Sunday, November 1, 2015 KSFR, Santa Fe, N.M. 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell Webcasting! 101.1 FM
email me during the show! terrell(at)ksfr.org Here's the playlist OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
KaBouri by Cankisou
Dumb All Over by Frank Zappa
Just a Little Bit by Jello Biafra & The Raunch and Soul All-Stars
Betty vs. the NYPD by Jon Spencer Blues Explosion
Mr. Farmer by The Seeds
Sometimes Good Guys Don't Wear White by The Standells
Louise by Undercover Bonobos
Headlock on My Heart by The Fleshtones
Radar by Mr. Bear & His Bearcats
Gravy on My Mashed Potatoes by Dee Dee Sharp
Doing the Watusi by Mr. X
The Wah Watusi by The Orlons
I'm a Full-Grown Man by Barrence Whitfield
Fool in Love by Marcia Ball, Angela Strehli & Lou Ann Barton
Everybody Free by Alex Mairano & The Black Tales
Down in the Valley by Otis Redding
Get Right With God by The Mighty Blytheville Aires
Jesus is on The Mainline by The Whirlwinds
Soldiers of The Cross by Reverend Lonnie Farris
Holding His Hand by Leola Brown Radio Gospel Singers
Heard it Through the True Vine by Flora Molton
Sometimes I Feel Like I'm Already Gone by Rev. Johnny L. Jones
Come by Here by Hightower Brothers
Children Are You Ready by The Violinaires
Lord, Lord, Lord by The Apollos
Ain't it a Shame by Echos of Harmony
My Troubles Are So Hard by Ethel Davenport
All These Things by Elvis Costello & Allen Toussaint
Heart of Stone by Joe Louis Walker
Johnny Mathis' Feet by American Music Club
Welfare Bread by King Khan & The Shrines Their Hearts Were Full of Spring by The Beach Boys CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
Friday, October 30, 2015 KSFR, Santa Fe, NM Webcasting! 10 p.m. to midnight Fridays Mountain Time Host: Steve Terrell 101.1 FM Email me during the show! terrel(at)ksfr.org
Here's my playlist :
OPENING THEME: Buckaroo by Buck Owens
(It's a) Monster's Holiday by Buck Owens
Cold by Legendary Shack Shakers
I Created a Monster by Glenn Barber
I Wanna Be Your Zombie by Slackeye Slim
Your Friends Think I'm the Devil by The Imperial Rooster
Smash That Radio by The Electric Rag Band
Big Bad Bill is Sweet William Now by Emmett Miller
Outside a Small Circle of Friends by Phil Ochs
The Ghost and Honest Joe by Pee Wee King
Garden of the Dead by Pine Hill Haints
Cocaine Cowboy by Terry Allen
The Gayest Old Dude That's Out by Uncle Dave Macon
A version of this was published in The Santa Fe New Mexican October 30, 2015
A few years ago in this column, right around this time of year, I published a list of songs I called “Beyond the ‘Monster Mash,” a list of rock ’n’ roll horror tunes for people who, after 50-some years, are sick to death (insert evil laugh) of the “Monster Mash.”
But this year I’m not going to make another list. Instead, I’m going way back to the days before rock ’n’ roll, the 1920s and ’30s, to the era of hot jazz and the smooth crooner.
I’m not claiming that there were any Roaring ’20s Roky Ericksons or Depression-era Rob Zombies. But every once in a while some singer got the bright idea of recording a novelty song about devils, ghosts, dancing skeletons, and other topics that were spooky and/or morbid. Many of these can be found in a compilation released several Halloweens ago on Legacy Recordings: Halloween Classics: Songs That Scared the Bloomers Off Your Great-Grandma.
There are a couple of famous names on this 2007 collection that everyone should recognize: Cab Calloway (performing one of his many “Minnie the Moocher” sequels, “The Ghost of Smokey Joe”) and Rudy Vallée (who, in his best fake cockney accent, sings “With Her Head Tucked Underneath Her Arm,” a song about Anne Boleyn).
