My old competitor Karl Moffat has entered the realm of Blogdom.
You can find his blog TALES FROM THE FAR BANK HERE.
We both covered crime in the early '90s, me for The New Mexican, Karl for Journal North. His blog however is about fishing, not crime.
Friday, October 13, 2006
HOW DO YOU HANDLE A HUNGRY TROLL?
I've received several inquiries about what happened to The New Mexican's comments feature, which has been down all week.
In case you haven't heard, here's the deal: There were so many crazy and disgusting comments about the recent violent assault and battery of Paige McKenzie, John Dendahl's spokeswoman the brass decided to yank the whole system until they could figure a better way to monitor the damned thing.
You can read the official explanation HERE and the new plan for comments HERE.
I hate censorship, and I like the fact the paper lets people comment. I'm sure that the fact I know and like Paige have something to do with my reaction, but I'm glad the paper's brass took action here.
As James Brown would say, Good God, ya'll!
There were Republican idiots blaming the evil Democrats for the attack and there were Democrat idiots claiming it was all a plot by the evil Republicans to get sympathy for John Dendahl. Plus all sorts of other nasty stuff.
All this while an innocent woman was lying in the hospital getting reconstructive surgery.
(She's still in the hospital, as of yesterday at leas, recovering from injuries that put her in the intensive care unit. Her condition, which had been critical is. satisfactory.)
You've still got your freedom of speech. If you don't like The New Mexican's new policy, you can start your own blog. It's free and easy enough even someone like me can do one. (If it's too complicated for you, I'm sure your parole officer can help you out.)
TERRELL'S TUNEUP: THE RISE OF BABY BARE
A version of this was published in The Santa Fe New Mexican
October 13, 2006
Bobby Bare Jr. started his recording career at a very early age. Try 5 years old. It was back in 1973 when, as a squeaky-voiced ankle-biter, he co-starred with his father on a sweet but sappy Shel Silverstein song called “Daddy What If.”
“Daddy, what if the sun stopped shining?/What would happen then?” baby Bare chirped. It wasn’t the greatest moment for Papa Bare, who was a beloved country hitmaker in the ’60s and ’70s.
The kid grew up, as kids tend to do. Last year he reunited with his dad in the studio to produce and sing on Bare Sr.’s “comeback” album, The Moon Was Blue.
Since the late ’90s, Bare Jr.’s been playing an unusual style of rock ’n’ roll that draws from his country-music heritage but — even with his unabashed drawl — doesn’t sound like your typical country rock.
His latest album, The Longest Meow, was released under the name of Bobby Bare Jr.’s Young Criminals Starvation League and was recorded in a heady, 11-hour session with members of My Morning Jacket, ... And You Will Know Us By the Trail of Dead, and others. It might just be his most eclectic, eccentric, and experimental album so far.
From the hard-charging, baritone-sax-and-guitar-driven “The Heart Bionic” through the Devo-drenched “Sticky Chemical,” this Meow is a sonic pleasure. And no, he hasn’t forgotten his country roots. “Back to Blue” has “Ring of Fire” mariachi trumpets and a steel guitar that suggests warm desert nights.
There’s an acoustic cover of the Pixies song “Where Is my Mind.” This seems appropriate since young Bobby played on the last Frank Black album. It’s not hard to imagine Frank Black Francis doing any of Bare’s songs from The Longest Meow.
One of my favorites here is “Gun Show,” which starts off with Bare crooning a Wilco-ish melody backed by acoustic guitar and a Lost-in-Space electronic whine. It’s about a guy who’s shot down at his home under circumstances that are never quite clear. Bare moans: “Mama’s gonna find a place to hide/And my girls are gonna wonder why/Why did my daddy have to die/And does he hear us when we cry?”
Then there’s “Demon Valley” and that steel guitar again. It’s a wistful, Beatlesque little tune with nonsensical lyrics such as “I found a place for you to hide/where you can be the devil’s bride.” There’s even a shout out to Sonny and Cher in the song.
Also recommended:
*Snake Farm by Ray Wylie Hubbard. “Snake farm, it just sounds nasty,” Hubbard spits in the chorus of the title song of his latest album. “Snake farm, pretty much is.”
That could pretty much serve as a review for this album. It sounds nasty, and I mean that in the nicest possible way. Co-produced by Hubbard and Gurf Morlix, this is a bluesy stomp-dance of a record, heavy on slide guitar and raunchy licks (thank you, Gurf). With Hubbard’s songs of reptile ranches, God, the devil, heartaches, damnation, and redemption, it’s almost like the Book of Revelation as interpreted by Hank Williams and Howlin’ Wolf.
“God smiles and lights a cigarette/And says there’s some souls I ain’t gonna get/I’d take all the little critters if I could/But some are too smart for their own damn good,” he sings in “Kilowatts.”
That’s how he does with the spiritual realm. He’s also got a good take on the material world. “Young pups, they ask me what makes my kind/shameless women and pork rinds ... There’s no sadder case of desire and anguish/I’m done in by women, hush puppies and catfish,” he growls on “Heartaches and Grease.”
Hubbard, a founding father of the Austin Cosmic Cowboy scene of the mid ’70s (I was going to try to write this without mentioning his “Up Against the Wall Redneck Mother”), is one of those rare artists who truly has gotten better with age. For the past few years, every album has been stronger than the last. More pork rinds, please!
