Thursday, March 08, 2007

ROUNDHOUSE ROUNDUP: TELEPHONE BANKING

A version of this was published in The Santa Fe New Mexican
March 8, 2007


Thumbing through lobbyist reports at the Secretary of State’s Office, you don’t find only records of lavish parties for lawmakers and expensive dinners for legislative committees.

Another expense popping up lately involves what’s known as telephone banking.

Last week, I reported on a Texas lobbyist for Philip Morris who spent $4,000-plus to have a Virginia company call New Mexico smokers and urge them to tell their legislators to vote against House Bill 965, which would raise cigarette taxes.

It’s not just big industries spending money on phone banks, however. It’s citizens groups, too.

According to recent lobbyist reports required to be filed within 48 hours of the expenditure, Matt Brix, executive director of and registered lobbyist for New Mexico Common Cause reported spending $2,607 on phone banking late last month.

The calls were made to constituents in strategically selected legislative districts, Brix said Wednesday.

If the person called agrees to urge his legislator to vote for ethics-reform bills, he is immediately patched through to the legislator’s phone.

In addition to using a professional phone banker, Brix said, Common Cause is using volunteers to make calls.

Another group is helping Common Cause in this effort. The Albuquerque-based state chapter of the League of Young Voters reported spending $4,565, about half of which was for phone banking on behalf of the ethics legislation,such as a bill that would restrict gifts to public officials.

The other half went for a radio ad targeting House Bill 685, sponsored by Rep. Dan Silva, D-Albuquerque.

This measure would require state agencies to disclose the names of whistle-blowers who report alleged violations and limit a state agency’s rule-making ability to only those areas which the Legislature has already put into law. A fiscal-impact report by the Legislative Finance Committee says this could greatly reduce an agency’s ability to act, League of Young Voters co-director Keegan King said Wednesday.

The bill got a unanimous do-pass from the House Business and Industry Committee and currently is in the House Appropriations and Finance Committee.

The jury is still out on whether legislators are influenced more by expensive parties and fancy dinners or by phone calls generated by phone banks.

Wanted: Songwriting Cowboys: Rep. Gloria Vaughn, R-Alamogordo, is learning that getting an “official state cowboy song” through the Legislature is nearly as hard as passing ethics-reform bills. For a couple of years now, she has tried unsuccessfully to get a song called “New Mexico” by Calvin Boles and R.D. Blankenship designated the official cowboy song. (CLICK HERE, then scroll down to the singing cowboy for more info on this song.)

It’s not that the Legislature is unfriendly to cowpokes. On Wednesday, the House unanimously passed House Memorial 81, sponsored by Rep. Anna Crook, D-Clovis, which declares March 15 as Cowboy Day in the House.

Vaughn’s cowboy-song bill stalled this year, according to state folklorist Claude Stephenson, because nobody can find Blankenship’s heirs. For a song to be declared an official state song, the writers or their heirs must transfer the rights to that song to the state, Stephenson said.

But Vaughn isn’t giving up. She introduced House Memorial 70, which calls for a state competition to write an official state cowboy song.

The measure still is in committee. Stephenson said if the House passes it, the state Music Commission — of which he’s a member — would set up a committee to judge the competition.

“The winner forfeits his copyright but will gain notoriety and will be enshrined forever in the state Blue Book,” Stephenson said.

Bye, centennial?: But will they sing the state cowboy song at the New Mexico Centennial celebration, which is coming up Jan. 6, 2012?

Not if the state doesn’t start planning its 100th birthday, the state folklorist said.

“We’re going to have a party in 2012, like it or not,” Stephenson said. “It’s coming up in less than five years. Do we want to plan for a good celebration or not?”

The state government of Arizona, which also became a state in 1912, has been working on its centennial for two years — with a $2.5 million budget, Stephenson said.

Rep. Rhonda King, D-Santa Fe, introduced HB 511, which would set up a 13-member Centennial Commission with a $250,000 appropriation. But the proposal apparently didn’t make the state budget.

Sounds like a pot-luck dinner and no-host bar for New Mexico in 2012.

