write my song "Naked Girls."
A couple of weeks before Mom died, I played her a YouTube of "Strip Polka" on my iPhone, in the nursing home. She wasn't completely conscious, but she smiled. The nurses thought I was crazy. But it meant something to us
Sunday, February 24, 2013
TERRELL'S SOUND WORLD PLAYLIST
Sunday, Feb. 24 , 2013
KSFR, Santa Fe, N.M.
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Repo Man by Iggy Pop
Mojo Hannah by Raunch Hands Bigg Topp
Duende by Churchwood
I Gomez by King Khan & The Shrines
It'll Chew You Up and Spit You Out by Concrete Blonde
Shotgun by Junior Walker & The All Stars
Baby Please Don't Go by Them
Thunderball by Tom Jones
Rockin' Bones by Flat Duo Jets
Oh Well Well by The Copper Gamins
We Must Have Blood by The Dwarves
Jailbait by Flamin' Groovies
Lose Your Mind by Kid Congo Powers & The Pink Monkeybirds
Dopey Joe by Slim Gaillard & Slam Stewart
You Don't Know by The Fleshtones
Birdfeed by The Cramps
Hombre Secreto by The Plugz
Wild Thing by The Monsters
Strange Movie by The Troggs
Want More by J.C. Brooks & The Uptown Sound
Hold On by Alabama Shakes
I'm Your Pusher by Curtis Mayfield
Feuksley Ma'am, The Hearing by Pere Ubu
New Age by The Velvet Underground
Beloved Movie Star by Stan Ridgway
8-Ball by Seasick Steve & The Level Devils
Touch of Evil by Tom Russell
I'm Your Man by Nick Cave
We're All Water by tUnE-yArDs
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
Like the Terrell's Sound World Facebook page
Subscribe to The Big Enchilada Podcast! CLICK HERE
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TERRELL'S SOUND WORLD PLAYLIST
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