While I can’t say I’m familiar with 1920s singer Fred Hall, I immediately recognized his contribution to this collection. “’Taint No Sin (to Take Off Your Skin)” was part of Tom Waits’ 1993 album The Black Rider. On Waits’ nightmarish version, author William S. Burroughs provided rather atonal vocals, encouraging listeners to “take off your skin and dance around in your bones.” Except for the lyrics, Hall’s version sounds like an archetypal upbeat speakeasy jazz number. I see visions of skeletons dancing the Charleston.
So most of the performers here are lesser-knowns, and the songs they sing, for the most part, are even more obscure.
The album starts off with a chipper little tune called “Hush Hush Hush (Here Comes the Boogie Man)” performed by British bandleader and BBC regular Henry Hall — who is more famous for “Teddy Bears’ Picnic,” which he recorded in 1932, the same year as “Boogie Man.” “Hush Hush Hush” begins, “Children, have you ever met the Boogie Man before/No, I’m sure you haven’t, for you’re much too good, I’m sure.” Then vocalist Val Rosing gives the kiddies practical advice on how to ward off the evil one.
Halloween Classics has another song about the same guy, “The Boogie Man” by Todd Rollins & His Orchestra. Here the title character is something of a sexual predator, threatening “bad little girls like you.” Rollins croons, “I’ll torture you and hunt you/I’ve got you where I want you/A victim of my dark and dirty plot/And at the slightest whim/I’ll tear you limb from limb.” What kind of message does that send to the children?
There are a couple of tracks by country artists of the day, and, blow me down, both singers involved sound more like Popeye than Jimmie Rodgers. One is “Minnie the Moocher at the Morgue” (yes, another Minnie song) by Smiley Burnett, who in the ’60s played train engineer Charley Pratt in Petticoat Junction. T
he other is “Ghost in the Graveyard” by The Prairie Ramblers, who later became more famous when they started backing up Patsy Montana.
A couple of my favorites on Bloomers deal with a creepy old man named Mose. Rube Bloom and His Bayou Boys recorded “Mysterious Mose” in 1930. Later that year, a different recording of the song became the basis of a Betty Boop cartoon. New Orleans trumpet man Wingy Manone does another about “Old Man Mose,” whose main offense is that he died and was discovered by a neighbor not fond of dead people.
This tune has been covered by Louis Armstrong as well as Betty Hutton. And there is also an obscene version (I’m not kidding) recorded in 1938 by Eddy Duchin’s band with singer Patricia Norman.
Just like the best metal, psychobilly, and garage songs of modern times that deal with Satan, ghosts, and monsters, the best songs that scared the bloomers off our great-grannies were humorous ways of confronting our fear of death and other unknowns. They allow you to acknowledge your impending death and the boogeymen who haunt your nightmares. You can’t beat ’em, so join ’em. Dance around in your bones.
Here are some Halloween treats and tricks on the web:
* Santa Fe’s favorite busker sings about New Mexico’s favorite ghost: On a recent Saturday at the Santa Fe Farmers Market, J. Michael Combs agreed to sing a song about La Llorona while my faithful camera crew (actually just me and my iPhone) recorded a video of it. Check it out:
▼ Surfing spooks: Surf music and horror themes have gone together at least since the days of the 1966 teen beach flick The Ghost in the Invisible Bikini.
Portland visual artist J.R. Williams, who has been responsible for a ton of free retro rock ’n’ soul underground compilations, has a new volume of his Halloween Instrumentals series on his blog, featuring bitchen rock instrumentals interspersed with radio ads for cheesy horror flicks.
Mostly there are obscure bands, but you’ll also find tracks by The Ventures, Duane Eddy, and R&B great Bill Doggett.
▼ The 2015 Big Enchilada: My latest podcast is my annual Spooktacular, which includes a couple of tracks from Songs That Scared the Bloomers Off Your Great-Grandma. You can find that HERE. (Or right below)
I'm going to indulge in a little recycling this Throwback Thursday and revive the 2009 Terrell's Tune-Up Halloween column, in which I explored a favorite song "(Ghost) Riders in the Sky." Checking the original blog version I found a whole lot of missing Youtubes, broken links ... a basic ghost town of a blog post.