Monday, March 05, 2007

TERRELL'S SOUND WORLD PLAYLIST

Sunday, March 4, 2007
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

NEW: email me during the show! terrell@ksfr.org

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Oowee Baby by The Cramps
Backstreet Girl by Social Distortion
Psychodelic Nightmare by Dead Moon
Here Comes Sickness by Mudhoney
I Hate Girls by Spanking Charlene
Searching by The Monsters
Rockabilly Madman by Screaming Lord Sutch
Here Comes the Terror by King Automatic
Bermuda by Roky Erikson

Jack by TAD
Everybody lets Me Down by J. Mascis & The Fog
They Ride by The Twilight Singers
Dumb All Over by Frank Zappa
Vicki Is a Pro by Jesus H. Christ & The Four Hornsmen of the Apocalypse
Sing No Evil by Half Japanese
Single Again by The Fiery Furnaces
Come on a My House by Julie London

Stack O Lee by Samuel L. Jackson
Little Betty by Otis Taylor
Victory by P.J. Harvey
Fish in the Jailhouse by Tom Waits
Release It by The Time
She Cracked by Seaweed
Missing My Baby by G Love

Rhinocratic Oaths by The Bonzo Dog Band
Blue V Woman by Pere Ubu
Strange Apparition by Beck
Constant Sorrow Man by Frank Black & The Catholics
King Eternal by TV on the Radio
Out of Nowhere by Mark Lannegan
Fountains and Tramways by Beirut
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Saturday, March 03, 2007

THE SANTA FE OPRY PLAYLIST

Friday, March 2, 2007
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell

NEW: email me during the show! terrell@ksfr.org

OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Bloody Mary Morning by The Supersuckers
Great Atomic Power by Charlie Louvin with Jeff Tweedy
Cash on the Barrelhead by Joe Nichols & Rhonda Vincent
There Goes Bessie Brown by Jim Lauderdale
Waiting For a Train by Dickie Betts
Pictures Can't Talk Back by Johnny Paycheck
Who Shot Sam by George Jones
Big Daddy's Rye by Arty Hill & The Long Gone Daddies
The Hunch by Hasil Adkins

I Love You So Much it Hurts Me by Willie Nelson, Merle Haggard & Ray Price
The Face of a Fighter by Willie Nelson
I'll Sail My Ship Alone by Johnny Bush
Hand of the Allmighty by John R. Butler
Sweet Rosie Jones by Buck Owens
Old Dogs, Children & Watermelon Wine by John Prine & Mac Wiseman
Sweet Thing by Ernest Tubb & Loretta Lynn
Picture Show in My Mind by Brent Hoodenpyle & The Loners
Red Silk Stockings & Green Perfume by Maddox Brothers & Rose

Engine Engine # 9 by Southern Culture on the Skids
When Two Worlds Collide by Roger Miller
If It's Really Got to Be This Way by Bill Kirchen
Learning How to Live by Mike Ireland
Bonapart's Retreat by Mike Nesmith
Oh Lonesome Me by Don Gibson
Lubbock Lights by Thrift Store Cowboys
I Don't Wanna Work by Eric Hisaw

Standin' So Still by Boris McCutcheon
Distant Drums by Jim Reeves
These Days by Susan Clark
Close the Door by Eleni Mandell
Last Seen in Gainesville by Audry Auld Mezera
The Pilgrim by Jerry Lee Lewis & Kris Kristofferson
California Stars by Billy Bragg & Wilco
CLOSING THEME: Comin' Down by The Meat Puppets

Steve Terrell is proud to report to the monthly Freeform American Roots Radio list

Friday, March 02, 2007

TERRELL'S TUNEUP: COUNTRYPOLITAN HAMS

A version of this was published in The Santa Fe New Mexican
March 2, 2007



Countrypolitan — an outgrowth of the Nashville sound of the ’50s —
is among the most commercially oriented genres of country music. The Nashville sound emerged in the ’50s as a way to bring country music to a broad pop audience. The movement was led by Chet Atkins, who was the head of RCA Records’ country division. Atkins designed a smooth, commercial sound that relied on country song structures but abandoned all of the hillbilly and honky tonk instrumentation. He hired session musicians and coordinated pop-oriented, jazz-tinged productions. ... In the late ’60s, the Nashville sound metamorphosed
into countrypolitan, which emphasized these kinds of pop production flourishes. Featuring layers of keyboards, guitars, strings, and vocals, countrypolitan records were designed to cross over to pop radio and they frequently did.