* Nashville Rebel by Waylon Jennings. This four-disc collection starts out with a recording from New Mexico — Clovis, to be exact, home of Norman Petty Studios. There in 1958 Buddy Holly produced the first single by Jennings, his West Texas protégé. It was “Jole Blon,” the Cajun anthem, featuring none other than R&B shaman King Curtis on saxophone. It didn’t become a hit, at least not on the Holly level. But what a harbinger it was for things to come.
It took nearly 15 years, but the dark-eyed singer from Littlefield, Texas, along with co-conspirator Willie Nelson, led the great outlaw rebellion of the 1970s — which basically meant they got a whole lot more creative control over their records than Nashville traditionally allowed artists. That, and they did a lot of dope.
Waylon wasn’t known for his songwriting. Most of the songs he’s best known for — “Honky Tonk Heroes,” “Lonesome, On’ry and Mean,” “Luckenbach, Texas,” “Dreaming My Dreams With You” — were written by others. No, it was his voice, his “monster voice” as Rolling Stone once dubbed it — deep, rugged and earthy — that made his records so memorable.
This collection runs from the ’50s and (just barely) into the ’90s, wisely concentrating on the outlaw heyday of the early-to-mid ’70s. It leaves out a few jewels from Waylon’s final years, though fortunately it includes “I Do Believe,” a stunning little piece of humanist gospel he recorded on the last album by outlaw supergroup The Highwaymen.
October 13, 2006
Bobby Bare Jr. started his recording career at a very early age. Try 5 years old. It was back in 1973 when, as a squeaky-voiced ankle-biter, he co-starred with his father on a sweet but sappy Shel Silverstein song called “Daddy What If.”
“Daddy, what if the sun stopped shining?/What would happen then?” baby Bare chirped. It wasn’t the greatest moment for Papa Bare, who was a beloved country hitmaker in the ’60s and ’70s.
The kid grew up, as kids tend to do. Last year he reunited with his dad in the studio to produce and sing on Bare Sr.’s “comeback” album, The Moon Was Blue.
Since the late ’90s, Bare Jr.’s been playing an unusual style of rock ’n’ roll that draws from his country-music heritage but — even with his unabashed drawl — doesn’t sound like your typical country rock.
His latest album, The Longest Meow, was released under the name of Bobby Bare Jr.’s Young Criminals Starvation League and was recorded in a heady, 11-hour session with members of My Morning Jacket, ... And You Will Know Us By the Trail of Dead, and others. It might just be his most eclectic, eccentric, and experimental album so far.
From the hard-charging, baritone-sax-and-guitar-driven “The Heart Bionic” through the Devo-drenched “Sticky Chemical,” this Meow is a sonic pleasure. And no, he hasn’t forgotten his country roots. “Back to Blue” has “Ring of Fire” mariachi trumpets and a steel guitar that suggests warm desert nights.
There’s an acoustic cover of the Pixies song “Where Is my Mind.” This seems appropriate since young Bobby played on the last Frank Black album. It’s not hard to imagine Frank Black Francis doing any of Bare’s songs from The Longest Meow.
One of my favorites here is “Gun Show,” which starts off with Bare crooning a Wilco-ish melody backed by acoustic guitar and a Lost-in-Space electronic whine. It’s about a guy who’s shot down at his home under circumstances that are never quite clear. Bare moans: “Mama’s gonna find a place to hide/And my girls are gonna wonder why/Why did my daddy have to die/And does he hear us when we cry?”
Then there’s “Demon Valley” and that steel guitar again. It’s a wistful, Beatlesque little tune with nonsensical lyrics such as “I found a place for you to hide/where you can be the devil’s bride.” There’s even a shout out to Sonny and Cher in the song.
Also recommended:
*Snake Farm by Ray Wylie Hubbard. “Snake farm, it just sounds nasty,” Hubbard spits in the chorus of the title song of his latest album. “Snake farm, pretty much is.”
That could pretty much serve as a review for this album. It sounds nasty, and I mean that in the nicest possible way. Co-produced by Hubbard and Gurf Morlix, this is a bluesy stomp-dance of a record, heavy on slide guitar and raunchy licks (thank you, Gurf). With Hubbard’s songs of reptile ranches, God, the devil, heartaches, damnation, and redemption, it’s almost like the Book of Revelation as interpreted by Hank Williams and Howlin’ Wolf.
“God smiles and lights a cigarette/And says there’s some souls I ain’t gonna get/I’d take all the little critters if I could/But some are too smart for their own damn good,” he sings in “Kilowatts.”
That’s how he does with the spiritual realm. He’s also got a good take on the material world. “Young pups, they ask me what makes my kind/shameless women and pork rinds ... There’s no sadder case of desire and anguish/I’m done in by women, hush puppies and catfish,” he growls on “Heartaches and Grease.”
Hubbard, a founding father of the Austin Cosmic Cowboy scene of the mid ’70s (I was going to try to write this without mentioning his “Up Against the Wall Redneck Mother”), is one of those rare artists who truly has gotten better with age. For the past few years, every album has been stronger than the last. More pork rinds, please!
