SXSW 08 DAY 2

Sorry, I'm late with this post. About 4 am, after a long day of rock 'n' roll, I realized I needed sleep. I thought I'd get up early enough to post it at a decent time. Guess I was wrong about that.

My SXSW day could have been complete even before Sundown Thursday. Nothing was going to top Roky Erikson, who headlined a fine afternoon of rock 'n' roll at Threadgill's known as the Roky Erikson Pyschedelic Ice Cream Social.

Roky, whose struggle with mental problems has been well documented, has been back performing for several years. But this is the first time I'd ever seen him play. And he was tremendous.

He rips through his songs -- leaning heavily on tunes from his greatest album The Evil One -- with strength and confidence. "Cold Night For Alligators," "Bloody Hammer," "Don't Shake Me Lucifer," "I Think of Demons" ... These are songs that make me proud to be an American.

His band, The Explosives, is a tight little trio featuring guitarist Cam King. Yesterday, he was joined on stage for his last few songs by his told friend, ZZ Top's Billy Gibbons (who also played with him on his recent Austin City Limits performance.)

One of the most amazing aspects of Roky's performance is that after each song -- most of which are filled with images of horror, demons, vampires, bloody hammers -- Roky flashes the most angelic smile, waves to the crowd and thanks everyone.

Although this was the first time I'd seen Roky play, it's not the first time I'd seen him. Back in 1995, my first SXSW, I went down to Iron Works BBQ, where he was supposed to do a book-signing. (He'd just published Openers II with Henry Rollins' publishing company. When I arrived, standing alone in the parking lot was none other than Roky himself.

I approached him. "Hey Roky, my name is Steve ..."
"I know."
"I'm a big fan ..."
"I know."

But he was friendly and chatty and started bumming cigarettes from passersby. It turns out that he had bolted the book-signing -- got claustrophobic inside. A few minutes later, Henry Rollins comes out of the Ironworks, trying to coax Roky back inside. Finally he got Roky to agree to get into a car and sign books there.

I'm glad Roky's better now. I'm also glad he's rocking like he always was meant to do.

The Ice Cream social had a great line-up including Sonic Youth's Thurston Moore playing with an acoustic band, including a fiddler and SY drummer Steve Shelley; ... And You Will Know Them By the Trail of Dead (most of whom look baby-faced enough to be a boy band), The Black Angels (an Austin favorite who sound like a tasty blend of Jesus & Mary Chain and My Morning Jacket), and a cool, hopped-up, almost New Wavy little band called The Golden Dogs. (We missed another band, The Strange Boys, because the aroma of Threadgill's was just too good, so we went inside to grab some lunch right after The Black Angels.)

Here's an unexpected musical treat: At one point during the show, I wandered on Threadgill's to use the ATM. There I learned that Ray Wylie Hubbard was doing a short, acoustic set in the back room with his teenage son Lucas, who's getting pretty good with his blues licks.

All this happened before the official SXSW showcases even began. And even before this ice cream social I went to another fun little gathering. Joe Ely and accordionist Joel Guzman recorded a live set at ME TV studios. Beside Ely's tunes, which I always love, the best part was the homemade posole, cooked and served by Joe's wife Sharon. She told me the recipe comes from New Mexico. I suspect Terry or Jo Harvey Allen might have something to do with that.

As far as official SXSW showcases go, the best I saw Thursday were Yo La Tengo, who played an amazing set at Austin Music Hall. I arrived late, and they were playing some of their weird poppy material, with Ira on the keyboards. I guess I'm just a guitar-centric kinda guy (a "rockist" as some fancy New York publications have labeled guys like me), but I vastly preferred it when Ira switched back to guitar. Like Sonic Youth at it's best, Yo La has a great knack of creating beauty out of sonic chaos. The band's version of "Tom Courtenay" Thursday was as gorgeous as Julie Christie, who is namechecked in the song.

Then came My Morning Jacket, which played for nearly two hours. (I remember a few years ago at the Music Hall when Little Richard wanted to play longer and, it seemed, nearly gave the SXSW organizers a heart attack trying to get him off stage. I wish they would have given him two hours ...)

MMJ started off with a great rush of energy. Their first few numbers were powerful and intense. I believe they were mainly new tunes from the group's upcoming album Evil Urges, though the set was liberally sprinkled with songs from their albums Z and It Still Moves.

I have some qualms about this band. Sometimes MMJ veers dangerously close to classic-rock pablum. Sometimes they sound like an overblown country-rock band. But Jim James' musical vision is so unique, most the time he's able to transcend these influences.