From Allmusic.com

It was the more excessive countrypolitan sounds of early-’70s Nashville (as well as the creative stranglehold exerted by Nashville’s record labels) that prompted the Willie ’n’ Waylon outlaw revolt that briefly turned the country-industrial complex on its head 30-some years ago. You could argue it also sparked Buck Owens’ Bakersfield rebellion.

It’s natural for me to side with the rebels against the establishment in situations like this and to vilify the purveyors of countrypolitan for trying to smooth over good, raw American hillbilly sounds for lowly purposes of filthy lucre.

The only thing is — and I’m sure Willie and Waylon would agree — the countrypolitan era produced some great music.

Sure, there was crap and pap like Johnny Tillotson, “Dreams of the Everyday Housewife,” Eddie Arnold’s squishier moments, “The Happiest Girl in the Whole U.S.A.,” Ronnie Milsap, and Olivia Newton John’s tenure as a “country” singer. And sure, it was countrypolitan that later morphed into the Urban Cowboy scare of the ’80s and the Hot New Country scourge of the ’90s. And it’s probably to blame for Kenny Rogers as well.

But give the countrypolitans credit where it’s due. What would American music be like without Patsy Cline or Jim Reeves or Tammy Wynette or Charlie Rich? And my Okie hero Roger Miller was considered countrypolitan — and if you’re running down Roger, you’re walking on the fightin’ side of me.

Southern Culture on the Skids, that surf-guitar/trashabilly/voodoo-and-fried-food-obsessed trio from North Carolina, recognizes the value of this misunderstood music. SCOTS’s new album is titled Countrypolitan Favorites. And indeed, this all-covers affair includes some prize tunes of the genre.

The musicians do a version of one of the first singles I ever bought in the early ‘60s, Claude King’s “Wolverton Mountain.” They do raw renditions of Taos resident Lynn Anderson’s hit “Rose Garden” and Don Gibson’s “Oh, Lonesome Me.” They cover the wife-swapping classic “Let’s Invite Them Over,” originally recorded by George Jones in 1963 (and more recently recorded just a few years ago by John Prine and Iris DeMent).

And they do a respectful and respectable take on a Roger Miller song, “Engine Engine # 9,” with railroad drums and a Floyd Cramerish piano as well as Rick Miller’s trademark surfy guitar.
There’s “Tobacco Road,” a song that bounced around between rock ’n’ roll bands and soul singers — from The Blues Magoos to Lou Rawls. But it was written by Nashville tunesmith John D. Loudermilk.

Don’t expect the same kind of overproduction that glumped up so much of the country music of the countrypolitan era. Most of these songs sound much closer to the hard-twanging, R & B-informed style of SCOTS than the slick Nashville studio sounds of Owen Bradley or Billy Sherrill. Miller and crew don’t make the mistake of trying to camp up these songs.

They keep the yodels on “Wolverton Mountain,” but they add an Augie Meyers-like, “96 Tears”-style organ for a Tex-Mex flavor. And Miller’s snarling guitar intro to “Rose Garden” never would have been found on a Lynn Anderson record — though I bet Lynn wouldn’t have any problems with Mary Huff’s vocals here.

And as for “Tobacco Road,” the biggest surprise here is that SCOTS hasn’t recorded this classic before now. It dealt with Southern culture on the skids long before there was a band named after the phenomenon.

But don’t expect to find only countrypolitan classics on Countrypolitan Favorites. For some reason it also includes a bunch of rock songs by the likes of Creedence Clearwater Revival, The Kinks, The Byrds, and even T. Rex.

Don’t get me wrong. Most of these sound fine, especially the Kinks’ country rocker “Muswell Hillbilly.” (There’s that garage-band organ again.) The relatively obscure Creedence tune “Tombstone Shadow” sounds like it was written for SCOTS. And Huff makes Wanda Jackson’s rockabilly torch song “Funnel of Love” her own.