So, after a few basic repairs please enjoy the tale of that Devil's herd thundering across the sky.
A version of this was published in The Santa Fe New Mexican
October 30, 2009
An impressionable 12-year-old rode to the top of an Arizona hill one afternoon with an old Cowboy friend to check a windmill. A big storm was building and they needed to lock the blades down before the wind hit. When finished, they paused to watch the clouds darken and spread across the sky. As lightning flashed, the Cowboy told the boy to watch closely and he would see the devil’s herd, their eyes red and hooves flashing, stampede ahead of phantom horsemen. The Cowboy warned the youth that if he didn’t watch himself, he would someday be up there with them, chasing steers for all eternity.
More than 60 years ago this frightening vision, now found on the Western Music Association Web site, was etched into the consciousness of America. “Ghost Riders in the Sky” is a perfect Halloween song for the West. It’s the only cowboy song in which “yippie-yi-yay” becomes a demonic taunt. The boy who heard the tall tale from the old cowpoke would grow up to be forest ranger/songwriter Stan Jones.
“Ghost Riders” became a huge hit in 1949, a year after Jones wrote it. Pop-folkie Burl Ives was the first to record it that year. Frank Sinatra, Bing Crosby, and Peggy Lee chased the devil’s herd, too, and before the end of the year, avant jokester Spike Jones merrily mutated the saga of the demon cows and fire-snortin’ horses. But the biggest hit at that time came from pop crooner Vaughn Monroe, also in 1949.
Of course, it didn’t stop there. It’s been covered by everyone from Concrete Blonde to Dean Martin. Frankie Laine, another popster with an ear for cowboy songs (think “High Noon” and “Rawhide”) also covered “Ghost Riders.”
Artists like Bob Wills, The Sons of the Pioneers, Gene Autry, and Marty Robbins brought “Ghost Riders” back West. Dick Dale went surfing with it. Ronnie Dawson made it a rockabilly romp. The Southern-rock group called The Outlaws introduced it to the dazed and confused generation in 1980. Johnny Cash sang it with the Muppets. Tom Jones took it to Vegas, and the Legendary Stardust Cowboy took it to Mars.
The fact that “Ghost Riders” has a cinematic feel to it is no accident. Jones did a lot of soundtrack work for John Ford Westerns, including writing music for The Searchers (in which John Wayne spoke a catch phrase that inspired a Buddy Holly hit, “That’ll Be the Day”) and Rio Grande.
When Jones wrote “Ghost Riders,” he was working for the National Park Service in Death Valley.
According to the Western Music Association Web site, “The Park Service made Stan its representative to Hollywood film crews when they came to Death Valley. After a long, hot day of filming, cast and crew members often sat around and listened to Stan’s songs and stories. They encouraged him to get a publisher in L.A.” Shortly after, “Yippee-yi-yay, yippee-yi-yo,” was being heard across the land.
My two favorite versions of “Ghost Riders” are no longer in print. The one that raised goose bumps on me as a kid was on a 1964 LP called Welcome to the Ponderosa by Lorne Greene — yes, a tacky TV tie-in from Bonanza’s Ben Cartwright. This version has a full-blown orchestra, a chorus, and Greene’s distinct gravely voice. (Greene’s hit “Ringo” was also on this album.)
Then there’s the country-rock version from New Mexico’s own Last Mile Ramblers, from their 1974 album While They Last. The artist currently known as Junior Brown is playing guitar, and the vocals are by Spook James. This was always a highlight of the Ramblers’ shows at The Golden Inn and Bourbon & Blues.
I’m not sure how many cowboys changed their ways because of the warning in the song. But next time you see lightning in the sky, look for those red-eyed cows and gaunt-faced cowboys.
For the last Wacky Wednesday before Halloween, here's a Betty Boop at her spooky best.
