Friday, February 23, 2018

TERRELL'S TUNE-UP: Post Presidents Day Party

A version of this was published in The Santa Fe New Mexican 
Feb. 23, 2018


I’m a few days late in celebrating Presidents’ Day, but that inconvenient fact shouldn’t detract from this important American holiday. Actually, the holiday celebrated on the third Monday of February is still officially called “Washington’s Birthday,” though George’s actual birthday is Feb. 22. So I’m only a day late.

In honor of George and Abe and all the others, I’d like to present several tunes about past chief executives of this great land of ours.

* “Crazy Words, Crazy Tune” aka “Washington at Valley Forge” by The Jim Kweskin Jug Band. As it is performed by the greatest of the ’60s neo-jug bands, a listener might naturally think this tune is a surreal take on the life of the first president. The song starts out, “Washington at Valley Forge/Freezing cold but up spoke George/Said vo-doe-de-o, vo-doe-de-o, doe/Crazy words, crazy tune/All that George could croon and swoon.”

In the bridge, Kweskin tells of the father of our country playing his ukulele and shouting “red hot mama.”

Now that’s presidential!

The song actually goes back to 1926. It was written by Jack Yellen and Milton Ager (the men behind such ’20s hits as “Ain’t She Sweet” and “Hard Hearted Hannah”). In its original form, as recorded by Irving Aaronson and the Commanders, the “Washington at Valley Forge” part doesn’t appear until much later, sandwiched between couplets about Napoleon and Patrick Henry.

The original tune centers around a guy whose uke-playing neighbor, who I don’t believe is George Washington, is driving him nuts. I don’t know whether Kweskin rearranged the song himself or picked up this version from a more obscure source (more obscure than Irving Aaronson and the Commanders). Whatever the case, I salute his patriotism for putting George first.



* “James K. Polk” by They Might Be Giants. Ever so often, John Flansburgh and John Linnell write songs as if they’re moonlighting as writers for elementary school textbooks. “Why Does the Sun Shine?” is one of those. But the one they wrote about our 11th president — which appeared on their 1996 album Factory Showroom — is my favorite of these.

It’s also one of the few songs I know that uses the phrase “manifest destiny.”

The Johns sing: “Austere, severe, he held few people dear/His oratory filled his foes with fear/The factions soon agreed/He’s just the man we need/To bring about victory/Fulfill our manifest destiny/And annex the land the Mexicans command.”



* “Mr. Garfield” by Johnny Cash. There have been songs written about all four of our presidents who were assassinated. Strangely, the one I like best is about the president I know the least about, James Garfield, who was elected in 1880 and killed in 1881. Cash, who recorded it in the mid-’60s for his Sings the Ballads of the True West album, didn’t write the song. Ramblin’ Jack Elliott has the songwriting credit on this album, but there is a 1949 Library of Congress recording by banjo man Bascom Lamar Lunsford, who said he first heard it in 1903.

Wherever it came from, Cash makes the song his own, supplying a childlike wonder at the thought of someone shooting a great man like Garfield (“Charlie Guiteau done shot down a good man, good man”), as well as a very subtle shade of humor — as humorous as you can get in a song about a political assassination — especially in the conversation between the president and his wife, as Garfield urges the missus to find another husband if he kicks it.



* “FDR in Trinidad” by Atilla the Hun. The first version I ever heard of this classic calypso tune was the one by Ry Cooder in the early ’70s. It’s good, but it doesn’t match the sincerity and enthusiasm of the original by the Hun (Raymond Quevedo), which commemorates Franklin D. Roosevelt’s trip to the Caribbean island in 1936.

This is how folks in foreign lands used to react to visiting U.S. presidents:

“Struck by his modest style/We was intrigued by the famous Roosevelt smile/No wonder everybody was glad/At the great honor shown Trinidad.”

Barack Obama, who visited the land of the hummingbird in 2009, was the first — and so far the only — president since Roosevelt to go there. But if any songs were written about that 2009 trip, I haven’t heard them.



* “The Ex-President’s Waltz” by David Massengill. This sardonic tune by the Tennessee-born folkie first appeared in a 1985 edition of the Fast Folk Musical Magazine

It has an irreverent verse for each living ex-president at the time: Jimmy Carter (“Once he was president, but now he’s a saint/Once he was president, but now he ain’t”); Gerald Ford (“Oh the president came to my country club to play in a charity game/But you had to watch out when he teed off/He was known to cripple and maim”); Richard Nixon (“Oh the president came to my library to autograph his latest book/With his 4 o’clock shadow and sweat on his lip/He assured us he’s still not a crook”).

There’s one for John F. Kennedy (“Oh for the days of Camelot/The president sure had a ball/From Nikita Khrushchev to Marilyn Monroe/By God, he screwed them all”), and one for the then-current president, Ronald Reagan (“Send him to Hollywood, give him a pass/Once he was president, you know the rest”).

Maybe I’m showing my age by liking this song so much. A lot of youngsters probably don’t remember Khrushchev or Carter, much less President Ford’s golfing mishaps. But that’s history, kids. My only problem is trying to figure why LBJ got left out of this little party.