But I would have preferred if SCOTS had stuck to the theme and rescued more lost countrypolitan songs. Jim Reeves’ “Distant Drums,” written about a soldier going to Vietnam, would be just as meaningful today. The group could have worked magic with Joe South’s “Walk a Mile in My Shoes” or Bobby Bare’s “Detroit City.” Huff would sound great interpreting just about any of Wynette’s hits.

She even might have been able to redeem “The Happiest Girl in the Whole U.S.A.”

Thursday, March 01, 2007

ROUNDHOUSE ROUNDUP: GUTTING ELECTRONIC DISCLOSURE

A version of this was published in The Santa Fe New Mexican
March 1, 2007


The only campaign-finance bill to speed through the state Senate this session is one that would have the effect of slowing down campaign-finance reporting.

Senate Bill 363, sponsored by Senate Majority Leader Michael Sanchez, D-Belen, was passed unanimously by the Senate on Wednesday with virtually no discussion.

This on the day after senators killed the latest attempt to open the Legislature’s conference committees to the public.

Basically, SB 363 would make it optional for a candidate for state office to file campaign finance reports online. A requirement for online reports went into effect only last year. The idea was to let the public click on the secretary of state’s Web site and see all the money coming into the various campaigns and how it was being spent.

“This bill certainly will significantly increase the amount of time between the filing of a report and the ability of people to view them,” Matt Brix, executive director of New Mexico Common Cause, told me Wednesday.

“Common Cause believes that a robust electronic filing system is one of the basic tenets of good disclosure laws, especially in 2007,” Brix said.

Sanchez argues his bill isn’t intended to thwart electronic reporting. “This isn’t trying to hide campaign-finance reports,” he told me a couple of weeks ago. “It’s for people like me who aren’t very good at computers or access to the Internet.”

Sen. Dede Feldman, D-Albuquerque, who sponsored the legislation that created the electronic filing system, voted for Sanchez’s bill.

Immediately after the vote, Feldman said some amendments to the bill made in committees made it more palatable. “It’s still not a good measure,” she admitted. “But given the difficulty that some legislators had with electronic filing, it’s probably the best we could do.”

The best they could do.

I was afraid of that.

SB 363 seems to be on the fast track in the House as well. House Speaker Ben Luján, D-Nambé, assigned it to only one committee — the House Voters and Elections Committee.

However, there could be hope on the Capitol’s Fourth Floor. Gilbert Gallegos, spokesman for Gov. Bill Richardson, declined Wednesday to say whether the governor would veto the measure. But he stuck by a statement he made to The Associated Press: “Gov. Richardson continues to support a firm requirement for candidates to file campaign reports electronically. The governor believes New Mexicans are better served if campaign finances are as transparent as possible.”

SOS for the SOS Web site: Critics of the current electronic filing system do have one valid point. Simply put, the system doesn’t make it easy for anyone.

About the only discussion of Sanchez’s bill Wednesday was by Sen. Richard Martinez, D-Española, who spoke about the difficulty he had trying to file his last report. And he said he was trying to file from the Secretary of State’s Office.

And it’s difficult — in fact impossible in recent months — on the public’s end as well.

Backers of the original electronic filing requirement said the public no longer would have to travel to Santa Fe and go to the Secretary of State’s Office during business hours to review campaign reports.

Of course, it didn’t work out that way.

As faithful readers of this column know, the section of the SOS Web site with campaign finance reports basically broke down sometime last October. Almost none of the reports that were due after an early October deadline are available on the site. If you want to know who made last-minute contributions to most candidates last year, you’ll have to pay a personal visit to the Secretary of State’s Office.

James Flores, spokesman for new Secretary of State Mary Herrera, told me recently that his office has hired a computer expert to revamp the Web site.

But if you thought the SOS Web site couldn’t get any more useless, SB 363 could prove you wrong.