* Nashville Rebel by Waylon Jennings. This four-disc collection starts out with a recording from New Mexico — Clovis, to be exact, home of Norman Petty Studios. There in 1958 Buddy Holly produced the first single by Jennings, his West Texas protégé. It was “Jole Blon,” the Cajun anthem, featuring none other than R&B shaman King Curtis on saxophone. It didn’t become a hit, at least not on the Holly level. But what a harbinger it was for things to come.
It took nearly 15 years, but the dark-eyed singer from Littlefield, Texas, along with co-conspirator Willie Nelson, led the great outlaw rebellion of the 1970s — which basically meant they got a whole lot more creative control over their records than Nashville traditionally allowed artists. That, and they did a lot of dope.
Waylon wasn’t known for his songwriting. Most of the songs he’s best known for — “Honky Tonk Heroes,” “Lonesome, On’ry and Mean,” “Luckenbach, Texas,” “Dreaming My Dreams With You” — were written by others. No, it was his voice, his “monster voice” as Rolling Stone once dubbed it — deep, rugged and earthy — that made his records so memorable.
This collection runs from the ’50s and (just barely) into the ’90s, wisely concentrating on the outlaw heyday of the early-to-mid ’70s. It leaves out a few jewels from Waylon’s final years, though fortunately it includes “I Do Believe,” a stunning little piece of humanist gospel he recorded on the last album by outlaw supergroup The Highwaymen.
Thursday, October 12, 2006
ROUNDHOUSE ROUNDUP: IT'S ALL IN THE MOVIES
A version of this was published in The Santa Fe New Mexican
October 12, 2006
Everyone knows Gov. Bill Richardson loves Hollywood. And soon his name will be appearing in movie credits.
No, major studios aren’t clamoring over rights to a feature-length version of the Richardson campaign’s “sheriff” commercials on TV.
The rules for a recent competition in which young filmmakers are seeking state grant money require that credits on any film they submit have to thank the governor.
On the state Film Office Web page announcing the program, potential applicants were told, “Awardees will acknowledge Governor Richardson and the New Mexico Film Office’s New Visions/New Mexico Program in the end credits of the completed film.”
The New Visions/New Mexico program, according to a news release earlier this year, offers a total of $160,000 in contracts “for New Mexico-based producers and directors to create narrative films, documentaries, animation and experimental works.” Individuals can get up to $20,000 for a project.
A total of 230 filmmakers applied, Film Office Director Lisa Strout said Wednesday.
Not all were seeking the maximum amount. “I heard that one was asking for $100,” she said.
The deadline for submissions was last week.
Funding recipients will be announced in December.
As for acknowledging Richardson, Strout said she wasn’t aware that was a requirement.
“What’s important is acknowledging the state,” Strout said. Specifically mentioning the governor, she said, “isn’t a requirement in my mind.”
Who knows, maybe one of these films acknowledging Richardson will go on to win the next Bill Richardson Film Achievement Award — the annual award established this year by the College of Santa Fe for outstanding national and regional contributions to film.
Oughta be in pictures: Richardson, of course, won’t be the first New Mexico governor to see his name in film credits.
Former Gov. David Cargo oversaw creation of New Mexico’s first state Film Office in 1968. According to its Web site, this was the first state agency in the country “whose primary goal was to enhance economic development via motion picture production.”
But Cargo didn’t stop there. He actually appeared in some movies made in the state.
According to the Internet Movie Guide, Cargo’s roles were as follows:
He played a lowly newspaper reporter in The Good Guys and the Bad Guys in 1969 — though his name didn’t appear in the credits. Some names that did appear in the credits in this Western were Robert Mitchum, George Kennedy and David Carridine.
The next year, Cargo had a bit part in a comedy called Up in the Cellar, which starred Larry Hagman and Joan Collins.
Cargo played a state trooper in Bunny O’Hare, a comedy that starred Bette Davis and Ernest Borgnine as a pair of golden-aged bank robbers.
And he played “Cpl. Benton” in a Western called The Gatling Gun, (shot in 1969, but not released until 1973).
Unfortunately, it appears Cargo was the biggest name in that movie.
What’s in a name?: A little mea culpa here. In Wednesday’s paper, I reported the Drug Policy Alliance contributed $25,000 to Richardson’s re-election campaign. Reena Szczepanski, who heads the local DPA office, says that’s not quite true. It actually was the Drug Policy Alliance Network that gave him the money.
The DPAN is affiliated with DPA, but they are funded separately. As Szczepanski explains it, donations to DPA are tax deductible, but donations to DPAN aren’t. Thus, DPA is not legally able to contribute to political candidates while DPAN is.
Also, billionaire George Soros — who as an individual gave Richardson $25,000 — sits on the DPA board, but not the DPAN’s.
Got all that?
Of course, all this only begs the question: Why is this drug-law-reform group giving so much money to Richardson?
True, Richardson came out this year in favor of a medical-marijuana bill — though he didn’t twist enough arms to get the bill through the House.
But Richardson frequently has criticized his predecessor Gary Johnson for advocating marijuana decriminalization. Richardson has made it clear he doesn’t want the state known for wanting to legalize drugs.
During his first month in office, Richardson stood side by side with national drug czar John Walters, a committed drug warrior, calling the visit “a symbolic meeting to show we support (Walters’) mission.”