Thursday, February 22, 2018

THROWBACK THURSDAY: Happy Birthday Ernie K-Doe


Happy birthday Ernest Kador, Jr., a New Orleans R&B singer who probably would be accurate to describe as a one-hit wonder.

Except for the fact that he's Ernie K-Doe.  

He's the kind of artist whose work you'd like to think was full of hit potential --  even if he did in fact only have one,  a smoldering little tune from 1961 called "Mother-In-Law," written by Allen Tousaint.

With or without Toussaint, Ernie  kept plugging away, releasing records for decades after "Mother-In-Law," even though none of his releases made it as big as his signature tune.

And Ernie persevered, eventually becoming a beloved New Orleans fixture.  In the 1980s he became a radio personality on WWOZ. And in the '90s, he opened his own club,  Ernie K-Doe's Mother-in-Law Lounge on Claiborne Avenue in Treme.

Ernie died in 2001.                                                                                                                                                                                          
Here's his big hit:



And here's one that shoulda been a hit. This song has been sung by Warren Zevon, Mary Weiss and untold others.



Here's one called "Te-Ta-Te-Ta-Ta," which is secret New Orleans code talk for "Keep listening and maybe I'll play mother-in-law again."                                               



Here's one called "I Got to Find Somebody."



Ernie was a real man ...




Wednesday, February 21, 2018

WACKY WEDNESDAY: I Don't Think Jimi Done it That Way


Over the weekend, the biggest threat to America and the freedoms we cherish was the version of "The Star Spangled Banner sung by Fergie, formerly with The Black Eyed Peas (not to be confused with The Dutchess of York) sung at the NBA All-Star Game.

I don't think that was how Jimi Hendrix intended it be performed.

True, Cosmopolitan called it "different AND sexy," but other reaction on social media was far less positive. (I think my favorite was comedian Johnny Taylor, Jr., who tweeted, "Not sure what Fergie was going for on that national anthem performance but if it was `my friends drunk mom acting sexy' she nailed it."

By Monday, the singer apologized in a statement saying, “I’m a risk taker artistically, but clearly this rendition didn’t strike the intended tone. I love this country and honestly tried my best.”

Judge for yourself:



This whole stink reminded me of 1968, when at a World Series game, Jose Feiciano, known as "The Blind Puerto Rican Fergie," shocked an dismayed patriots everywhere by his unconventional take on the national anthem. 

An NPR story last year explained:

 Back then, the anthem was generally performed by popular musicians of stage and screen, or talented first-responders and members of the military, always in a very straightforward way.

Feliciano's gentle, Latin jazz-infused version puzzled some people. And it outraged others. 

"After I sang it, it was really strange to hear me being booed, as well as yay'd, and I didn't know what happened," he recalled when I reached him by telephone last week, while he was on tour in London.


A Tigers official told him the club's phones were lighting up with angry calls from around the country: "Some veterans were taking off their shoes and throwing them at their television screens," he was told.




Jumping ahead a few decades, I do like this version of the anthem by the group Patax, "a communion between flamenco, funk and Afro-Cuban folklore" from Spain.  "Star Spangled Banner" appears on their latest album, Creepy Monsters.

On their Youtube channel the band says the song is their, "humble contribution to tolerance and mind openness sending a musical message to the Trump Administration: lets make America open minded and tolerant again. Greatness will be the result."

What kind of commie talk is that? (By the way, percussionist Jorge Perez is a citizen of both Spain and the US of A.)



And if you don't like that, there's always Tiny Tim. He even knew the largely forgotten second verse  ...



Sunday, February 18, 2018

TERRELL'S SOUND WORLD PLAYLIST





Sunday, Feb. 18, 2018
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Did It All by Gogol Bordello
I've Really Got the Blues by Jackie Shane
Don't Mess With My Toot Toot by Jello Biafra
Ooh Poo Pah Doo by Jesse Hill
Shotgun Pistol Grip by Ghost Wolves
The Traveler by Archie & The Bunkers
Tall Black and Bitter by Barrence Whitfield & The Savages
I Gotcha by Joe Tex
Comet by Baronen & Satan
40 Great Unclaimed Melodies by The Firesign Theatre

The Other Side of This Life by Jefferson Airplane
White Wedding by Herman's Hermits
Down the Road by The Monsters
Love by Country Joe & The Fish
Total Destruction to Your Mind by Swamp Dogg

One Kind Favor by Canned Heat
Shut Up Woman by Bo Diddley
Poor Beast, Marginal Man by Rattasnson
Runaway Child, Runnin' Wild by The Temptations
Before I Die by The Guttercats
Radio by Young Harvel
House of the Rising Sun by Johnny Dowd

Mog Maz (My Husband) by Kult
Everything's Dead by The Dead Brothers
Storm Warning by Mac Rebennack
Desert Mile by King Khan
In Your Hnds by Phil Hayes & The Trees
Lay Me Low by Nick Cave
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, February 16, 2018