Let’s play nice: Gov. Bill Richardson’s most-quoted moment from last week’s presidential candidate forum in Carson City, Nev., was his call for Democratic candidates not to attack one another. Lots of national press quoted him in context of a feud between U.S. Sen. Hillary Clinton and U.S. Sen. Barak Obama concerning nasty remarks that an Obama supporter made about Clinton and her husband, former President Clinton.

However, Richardson’s stance on campaign negativity aroused memories for a Republican operative and blogger from Albuquerque.

Whitney Cheshire was the press spokeswoman for John Sanchez, Richardson’s GOP opponent in 2002. In her Wednesday Morning Quarterback blog on Monday she wrote, “... we remembered that Richardson called for no negative campaigning in his first race for NM Gov against John Sanchez, and then he launched the first SCUD, so we’re inclined to believe the `cease fire' will only remain in effect for him if and only if HE DOESN’T CHANGE HIS MIND.”

Indeed, in 2002, it was Richardson who aired the first negative television ads in that race, which was notorious for its attack ads.

Monday, February 26, 2007

TERRELL'S SOUND WORLD PLAYLIST

Sunday, February 25, 2007
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

NEW: email me during the show! terrell@ksfr.org

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres

Oscars Set
Tinsel Town Rebellion by Frank Zappa
No Business Like Show Business by Ethel Merman
Martin Scorsese by King Missile
Celluloid Heroes by The Kinks
Beloved Movie Star by Stan Ridgway
New Age by The Velvet Underground

She's Going Bald by The Beach Boys
Oops I Did it Again by Richard Thompson
People Who Died by The Jim Carrol Band
Neighborhood 1 - Tunnels by The Arcade Fire
Perfectly Good Guitar by John Hiatt
Windsurfing Nation by Broken Social Scene
Snake by P.J. Harvey
My Bai Taiga by Tyva Kyzy

Something in Your Back Pocket by Otis Taylor
Love Machine by The Time
Staring at the Sun by TV on the Radio
The Girl Can't Dance by Bunker Hill with Link Wray
Princess Lala by Irma Thomas
Mr. Big Stuff by Jean Knight
River of Dreams by Jerry Lawson & Talk of the Town
I Want You to Want Me by The Holmes Brothers

In Shock by Kristin Hersh
The Lonely End of the Rink by The Tragically Hip
Cousin Chris by The Fiery Furnaces
Live With Me by The Twilight Singers with Mark Lannegan
Love For Sale by Julie London
Little Drop of Poison by Tom Waits
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Saturday, February 24, 2007

INSIGHT NEW MEXICO


I'll be appearing on Eric Griego's talk show Insight New Mexico between 3 pm and 4 pm this afternoon.
It's on Albuqueruqe's 1350 AM Talk Radio station -- which unfortunately doesn't come in very well in Santa Fe. But the show is podcasted HERE.

THE SANTA FE OPRY PLAYLIST

Friday, February 23, 2007
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell


OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Guacamole by The Texas Tornados
Are You Sure Hank Done it This Way by Uncle Tupelo with Joe Ely
Rich Man's Town by Country Dick Montana
Closing Time by The Pleasure Barons
I Just Want to Meet the Man by Robbie Fulks
Don't Be Ashamed of Your Age by Jerry Lee Lewis with George Jones
Tobacco Road by Southern Culture on the Skids
Do You Call That a Buddy? by Martin, Bogan & Armstrong

Pinball Machine by Splitlip Rayfield
Why Don't You Haul Off and Love Me by Scroatbelly
One Voice by The Gear Daddies
Boil the Strings by The Gourds
Lookout Mountain by Drive By Truckers
Old Dan Tucker by Bruce Springsteen
Okie Boogie by Maddox Brothers & Rose

Heartaches by the Number by Willie Nelson, Merle Haggard & Ray Price
I'm Barely Hangin' On to Me by Miss Leslie & Her Juke Jointers
Gonna Be Flyin' Tonight by Wayne Hancock
Thrown Out of the Bar by Hank Williams III
Just the Other Side of Nowhere by John Prine & Mac Wiseman
Sam Stone by Swamp Dogg
If I Had a Boat by The Holmes Brothers
Lorraine by John Egenes
Rye Whiskey by Sen. Robert Byrd