And just last summer when John Dendahl got the GOP nomination for governor, several members of Richardson’s team attacked the Republican for his past support of several of DPA/DPAN’s basic positions on liberalizing marijuana laws.
“We welcome the opportunity to hear John Dendahl explain his pro-drug legalization plan throughout the campaign,” read a Richardson press release hours after Dendahl was nominated.
Of course, the $11.6 million Richardson campaign also welcomes the opportunity to collect campaign contributions.
October 12, 2006
Everyone knows Gov. Bill Richardson loves Hollywood. And soon his name will be appearing in movie credits.
No, major studios aren’t clamoring over rights to a feature-length version of the Richardson campaign’s “sheriff” commercials on TV.
The rules for a recent competition in which young filmmakers are seeking state grant money require that credits on any film they submit have to thank the governor.
On the state Film Office Web page announcing the program, potential applicants were told, “Awardees will acknowledge Governor Richardson and the New Mexico Film Office’s New Visions/New Mexico Program in the end credits of the completed film.”
The New Visions/New Mexico program, according to a news release earlier this year, offers a total of $160,000 in contracts “for New Mexico-based producers and directors to create narrative films, documentaries, animation and experimental works.” Individuals can get up to $20,000 for a project.
A total of 230 filmmakers applied, Film Office Director Lisa Strout said Wednesday.
Not all were seeking the maximum amount. “I heard that one was asking for $100,” she said.
The deadline for submissions was last week.
Funding recipients will be announced in December.
As for acknowledging Richardson, Strout said she wasn’t aware that was a requirement.
“What’s important is acknowledging the state,” Strout said. Specifically mentioning the governor, she said, “isn’t a requirement in my mind.”
Who knows, maybe one of these films acknowledging Richardson will go on to win the next Bill Richardson Film Achievement Award — the annual award established this year by the College of Santa Fe for outstanding national and regional contributions to film.
Oughta be in pictures: Richardson, of course, won’t be the first New Mexico governor to see his name in film credits.
Former Gov. David Cargo oversaw creation of New Mexico’s first state Film Office in 1968. According to its Web site, this was the first state agency in the country “whose primary goal was to enhance economic development via motion picture production.”
But Cargo didn’t stop there. He actually appeared in some movies made in the state.
According to the Internet Movie Guide, Cargo’s roles were as follows:
He played a lowly newspaper reporter in The Good Guys and the Bad Guys in 1969 — though his name didn’t appear in the credits. Some names that did appear in the credits in this Western were Robert Mitchum, George Kennedy and David Carridine.
The next year, Cargo had a bit part in a comedy called Up in the Cellar, which starred Larry Hagman and Joan Collins.
Cargo played a state trooper in Bunny O’Hare, a comedy that starred Bette Davis and Ernest Borgnine as a pair of golden-aged bank robbers.
And he played “Cpl. Benton” in a Western called The Gatling Gun, (shot in 1969, but not released until 1973).
Unfortunately, it appears Cargo was the biggest name in that movie.
What’s in a name?: A little mea culpa here. In Wednesday’s paper, I reported the Drug Policy Alliance contributed $25,000 to Richardson’s re-election campaign. Reena Szczepanski, who heads the local DPA office, says that’s not quite true. It actually was the Drug Policy Alliance Network that gave him the money.
The DPAN is affiliated with DPA, but they are funded separately. As Szczepanski explains it, donations to DPA are tax deductible, but donations to DPAN aren’t. Thus, DPA is not legally able to contribute to political candidates while DPAN is.
Also, billionaire George Soros — who as an individual gave Richardson $25,000 — sits on the DPA board, but not the DPAN’s.
Got all that?
Of course, all this only begs the question: Why is this drug-law-reform group giving so much money to Richardson?
True, Richardson came out this year in favor of a medical-marijuana bill — though he didn’t twist enough arms to get the bill through the House.
But Richardson frequently has criticized his predecessor Gary Johnson for advocating marijuana decriminalization. Richardson has made it clear he doesn’t want the state known for wanting to legalize drugs.
During his first month in office, Richardson stood side by side with national drug czar John Walters, a committed drug warrior, calling the visit “a symbolic meeting to show we support (Walters’) mission.”
And just last summer when John Dendahl got the GOP nomination for governor, several members of Richardson’s team attacked the Republican for his past support of several of DPA/DPAN’s basic positions on liberalizing marijuana laws.
“We welcome the opportunity to hear John Dendahl explain his pro-drug legalization plan throughout the campaign,” read a Richardson press release hours after Dendahl was nominated.
Of course, the $11.6 million Richardson campaign also welcomes the opportunity to collect campaign contributions.