Mysterious Mose, released in December 1930 was one of Betty's first appearances and it's a fright-filled doozy. She literally gets scared out of her nightshirt by strange noises in the night. Notice that in this one she still has dog ears. Betty started out as a strange Poddle/woman hybrid.
Betty teamed up with singer Cab Calloway for several cartoon shorts. St. James Infirmary is especially Halloween appropriate. (For more on that song, CLICK HERE)
Sunday, October 25, 2015 KSFR, Santa Fe, N.M. 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell Webcasting! 101.1 FM email me during the show! terrell(at)ksfr.org Here's the playlist:
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Friday, October 22, 2015 KSFR, Santa Fe, NM Webcasting! 10 p.m. to midnight Fridays Mountain Time Host: Steve Terrell 101.1 FM Email me during the show! terrel(at)ksfr.org
Here's my playlist :
OPENING THEME: Buckaroo by Buck Owens
9 to 5 by The Yawpers
Done Gone by Ray Condo & The Ricochets
Man on a Mission by The Supersuckers
Sweet Thang by Sleepy LaBeef
What Can I Do by Linda Gail Lewis
Jackhammer by Holly Golightly & The Brokeoffs
Great Expectations by Buck Owens
Baby Baby Me by Big Sandy & His Fly-Rite Boys
The Devil Made Me Do It by Duane Williams
Wallflower by Doug Sahm with Bob Dylan
I'm Not That Kat Anymore by Texas Tornados
Pallet on the Floor by Amanda Pearcy
Rock Island Line by Chris Thomas King
Under the Jail by Mose McCormack
Ain't Love a Lot Like That by The Satellites
Keep it Clean by Charley Jordan
Get a Load of This by R. Crumb & The Cheap Suit Serenaders
Poon-Tang by Deke Dickerson with The Treniers
Mama Drove a Mack Truck by Shot to Hell
Malfactor March by The Goddam Gallows
Lily, Rosemary and The Jack of Hearts by Mary Lee's Corvette
Did You Hear John Hurt by Jack White
Stagolee by Mississippi John Hurt
A Place Called Misery by Von Coffman
We Must Have Been Out of Our Minds by George Jones & Melba Montgomery
Dr. Timothy Leary, Harvard professor, psychedelic shaman and, for a few years, an international fugitive, would have been 95 years old today.
Happy birthday Dr. Tim.
Though most remember Leary for his advocacy of LSD and his oft-quoted catch phrase, "Turn On, Terrell's Tune-Up and Drop Out" (that was it, right?), he also has a musical legacy, which we'll celebrate here. (And I'm not talking about that dreary Moody Blues song, so don't even ask.)
For one thing, he had this affinity with John Lennon.
The introduction of the 1964 book The Psychedelic Experience, written by Leary, Richard Alpert and Ralph Metzner, contains this advice to trippers;
Trust your divinity, trust your brain, trust your companions. Whenever in doubt, turn off your mind, relax, float downstream.
You might recognize that line which appeared a couple of years later on The Beatles' Revolver in one of the most psychedelic tunes the Fab Moptops ever recorded.
Leary actually appeared on a Lennon record. He was one of a whole gaggle of counter-culture celebs who sang background on "Give Peace a Chance." And according to several accounts, that led, eventually to another Beatles song
The following day Lennon offered to help Leary's campaign [an aborted third-party run for governor of California.] His slogan was 'Come together, join the party'. Lennon sent Leary a demo tape of song ideas. However, when Leary was imprisoned for cannabis possession the campaign ended, enabling Lennon to record the song with The Beatles.
,
Lennon told interviewer David Sheff:
The thing was created in the studio. It's gobbledygook; Come Together was an expression that Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and tried, but I couldn't come up with one. But I came up with this, Come Together, which would've been no good to him - you couldn't have a campaign song like that, right?
Yes, Leary's imprisonment on a 1968 marijuana arrest saved "Come Together" from becoming a political jingle.