Seven Time Hotter Than Hell by T-Bone Burnett
Rio by Mike Nesmith
Remain by Jon Dee Graham
Barbara Allen by The Handsome Family
Dear Friend by Eleni Mandell
The Great Speckled Bird by Rob McNurlin
CLOSING THEME: Comin' Down by The Meat Puppets

Steve Terrell is proud to report to the monthly Freeform American Roots Radio list

Friday, February 23, 2007

eMUSIC FEBRUARY

Here's my allotted 90 downloads from eMusic this month:



*Some Kinda Nut - Missing Links Volume 3 by Link Wray. This is a collection of rare Link Wray tracks both as a solo artist and sideman. "Little Red Riding Hood & The Wolf" by Bunker Hill. The greatest, the craziest rock 'n' soul hit you never heard.




*Quicksand/Cradlesnakes by Califone. If Wilco is The Beatles of roots-based experimental rock, then Califone is ... I dunno, The Who?




*Bee Hives by Broken Social Scene. I downloaded this because a friend recently turned me on to BSS' self-titled album. I like that one better than Bee Hives, which seems slower and more meandering.




*Young Liars
and New Health Rock by TV on the Radio . I just got into this band (See my recent Tuneup on Return to Cookie Mountain) Better late than never! This band's like a crazy mix of Fishbone and the Fall held hostage in a magic Radio Shack. These are a couple of EPs from TV's early years (2003-2004). Not quite as developed as Cookie Mountain, but they definitely were on their way.



*The Singles
by Spacemen 3. This is a band whose name I've seen under influences of an awful lot of pyscho/garage/guitar-fuzz/noise bands I like. However, I'd never really been into the Spacemen that much, so I thought I'd give 'em a try. Cool and spacey. Some of it rocks, some like "Ecstacy Symphony" are lengthy drones. That one and others are around 10 minutes long. Warning: This album barely fits on one disc. Burning it on iTunes I had to set it on 0 seconds between songs to make it all fit.



*Why I Remix Women by Pere Ubu. I would have titled this "Why I Hate Remix Albums." I couldn't not to get this because I liked Why I Hate Women so much. But my advise is to stick with the original.

Plus

* The first seven cuts from Vol. 2 America's Most Colorful Hillbilly Band by The Maddox Brothers and Rose. I had seven tracks left over, so I decided to get a start on the second column. This family band had more fun than hillbillies out to be allowed to have. (I've just downloaded th remaining 23 tracks for my march selections.)

and

* Bloodshot Records Honky-Tonk Compilation What a deal! This currently is free to eMusic members. I already had most of these 11 tracks on the original albums by artists like Wayne "The Train" Hancock, Robbie Fulks, the Old 97s, former Santa Fe resident Rex Hobart, Paul Burch, etc. but it makes for a dandy sampler.

TERRELL'S TUNEUP: OTIS ROARS

A version of this was published in The Santa Fe New Mexican
February 23, 2007


Since his rise in the ’90s, Otis Taylor’s main goal seems to have been to stretch the boundaries of the blues in subtle yet exciting ways. Sometimes Taylor, or at least his PR folks, calls his music “trance blues,” though that tag hardly does his sound justice.

His latest album, Definition of a Circle (to be released Tuesday, Feb. 27), stretches those boundaries even further.

But it’s still very much the blues. And it’s still very much an Otis Taylor album. In fact, this is among his best. Like his best work, there are lots of socially conscious songs dealing with downtrodden and forgotten people. But on at least a couple of numbers here, Taylor sounds as if he wants to have a little fun.

Circle has to be the most richly textured album he’s ever done. There’s a wide variety of instruments — trumpets, mandolin, banjo, keyboards, cello, and, on some songs, even drums. (Until his last album, Below the Fold, Taylor never used drums in his recordings. He doesn’t always need a drummer, but I’m glad he hasn’t taken some purist attitude about the issue.)

And this could be the first time Taylor has actually had guest stars. British bluesman Guitarist Gary Moore plays guitar on some tracks. And Charlie Musselwhite blows his harp on “Looking Over Your Fence.”