Monday, October 09, 2006
TERRELL'S SOUND WORLD PLAYLIST
Sunday, October 8, 2006
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Sleeping Around by Sonic Youth
Destination X by Dead Moon
Dark Sunday Evening by Roy & The Devil's Motorcycle
Point and Shoot by Yo La Tengo
Ghost in the Sky by Sparklehorse
City of the Dead by The Clash
Obviously by Jesus H. Christ & The Four Hornsmen of the Apocalypse
No Drugs, No Way by The Great Body Shop
In This Home on Ice by Clap Your Hands and Say Yeah
From Blown Speakers by The New Pornographers
White Light/White Heat by Lou Reed
Let's Make the Water Turn Black/Harry, You're a Beast/The Orange County Lumber Truck/Oh No by Frank Zappa
The Wurlitzer by Doghead
What Do We Do With a Drunken Sailor by David Thomas
The Nightmare by Cab Calloway
BIG BECK BLOCK
Soldier Jane
Satan Gave Me a Taco
Mixed Bizness
Soul Suckin Jerk
Que Onda, Guero
I Get Lonesome
Hotwax
Dark Star
I Can't Write Left Handed by Carl Hancock Rux
Light and Day/Reach For the Sky by The Polyphonic Spree
Till Dreams Come True by Judee Sill
Don't Ask Why by Los Lobos
It Was You by Lindsay Buckingham
Now by The Plimsouls
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Sleeping Around by Sonic Youth
Destination X by Dead Moon
Dark Sunday Evening by Roy & The Devil's Motorcycle
Point and Shoot by Yo La Tengo
Ghost in the Sky by Sparklehorse
City of the Dead by The Clash
Obviously by Jesus H. Christ & The Four Hornsmen of the Apocalypse
No Drugs, No Way by The Great Body Shop
In This Home on Ice by Clap Your Hands and Say Yeah
From Blown Speakers by The New Pornographers
White Light/White Heat by Lou Reed
Let's Make the Water Turn Black/Harry, You're a Beast/The Orange County Lumber Truck/Oh No by Frank Zappa
The Wurlitzer by Doghead
What Do We Do With a Drunken Sailor by David Thomas
The Nightmare by Cab Calloway
BIG BECK BLOCK
Soldier Jane
Satan Gave Me a Taco
Mixed Bizness
Soul Suckin Jerk
Que Onda, Guero
I Get Lonesome
Hotwax
Dark Star
I Can't Write Left Handed by Carl Hancock Rux
Light and Day/Reach For the Sky by The Polyphonic Spree
Till Dreams Come True by Judee Sill
Don't Ask Why by Los Lobos
It Was You by Lindsay Buckingham
Now by The Plimsouls
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
Sunday, October 08, 2006
THE END OF COCKFIGHTING AS WE KNOW IT?
Longtime New Mexico columnist Ned Cantwell predicts the end of cockfighting in New Mexico based on Gov. Bill Richardson's statement that he'll make an announcement about the issue in January. CLICK HERE
I dunno, Ned. Maybe he's just going to announce that an Adam Sandler remake of Warren Oates' classic 1974 movie Cockfighter will be be made in New Mexico.
Or maybe Richardson will announce his support for some variaton of Cantwell's tongue-in-cheek idea for "one final cockfighting derby, the Super Bowl of Cockfights, pitting the top fighting roosters from New Mexico against the best the Louisiana has to offer."
Probably more feasible than a pro football team in Albuquerque.
Saturday, October 07, 2006
THE SANTA FE OPRY PLAYLIST
Friday, October 6, 2006
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell
OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
When the Good and the Bad Get Ugly by Butch Hancock
The Communist Hoedown by Rotondi
Walk On Out of My Mind by Waylon Jennings
King of California by Dave Alvin
Ain't Living Long Like This by Waylon Jennings
Drinking Wine Spo-Dee-O-Dee, Drinking Wine by Johnny Burnette
Wolverton Mountain by Claude King
Hard Times by The Bubbadinos
Bears in Them Woods by Nancy Apple
Then I'll Be Movin' On by Mother Earth
Oil in My Lamp by The Byrds
Back to Blue by Bobby Bare Jr's Young Criminals Starvation League
Cautious by Jim Lauderdale
Rode Hard by Amy Rigby
Almost Persuaded by David Houston
Devil Woman by Marty Robbins
Hot Tape Deck by Roy D. Mercer
Live and Die Rock 'n' Roll by Ray Wylie Hubbard
Diamond Joe by Guy Clark and Verlon Thompson
Ain't Talkin' by Bob Dylan
Brother Music, Sister Rhythm by Wayne Hancock
Cocaine Blues by Holy Modal Rounders
Three-Teared Wedding Cake by Margaret Burke
Cowboy Song by Dan Reeder
Old Time Religion by Rob McNurlin
Bride in Pink by Chip Taylor
Never Gonna Be Your Bride by Carrie Rodriguez
Summer is Over by Fred Eaglesmith
No Tears Tonight by Jon Langford & Richard Buckner
Brown Ferry Blues by Robbie Fulks
Treat Each Other Right by Greg Brown
Something to Think About by Willie Nelson
What a Wonderful World by Chris Thomas King
CLOSING THEME: Comin' Down by The Meat Puppets
Steve Terrell is proud to report to the monthly Freeform American Roots Radio list
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell
OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
When the Good and the Bad Get Ugly by Butch Hancock
The Communist Hoedown by Rotondi
Walk On Out of My Mind by Waylon Jennings
King of California by Dave Alvin
Ain't Living Long Like This by Waylon Jennings
Drinking Wine Spo-Dee-O-Dee, Drinking Wine by Johnny Burnette
Wolverton Mountain by Claude King
Hard Times by The Bubbadinos
Bears in Them Woods by Nancy Apple
Then I'll Be Movin' On by Mother Earth
Oil in My Lamp by The Byrds
Back to Blue by Bobby Bare Jr's Young Criminals Starvation League
Cautious by Jim Lauderdale
Rode Hard by Amy Rigby
Almost Persuaded by David Houston