The middle of the first hour started to sag a bit as Jim James and crew concentrated on slower, more countryish songs. But then they got their footing again, and nearly every song could have been the blistering climax to a great performance. The last, say, hour and 15 minutes was nothing short of breath-taking.

For more photos CLICK HERE.

UPDATE: In the original version, I identified the title of Yo La Tengo's song "Tom Courtenay" as "Julie Christy." I like that title better, but out of respect for Yo La, I corrected it.

SXSW 08 DAY 1

I was disappointed when I realized that Johnette Napolitano was going to be doing a solo acoustic set at SXSW. After all, I'd just sat through an uninspired set by Bob "Bright Elusive Butterfly of Love" Lind --one of those "What the hell am I doing here?!?" moments.

But my disappointment subsided about two seconds after Johnette opened her throat and start wailing. This woman can belt! In her sexy Morticia Addams dress, Johnette definitely showed that singer-songwriter gigs don't have to be gimpy. I'd seen her twice before with Concrete Blonde, but this might have been the most powerful performance of hers I've ever witnessed.

She balanced the set with newer tunes and familiar Concrete Blonde songs like "Joey" and "Mexican Moon." The highlight had to be her a capella version of "Tomorrow Wendy." Even though she let out the "I told the priest ..." verse, the song was just devastating. She's been doing the song for nearly 20 years, but the emotion last night was raw and deep.

Other Wednesday favorites:

* Van Morrison: I caught the last few songs of Van the Man's showcase. Believe it ot not, it's the first time I've ever seen him. Playing new or at least unfamiliar material, Van was flawless and soulful as expected. But after seeing Johnette later that night, it was obvious that the venerated Belfast Cowboy wasn't exactly pouring his guts into the show.

* Bayou City Beach Party: This wasn't an official SXSW event. I'd stumbled into this bar called Headhunters on Red River on Tuesday night and appreciated the Tiki decor and biker/punk vibe of the joint. So, after my pals -- who don't have wristbands or badges -- were told they couldn't get in the REM show at Stubbs', we decided to go to Headhunters across the street.

This band, from Houston, was an energetic bunch and singer Blake Shepard is young, but a born showman.

* Ronny Elliott: Speaking of worthwhile singer-songwriters, Tampa rocker Elliott is one of my favorites. He played the Florida Bandango party Wednesday afternoon at the Yard gallery. It was a typical Ronny gig. He teamed up with singer Rebekah Pulley. except for Ronny's own "The Brothels in China," the duo concentrated mainly on cover songs such as Johnny Tillotson's "Talk Back Trembling Lips" and a minor-key arrangement of Hank's "Your Cheatin' Heart." Ronny also sat in on one song with songwriter/uke-player Sylvie Simmons.

See more photos HERE.

IT WAS A LONG DRIVE ...

But I made it to Austin. Watch this blog for SXSW coverage.

2007 IDOLATOR CRITICS POLL

Somehow between the collapse of the Richardson campaign and the start of the state Legislature, I forgot all about the Idolator music critic's poll, in which I participated.

None of the stuff I voted for did very well, (of my Top 10 albums, the highest rated on the poll was The White Strripes' Icky Thump, which was ranked 16. My #1, Gogol Bordello's Super Tranata! came in 39th.) You can see my personal ballot HERE.

About to shove off for Austin ...

TERRELL'S SOUND WORLD PLAYLIST

Sunday, March 9, 2008
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time

Host: Steve Terrell
Now Simulcasting 90.7 FM, and our new, stronger signal, 101.1 FM
email me during the show! terrell@ksfr.org

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
It's the Love by The Breeders
Monk Time by The Monks
Abba Zabba by Captain Beefheart
Boy Chucker by Rocket from the Crypt
Giddyup by The Hives
Kung Fu by The Dirtbombs
English Civil War by The Clash
Going Back to School by The Fleshtones
Bloody Mary by Barrence Whitfield & The Savages

Shape of Things to Come by The Ramones
Sandbox by Too Much Joy
Streaks and Flashes by The Chesterfield Kings
Unsatisfied by The Replacements
Why Don't You Lie by The King Khan & BBQ Show
In Praise of Sha Na Na by The Dead Milkmen
Love Special Delivery by Thee Midnighters
Rockin' Bones by Flat Duo Jets
Red Brick Wall by The Waco Brothers