Every song here is worthwhile. But here are some standouts:
“They Wore Blue” is about Hurricane Katrina and its aftermath. It starts out slow and mournful, with Taylor moaning “Oh Katrina” as his daughter Cassie, sounding like a ghostly spirit, sings in the background. The chord structure reminds me of Hendrix’s version of “Hey Joe.” The last three minutes or so is a tasty little Allmanesque jam featuring Otis’ guitar, Nick Amodeo’s mandolin and Brian Juan’s organ. It’s an unexpected upbeat coda to a what started out as a dirge.

“Something in Your Back Pocket” is raging psychedelia, with Moore on lead guitar, Jack Hadley on steel guitar, and Taylor on slide. The vocals are all spoken word; Taylor plays a bouncer trying to keep a troublemaker out of a nightclub.

“Long Long Life” is a free jazz excursion with Ron Miles on cornet playing against the pianos of Hiromi Uehara and Taylor as well as Juan’s organ.

But Taylor might have saved his best for the album’s first track. “Little Betty” starts out on fire, with a fidgety guitar bouncing off the organ, Moore’s lead guitar answering Taylor’s vocals.

Once again, Taylor has shown that he’s the most innovative force in the blues. Despite all the periodic hand-wringing about the blues being a dying art form, as long as Otis is around, this music’s still a long way from extinction.

Also Recommended

State of Grace
by The Holmes Brothers. I have to admit I was worried when I saw the song list for this new one by The Holmes Brothers (Sherman Holmes and Wendell Holmes, plus Popsy Dixon.
Among a batch of original titles that looked promising were a bunch of rock and country covers — “Bad Moon Rising,” “(What’s So Funny ’Bout) Peace, Love and Understanding?” — and a couple of Lyle Lovett songs. And did the free world really need another version of Hank Williams’ “I Can’t Help It If I’m Still in Love With You”?

I should have known better than to be too concerned. After all, up until now my favorite Holmes Brothers song was a cover tune, Tom Waits’ “Train Song.” And they do a pretty good “Love Train” as well.

But the song that stopped me in my tracks on State of Grace was a cover of a Cheap Trick song.

I always kind of liked “I Want You to Want Me” as a jiffy little radio hit. The Holmes Brothers take it several steps beyond. In fact they take it right to church. They slow it down and turn it inside out. In the hands of The Holmes Brothers it is no longer a catchy ode to teenage lust but a stately appeal for love. The lyrics seem to be the same, but the song now has the aura of a prayer. It’s nothing short of gorgeous.

And the rest of the album is good too, even the covers I mention above. (Roseanne Cash helps out on the Hank Williams song.)

The trio skirts the borders of gospel, soul, blues, and country. Such distinctions don’t seem to make any difference to them. Whatever they’re singing turns out Holmesy.

One of my favorite songs here is a Wendell Holmes original called “Gasoline Drawers.” This is a funky tune with one of the funniest images I’ve heard about in a while. To win his woman’s love, Wendell Holmes “would run through Hell in gasoline drawers.”

One from the throat : Yes, this column is focused mainly on the blues, but if the late Paul Pena taught us anything, there’s a real link between the blues and Tuvan throat singing.

The best-known practitioners of this strange and alluring Central Asian style — Kongar-ool Ondar (who appeared with Pena in the documentary Genghis Blues) and the group Huun-Huur-Tu — are male. The deep voices (which to some sound like Popeye speaking in tongues) might make it appear to be a man’s game.

But that’s not true. Tyva Kyz is an all-female throat singing group from Tuva. These ladies not only sing, but play traditional Tuvan instruments like the homus (a Central Asian jaw harp), a bowed instrument called the byzaanchy, and the igil, a two-stringed fiddle.

Tyva Kyzy is scheduled to perform at Cloud Cliff Bakery (1805 Second St., 983-6254) at 7 p.m. Wednesday, Feb. 28. Tickets are $20. The group gives a throat-singing workshop at the Blue Dragon Coffee House in Albuquerque (1517 Girard Blvd. N.E., 505-268-5159) at 10:00 a.m. Wednesday, Feb. 28.

TERRELL'S SOUND WORLD PLAYLIST

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