Devil Woman by Marty Robbins
Hot Tape Deck by Roy D. Mercer
Live and Die Rock 'n' Roll by Ray Wylie Hubbard
Diamond Joe by Guy Clark and Verlon Thompson
Ain't Talkin' by Bob Dylan
Brother Music, Sister Rhythm by Wayne Hancock
Cocaine Blues by Holy Modal Rounders
Three-Teared Wedding Cake by Margaret Burke
Cowboy Song by Dan Reeder
Old Time Religion by Rob McNurlin
Bride in Pink by Chip Taylor
Never Gonna Be Your Bride by Carrie Rodriguez
Summer is Over by Fred Eaglesmith
No Tears Tonight by Jon Langford & Richard Buckner
Brown Ferry Blues by Robbie Fulks
Treat Each Other Right by Greg Brown
Something to Think About by Willie Nelson
What a Wonderful World by Chris Thomas King
CLOSING THEME: Comin' Down by The Meat Puppets
Steve Terrell is proud to report to the monthly Freeform American Roots Radio list
Friday, October 06, 2006
PAIGE McKENZIE UPDATE
Actually not much new to report here about the vicious attack on Paige McKenzie, GOP gubernatorial candidate John Dendahl's spokeswoman and longtime Republican activist.Paige was severely beaten in the face when she stopped to fix a flat tire in a parking lot in Bernalillo after 7 p.m. Wednesday. Luckily EMYS were nearby.
Police say they have no suspects. Dendahl has told reporters that a friend told him Paige might have recognized her attacker, though police won't confirm that.
The good news is that Paige is no longer in "critical" condition. Late yesterday afternoon, UNM Hospital changed her condition to "serious."
Her parents, who live in Florida, arrived in Albuquerque yesterday and issued a statement through p.r. whiz Tom Garrity:
Garrity said the family will set up a fund to help defray Paige's medical cost. I'll post that here when I get the details.
"We are saddened by the brutal sequence of events that have left our daughter fighting for her life. We appreciate the prayers and support that has come through in various forms. The support, skilled doctors and Paige's faith will get us all through this difficult time. We are grateful for the Sandoval County EMT's who first found Paige and started work to save her life. The care and attention by the doctors here at UNMH is unparalleled.
We hope that those responsible for this despicable act will be brought to justice soon. We appreciate your prayers and support during this very difficult time."
A few details, I learned yesterday:
NewsMax, a conservative publication for which McKenzie has worked, quoted her brother Patrick McKenzie saying the flat tire apparently had been slashed.
McKenzie had been working at state Republican headquarters in Albuquerque shortly before the attack and was apparently was on her way home when she pulled over to fix a flat tire.
Personally I hope by the end of the day I'll be writing about an arrest.
UPDATE: This just in:
Albuquerque, NM - Today family and friends of Paige McKenzie established a charitable fund at First Community Bank with the goal of offsetting rising medical costs associated with the brutal attack against her earlier this week. People can donate money to the "Paige McKenzie Fund" at any First Community Bank in New Mexico. First Community Bank made the first donation of $500.00 today. People can donate funds in person or send a check to:
First Community Bank
Attn: Paige McKenzie Fund
Post Office Box 3686
Albuquerque, New Mexico 87190
Checks should be made payable to the "Paige McKenzie Fund."
TERRELL'S TUNE-UP: INFORMATION, PLEASE
A version of this was published in The Santa Fe New Mexican
October 6, 2006
Kitchen-sink troubadour, poetic salad-shooter and rock ’n’ roll puppetmeister Beck is back with a new album that’s delightfully all over the map.
I have to admit, since 2002’s Sea Change — which I found to be a one-note pity-party downer, even though it was loved and praised by virtually everyone else through the hallowed halls of criticdom — I tend to approach Beck albums with a little trepidation.
And yes, I was a little worried when I read that the new one is produced by Nigel Godrich, who had the same position on Sea Change as well as Mutations, another subdued Beck album.
But thankfully, The Information, released this week, is full of Beck’s trademark sonic goofiness, his weird sense of humor, and even some kinda-purdy tunes here and there.
This one might not rank with his best, but it’s a great listen that doesn’t get dull.
As we’ve come to expect with Beck, this album contains fascinating blends of white-kid hip-hop, carnival-freak funk, folk/blues/bossa nova, Plan 9 From Outer Space electronica accompanying surreal, absurdist lyrics. It’s a crazy tour of Beck’s private universe. There are sudden stops — and no seat belts.
“One, two, you know what to do.” That’s the studio chatter that kicks off the first song, a hip-hoppy track called “Elevator Music.” With this song I’m almost tempted to think Beck has been listening to old Gluey Brothers CDs.
One of the most musical and straightforward cuts on The Information is the bouncy “Think I’m in Love.” It’s a little poppy, though not without some nicely insane Beck touches, like the wild bongo percussion during a couple of the instrumental breaks. I’m actually surprised that this wasn’t the one the record company markets as a single. (Instead the company chose “Nausea,” a more hopped-up number.)