Biting Game by Sinn Sisamouth
Not a Crime by Gogol Bordello
Toc by Tom Ze
Hilo by Antibalas
Donegal Express by Shane MacGowan & The Popes
In the Masoleum by Beirut
Zobi La Mouche by Les Negresses Verte
I Bid You Goodnight by Joseph Spence

In Lust You Can Hear the Axe Fall by Xiu Xiu
Love Song by Pere Ubu
(from Dr. Terror's Chamber of Horrors) by S.T. Mikael
All Misery/Flowers by The Gutter Twins
When You Were Mine by The Movin' Morfomen
Moonbeam by King Richard & The Knights
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

STAB FROM THE PAST

My crony Mark Ducaj found some yellowed old clips including this one from Pasatiempo in late 1981, about the time I released Picnic Time For Potatoheads.

The same column, by Emily Drabanski, also mentions a gig with my brother's band at the time, Holy Cow.

(Speaking of brothers with gigs, Mark's brother, Scott Ducaj, a graduate of Santa Fe High and a fine product of the late Clark Pontsler's music program at SFHS, has been playing in country singer Kenny Chesney's band. Kenny's not the kind of stuff I play on The Santa Fe Opry, but even without my help, he recently got 11 nominations for the Academy of Country Music awards. Congrats, Scott!)

STEP ASIDE, TOM JONES

This filled my heart with joy. (Thanks, Curt!)

Can't wait to see Langford and The Waco Brothers next week.

THE SANTA FE OPRY PLAYLIST

Friday, March 7, 2008
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell

Now Simulcasting 90.7 FM, and our new, stronger signal, 101.1 FM
email me during the show! terrell@ksfr.org


OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Cat Scratch Fever by Hayseed Dixie
Another Brick in the Wall Part 2 by Luther Wright & The Wrongs
Skip a Rope by Kentucky Headhunters
I Want to Be Loved by Sleepy LaBeef
Carnival Bum by Joe Ely
Daddy Needs a Drink by Drive-By Truckers
Fireline Road by James McMurtry
Chewin' Chewing Gum by Stringbean

Crazy Love by Trailer Bride
A Wreck of a Man by Arty Hill & The Long Gone Daddies
Waitin' Where She Hides by Dave Insley
Don't the Girls All Get Prettier at Closing Time by Mickey Gilley
Evening Gown by Jerry Lee Lewis & Mick Jagger
How Can Evil Look So Good by DM Bob & Country Jem
Dream Vacation by The Gear Daddies
Ride on Angel by Simon Stokes
Ain't Gonna Rain No Mo by Harmonica Frank Floyd

Catch 'em Young, Treat 'em Rough, Tell 'em Nothin' by Hank Penny
Runaway Mama by Merle Haggard
Every Day I Have to Cry by Johnny Rivers
Spend it All on You by Ronny Elliott
Savin' My Lovin' by Dan Hicks & The Acoustic Warriors
If You's a Viper by Martin, Bogran & Armstrong
Electricity by Paul Burch
The L&N Don't Stop Here Anymore by Kathy Mattea

Hillbilly Fever by The Osborne Brothers
Holdin' Our Own by Jesse Dayton & Brennen Leigh
Old Five and Dimers Like Me by Waylon Jennings
Here No More by The Breeders
Sammy's Song by David Bromberg
Ain't You Wealthy Ain't You Wise by Bonny Prince Billy
The Urge For Going by Dave Van Ronk
CLOSING THEME: Comin' Down by The Meat Puppets

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

TED IN NM

I was so busy with political stories at work yesterday, I had to pass on an opportunity to interview THE NUGE, who is in the state filming a movie.

Kate did a good job though.

Just for the heck of it, here's some classic footage of Bill Richardson's new hunting buddy:



UPDATE: The original video I posted here was yanked from YouTube. Here's the same song. Hope it lasts.

Also, one wiseguy pal of mine wrote with this question:

I wonder what Ted would say if he knew Richardson line-item vetoed $25,000 for an archery-in-the-schools program.

I wonder too.

TERRELL'S TUNE-UP: DOWN IN THE GUTTER

A version of this was published in The Santa Fe New Mexican
March 18, 2008

Rarely have gloom and damnation sounded so attractive.

Under the collective name of The Gutter Twins, Mark Lanegan — former lead moaner of Screaming Trees — and Greg Dulli — best known as the main voice of The Afghan Whigs and, more recently, The Twilight Singers — have teamed up to create Saturnalia, a foreboding serenade for a dark night of the soul, a morose masterpiece that captures the strengths of each of the Twins. It’s full of themes of deteriorating love, impending doom, spiritual apocalypse, guilt, and sorrow — the feel-good hit of the season.