But that 10-year (!) sentence also led to Dr. Leary fleeing the country. He was living in Switzerland in 1972 when he hooked up with a German band called Ash Ra Tempel. Together they recorded a crazy, psychedelic album called Seven Up. Leary's spoken-word vocals fade in and out all through the record. The record starts out as a hippie blues exploration but quickly drifts into spacey pyschedelia.
Here's the entire thing on a YouTube.
Near the end of his life in 1996, Leary recorded an album with rocker Simon Stokes under the name of-- brace yourself, Bridget --LSD (Leary Stokes Duets). The album was called Right to Fly, and while I prefer Stokes' own records, this one has it's weird charm.
Happy Halloween, podlubbers! It's that most bloodcurdling time of the year. Settle back with a cold glass of Type O negative and enjoy some rocking spooky sounds from the crypt.
It's the seventh anniversary of The Big Enchilada ! Thank you for being my listener,
The Wacky Wednesday Halloween countdown continues. This week we're going to take a look at the Halloween legacy of Dickie Goodman.
Goodman was a record producer who, beginning in the 1950s, worked for many popular artists including Bobby Darin, Frankie Lymon and The Del-Vikings.
But he also was known as a songwriter and performer of novelty songs. He's most famous for what is known as the "break-in" song. For nearly 20 years beginning in 1956 with "The Flying Saucer," (performed with fellow songwriter Bill Buchanan, Goodman made the charts with several of these records.
Basically, they were weird little skits in which Goodman played a radio reporter interviewing people. The answers would come in the form of short snips of songs that were currently or recently popular. My favorite of these was in 1975's "Mr. Jaws," where Dickie asks the shark why he's biting his hand. The answer is a line from Melissa Manchester's pop hit "Midnight Blue."
"Wouldn't you give a hand to a friend? ..."
Indeed, though most of these break-in songs were unabashedly stupid and frequently annoying, Goodman was something of a record-sampling pioneer.
From a 2003 press release touting The King of Novelty: Dickie Goodman, a biography by Goodman's son Jon Goodman:
Dickie Goodman was sued by 17 record labels for copyright infringement in 1956 because his hit record, "The Flying Saucer" (a satire about the UFO phenomenon) contained short samples of several other hit records. After hearing the record with Dickie Goodman narrating while Elvis and Little Richard sang about Martians landing on Earth, NY Supreme Court ruled that a new work had been created and as long as the samples were paid for, no infringement existed.
"Mr. Jaws" in 1975 was the last real hit for Goodman. Fourteen years later, he ended his life, shooting himself in the head.
With that morbid detail, let's get back to Halloween.
A pop-culture wizard like Goodman would not want to ignore the resurgence of popularity for movie monsters in the 1960s. Beginning in the previous decade, local TV stations created local celebrities in the form of Vampira, Tarantula Ghoul, Zacherley, Count Gregor and untold other hosts of late-night horror shows.
The popularity of monster movies continued into the '60s. Bobby "Boris" Pickett's "Monster Mash" was a graveyard smash. Every male kid I knew back in the early to mid '60s bought up the Aurora company's plastic models of Frankenstein, The Wolfman, Dracula and The Mummy. Famous Monsters of Filmland became must-read material.
So how could Goodman not pass up the opportunity to cash in on the monster craze?
Here are some of Dickie's monster melodies for this Halloween season. True, some of them make Bobby "Boris" Pickett seem like Cole Porter, but what the heck?
Let's dance to the "Werewolf Waltz"
And don't forget the "Mambo Mummy.'
Here's Goodman's Halloween take on The Coasters' "My Baby Loves Western Movies"
Finally, here's the one I remember from my childhood. My mom got the early version of Goodman's The Monster Album for my brother and me. Even back then when I was in grade school, it seemed pretty tacky and corny. And the tackiest, corniest, dumbest song on the record was "Frankenstein Meets the Beatles." The pairing was obvious, as Dickie explained in the lyrics: "Well, they screamed for The Beatles and they screamed for Frank, but it wasn't the very same kind ..."
And here is a later version of The Monster Album, including some horror-related break-in tune, some modern offerings from Goodman's son and some songs that don't appear to have any reason to be there at all.