One of the prettiest songs here is “New Round,” in which, after an intro of stray banjo thumbs and what sounds like a mock Gregorian chant, Beck experiments with multitracked vocals, even indulging in some self-harmonizing.
Beck’s acoustic guitar is out front on “No Complaints,” while “1000BPM” is a clattering percussion workout that doesn’t play at the speed the title implies.
The title song starts out with relentless, almost industrial drums and an ethereal female voice singing “ahhhhh,” passing through an electronic asteroid belt before slowing down and melting into a cello-driven cool-down that ends in an explosion. This goes directly into a slow synth air called “Movie Theme.”
The album concludes with the menacing if meandering 10-minute suite “The Horrible Fanfare/Landslide/Exoskeleton.” This little odyssey starts out with a funky bass line — the tank that carries the listener over rugged musical terrain - incomprehensible Beck-rapping, an enticing psychedelic guitar, old-fashioned scratching, and a robotic female voice. About six minutes into the piece, the bottom drops out and you’re floating through the cosmos. The last couple of minutes is a bizarre monologue about space travel. The end is so sudden that the listener feels abandoned.
The main problem with The Information is its lack of truly memorable tunes. There’s certainly no “Loser,” “Devil’s Haircut,” or “Mixed Bizness” (where he tried to “make all the lesbians scream.”) But, as with his best albums, The Information is a treat for ears that makes you keep listening for those funny little moments of Beckian wonder.
Big Beck block: Hear selections from this album and other Beck goodies Sunday night on Terrell’s Sound World. That’s 10 p.m. to midnight on KSFR 90.7 FM, Santa Fe Public Radio. And don’t forget The Santa Fe Opry, Friday night, same time, same station.
Also recommended:
*Good Bread Alley by Carl Hancock Rux. Rux is a multifaceted artist — poet, playwright, and photographer — and an amazing musical force as well.
This album basically is art-damaged blues. Blues for the literate.
Rux saves his best for the first. The title song is a slow (almost plodding), nearly six-minute blues riff, complete with a ghostly trumpet. But while the beat is unhurried and deliberate, Rux sounds like a preacher on fire, almost breathless as he chants and rants about “the magistrates and the apostates” and dreams that “always begin with bruises.” His vocals fade in and out, making the whole track sound alternatively urgent and magnificently spooky.
“Living Room” is based on a mutated, pounding “Gimme Some Lovin’” hook. Again, Rux sounds like a mad prophet who’s broken into recording to get his message out.
A more subtle attack is used on “Thadius Star.” The piano here sounds like “Dance of the Sugar Plum Fairy,” while “Behind the Curtain” starts off slow but ebbs and flows with gospel fervor.
While Rux is best-known as a writer, there’s one cover here, the obscure Bill Withers protest song “I Can’t Write Left Handed.” It’s the story of a soldier who lost an arm. “Will you write a letter, a letter to my mother?” he cries. “Tell the tale, tell the tale, tell the tale.”
You’ll find some compelling tales here.
October 6, 2006
Kitchen-sink troubadour, poetic salad-shooter and rock ’n’ roll puppetmeister Beck is back with a new album that’s delightfully all over the map.
I have to admit, since 2002’s Sea Change — which I found to be a one-note pity-party downer, even though it was loved and praised by virtually everyone else through the hallowed halls of criticdom — I tend to approach Beck albums with a little trepidation.
And yes, I was a little worried when I read that the new one is produced by Nigel Godrich, who had the same position on Sea Change as well as Mutations, another subdued Beck album.
But thankfully, The Information, released this week, is full of Beck’s trademark sonic goofiness, his weird sense of humor, and even some kinda-purdy tunes here and there.
This one might not rank with his best, but it’s a great listen that doesn’t get dull.
As we’ve come to expect with Beck, this album contains fascinating blends of white-kid hip-hop, carnival-freak funk, folk/blues/bossa nova, Plan 9 From Outer Space electronica accompanying surreal, absurdist lyrics. It’s a crazy tour of Beck’s private universe. There are sudden stops — and no seat belts.
“One, two, you know what to do.” That’s the studio chatter that kicks off the first song, a hip-hoppy track called “Elevator Music.” With this song I’m almost tempted to think Beck has been listening to old Gluey Brothers CDs.
One of the most musical and straightforward cuts on The Information is the bouncy “Think I’m in Love.” It’s a little poppy, though not without some nicely insane Beck touches, like the wild bongo percussion during a couple of the instrumental breaks. I’m actually surprised that this wasn’t the one the record company markets as a single. (Instead the company chose “Nausea,” a more hopped-up number.)
One of the prettiest songs here is “New Round,” in which, after an intro of stray banjo thumbs and what sounds like a mock Gregorian chant, Beck experiments with multitracked vocals, even indulging in some self-harmonizing.
Beck’s acoustic guitar is out front on “No Complaints,” while “1000BPM” is a clattering percussion workout that doesn’t play at the speed the title implies.
The title song starts out with relentless, almost industrial drums and an ethereal female voice singing “ahhhhh,” passing through an electronic asteroid belt before slowing down and melting into a cello-driven cool-down that ends in an explosion. This goes directly into a slow synth air called “Movie Theme.”