This isn’t the first time Lanegan and Dulli have collaborated. Lanegan is basically an honorary Twilight Singer, having appeared on several tracks on various TS albums. I was first exposed to the music of these guys back in 1991, on a compilation album from the Sub Pop label sardonically titled The Grunge Years. The Afghan Whigs had a song on it called “Retarded.” Lanegan — whose solo work is far more impressive than his stuff with Screaming Trees — had a tune there called “Ugly Sunday.”

Saturnalia is a Sub Pop product too, though the Seattle record company that epitomized independent rock during the grunge years of the late ’80s and early ’90s is now part of the Warner Music empire (Warner owns 49 percent of the company). The good news is that this album sounds like a Sub Pop record of yore. With the first ominous strums of the opening tune, “The Stations,” a listener realizes that it’s going to be an intense excursion. Lanegan’s baritone is out front at the outset; the tempo picks up, and Dulli takes over the refrain. “I hear the rapture’s coming/They say he’ll be here soon/Right now there’s demons crawling all around my room.”

This is followed by a song called “God’s Children,” which starts out with a creep-show organ over a thumping beat. The melody that emerges (over trademark Whigs/Twilight swirling guitars) is classic Dulli.

One highlight here is “Idle Hands,” which happens to be an actual rocker, with Dulli playing a Mellotron to provide a “Kashmir”-like hook as Lanegan sings about devilish things: “I suffer you/You suffer me/We are the devil’s plaything.” And speaking of classic rock, check out the “Dear Prudence” guitar on “I Was in Love With You.”

Lanegan gets downright frightening on “All Misery/Flowers.” As the guitars grow thicker and thicker and some instrument sounds as if it’s screaming, Lanegan intones, “I woke up, I was crying/I saw an animal with eyes like mine on fire/I saw my own true love/She was a solid flower.”

No, it’s not easy listening. But Saturnalia is a midnight ride worth making. You can listen to the entire album online at the GTs' MySpace page.

Also recommended:

* R.I.P. by Rocket From the Crypt. Remember the “San Diego sound”? I don’t either. But for about 14 minutes back in the mid-’90s, some civic boosters were pushing Tijuana’s neighbor to the north for that dubious honor. Their best argument was Rocket From the Crypt.

Rocket played a timeless and unrelenting style of rock ’n’ roll, neck deep in the punk ethos but informed by R & B. One thing that always distinguished this band was the inclusion of a horn section — sax player Apollo Nine and trumpet man JC 2000. (And no, Rocket wasn’t one of those tacky ska bands of the era.)

The group had a brief stab at fame, getting picked up by the major label Interscope during the Nirvana-era indie-rock feeding frenzy. Rocket even had a video of the song “Ditch Digger” (a version of which is included on this album) that got some MTV play.

But just as the San Diego scene never quite materialized as a national touchstone, Rocket From the Crypt never quite became a household name. The group braved on for a while, breaking up in 2005 following one last Halloween party in its hometown.

Fortunately, Rocket recorded the show, which was finally (in fact, last month) released in the form of this album. “Here comes the death of Rocket From the Crypt!” an announcer shouts over the synthesized strains of “The Song of the Volga Boatmen.”

The music, as far as I’m concerned, sounds better than any of the studio stuff I’ve heard from the group. You can almost feel the sweat flying out of your speakers as Rocket blasts through its breakneck repertoire.

The songs are fast and furious, many of them — including “A+ in Arson Class,” “Carne Voodoo,” and “Sturdy Wrists” — clocking in at under two minutes. About the only time the musicians stop to take a breath is when they admonish their fans for throwing Halloween costumes on the stage. (“This ain’t no lost and found.”)

But they stretch out on their last song — and yes, assuming no big comeback is in the works, this really is their last song — “Come See, Come Saw.” During an instrumental break, singer Speedo asks the crowd, “Are you satisfied? I said, ‘Are you satisfied?’”

It sounds like the audience is responding “No.” Alas, there was only a minute or so left for Rocket From the Crypt to satisfy.

Some of us still want more.

I downloaded this album, so I haven’t seen the DVD you get with the CD. It’s almost tempting to pick that up.

Blogging SXSW: Starting Wednesday, March 12 (if not before), watch this blog for my updates on the South by Southwest Music Festival in Austin, Texas.