The album concludes with the menacing if meandering 10-minute suite “The Horrible Fanfare/Landslide/Exoskeleton.” This little odyssey starts out with a funky bass line — the tank that carries the listener over rugged musical terrain - incomprehensible Beck-rapping, an enticing psychedelic guitar, old-fashioned scratching, and a robotic female voice. About six minutes into the piece, the bottom drops out and you’re floating through the cosmos. The last couple of minutes is a bizarre monologue about space travel. The end is so sudden that the listener feels abandoned.
The main problem with The Information is its lack of truly memorable tunes. There’s certainly no “Loser,” “Devil’s Haircut,” or “Mixed Bizness” (where he tried to “make all the lesbians scream.”) But, as with his best albums, The Information is a treat for ears that makes you keep listening for those funny little moments of Beckian wonder.
Big Beck block: Hear selections from this album and other Beck goodies Sunday night on Terrell’s Sound World. That’s 10 p.m. to midnight on KSFR 90.7 FM, Santa Fe Public Radio. And don’t forget The Santa Fe Opry, Friday night, same time, same station.
Also recommended:
*Good Bread Alley by Carl Hancock Rux. Rux is a multifaceted artist — poet, playwright, and photographer — and an amazing musical force as well.
This album basically is art-damaged blues. Blues for the literate.
Rux saves his best for the first. The title song is a slow (almost plodding), nearly six-minute blues riff, complete with a ghostly trumpet. But while the beat is unhurried and deliberate, Rux sounds like a preacher on fire, almost breathless as he chants and rants about “the magistrates and the apostates” and dreams that “always begin with bruises.” His vocals fade in and out, making the whole track sound alternatively urgent and magnificently spooky.
“Living Room” is based on a mutated, pounding “Gimme Some Lovin’” hook. Again, Rux sounds like a mad prophet who’s broken into recording to get his message out.
A more subtle attack is used on “Thadius Star.” The piano here sounds like “Dance of the Sugar Plum Fairy,” while “Behind the Curtain” starts off slow but ebbs and flows with gospel fervor.
While Rux is best-known as a writer, there’s one cover here, the obscure Bill Withers protest song “I Can’t Write Left Handed.” It’s the story of a soldier who lost an arm. “Will you write a letter, a letter to my mother?” he cries. “Tell the tale, tell the tale, tell the tale.”
You’ll find some compelling tales here.
Thursday, October 05, 2006
GOP OPERATIVE ATTACKED
Paige McKenzie, currently the spokeswoman for the John Dendahl gubernatorial campaign, was viciously attacked in Bernallillo last night and is in critical condition ay UNM Hospital in Albuquerque.
I just spoke with Dendahl, who said Paige is expected to survive, though she's going to require some surgery.
Apparently she was attacked and beaten in the face with a tire iron when she stopped in a bank parking lot to fix a flat tire. Fortunately, paramedics were across the street and heard Paige's screams. They rushed her to the hospital.
Paige reportedly recognized the attacker. At this writing, no arrest has been reported. The attack isn't thought to be related to politics.
Paige, who moved to New Mexico from Nashville several years ago, has held a number of positions with the GOP. She's well known to anyone who's covered state politics here in recent years. I often talk with her and laugh about the craziness of New Mexico politics.
I met her when she was the spokeswoman for House Republicans a few sessions ago. I got both of us in trouble during that time when I quoted her referring to Ben Lujan, Lucky Varela and Max Coll as the "Santa Fe Mafia." Max denounced me as well as Paige on the House floor that morning.
She's also been executive director for the Bernalillo County Republican Party. In addition to workng for Dendahl, she's also been helping in Demesia Padilla's campaign for state treasurer.
Here's a link to a story about the attack: CLICK HERE
UPDATE: The governor's office just issued this statement:
I just spoke with Dendahl, who said Paige is expected to survive, though she's going to require some surgery.
Apparently she was attacked and beaten in the face with a tire iron when she stopped in a bank parking lot to fix a flat tire. Fortunately, paramedics were across the street and heard Paige's screams. They rushed her to the hospital.
Paige reportedly recognized the attacker. At this writing, no arrest has been reported. The attack isn't thought to be related to politics.
Paige, who moved to New Mexico from Nashville several years ago, has held a number of positions with the GOP. She's well known to anyone who's covered state politics here in recent years. I often talk with her and laugh about the craziness of New Mexico politics.
I met her when she was the spokeswoman for House Republicans a few sessions ago. I got both of us in trouble during that time when I quoted her referring to Ben Lujan, Lucky Varela and Max Coll as the "Santa Fe Mafia." Max denounced me as well as Paige on the House floor that morning.
She's also been executive director for the Bernalillo County Republican Party. In addition to workng for Dendahl, she's also been helping in Demesia Padilla's campaign for state treasurer.
Here's a link to a story about the attack: CLICK HERE
UPDATE: The governor's office just issued this statement:
“I am shocked and disgusted by this brutal, senseless attack. Our thoughts are with Paige and her family and we pray for her full recovery. I have also offered the resources of the State Police to assist with the investigation, should they be needed.”Here's a little feature about Paige the Albuquerque Tribune did a couple of weeks ago: CLICK HERE
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