THE SANTA FE OPRY PLAYLIST



Friday, Feb. 16, 2018
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
Country Girl by Roger Miller
Glendale Train by New Riders of the Purple Sage
You Can't Talk to Me Like That by Nikki Lane
I'll Stand In Line by Miss Leslie
Cowboy in Flames by The Waco Brothers
8 Piece Box by Southern Culture on the Skids
Rainy Day Woman by Waylon Jennings
Wanna Get Outta Here by The War and Treaty
I've Endured by Ola Belle Reed

Lesson by Sarah Shook & The Disarmers
Fool for Love by Marty Stuart
Jealous Loving Heart by Ernest Tubb & Johnny Cash
Man With the Blues by Willie Nelson
Toot Toot Man by Doug Kershaw
Alligator Waltz by Rockin' Sidney
Wolverton Mountain by Claude King

Some of Shelly's Blues by Nitty Gritty Dirt Band
Secrets and Lies by Becky Lee & Drunkfoot
Crazy Sons of Bitches by John Egenes
Hog of the Forsaken by Micheal Hurley
Watching the River Go By by John Hartford
Last Train from Poor Valley by Norman Blake
Mystery of the Dunbar Child by Richard "Rabbit" Brown

Midnight Moonlight by Old and In the Way
Wild Heart by Modern Mal
Mercy Now by Bobby Bare
Blue Distance by Peter Case
CLOSING THEME: Comin' Down by The Meat Puppets



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Want to keep this hoedown going after I sign off at midnight?
Check out The Big Enchilada Podcast Hillbilly Episode Archive where there are hours of shows where I play music like you hear on the SF Opry.

Subscribe to The Big Enchilada Podcast! CLICK HERE

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

Thursday, February 15, 2018

THROWBACK THURSDAY: Songs of Bobby Dunbar

Little Bobby Dunbar -- or was it Bruce Anderson? -- standing in front of a car with "unidentified people." 

I just heard an amazing story on This American Life called "The Ghost of Bobby Dunbar." First presented in 2008, it was just recently replayed.

Here's the basic outline of the story from the show's website:

In 1912 a four-year-old boy named Bobby Dunbar went missing in a swamp in Louisiana. Eight months later, he was found in the hands of a wandering handyman in Mississippi. In 2004, Bobby Dunbar's granddaughter discovered a secret beneath the legend of her grandfather's kidnapping, a secret whose revelation would divide her own family, bring redemption to another, and become the answer to a third family's century-old prayer. 

Here's the story according to New Orleans bluesman Richard "Rabbit" Brown. i'm not sure when this was recorded but I'd guess sometime in the 1920s:



Here are a couple of more recent songs dealing with the Bobby Dunbar  legend. First this one from an Denver artist called King Cardinal.                                                                                                                                                                                                                                                   


Jon Dee Graham wrote a song about Bobby also




Tuesday, February 13, 2018

All on a Mardi Gras Day


Wild Indians Down in New Orleans

Instead of Wacky Wednesday this week, let's do Fat Tuesday.

That's right, it's Mardi Gras Day. I've never actually been to a Mardi Gras. The couple of times I've been to New Orleans, an average summer weekday night has more festive celebrations in the streets than most places I've ever seen.

But I sure love the music associated with Mardi Gras -- as those of you who listened to the second hour of my radio show Sunday night must realize. So for those of you who can't make it to New Orleans, here are some of my favorite Mardi Gras songs.

For those of you who are in New Orleans ... WHY THE HELL ARE YOU SITTING AROUND READING BLOGS???!!?!? GET OUT AND PARTY!!!!!!

Firsst some Fess ...



Kermit Ruffins with The Rebirth Brass Band



Below is a scene from HBO's Treme featuring the song "Indian Red." This scene was among Actor Wendell Piece's favorite scenes in Treme  listed in Rolling Stone.

We had all the [Mardi Gras Indian] chiefs — who had never been photographed together in New Orleans, or anywhere, — come together to sing 'Indian Red' to memorialize their friend who they found buried in the wreckage of his house in the Lower 9th ward. All of these people who are cultural icons and heroes in the community getting international attention," Pierce says. The scene features several Big Chiefs of local Mardi Gras tribes singing the traditional prayer-chant song including Chief Monk Boudreaux of the Golden Eagles, Chief Darryl Montana of the Yellow Pocahontas Hunters, Chief Lionel Delpit of the Black Feathers, Chief Otto DeJean of the Hard Head Hunters, Chief Clarence Dalcour of the Creole Osceolas, Council Chief Fred Johnson, and Spyboy Irving "Honey" Banister of the Creole Wildwest. 



Speaking of Mardi Gras Indians, you're probably familiar with the song "Iko Iko" by The Dixie Cups, which was a big hit in 1964. But 11 years before that, a New Orleans R&B singer named James "Sugar Boy" Crawford released a song called "Jock-A-Mo" that's strikingly familiar ....



And nearly a decade before that, a song called "Chocko Me Feendo Hey" by Baby Dodds Trio sounds kind of similar too ...



Meanwhile, in 2003 Big Chief Monk Boudreaux & The Golden Eagles recorded this close cousin of all these songs



Finally, here's Dr. John with The Neville Brothers and a cameo by Pete Fountain



A one-woman Mardi Gras

Sunday, February 11, 2018

TERRELL'S SOUND WORLD PLAYLIST





Sunday, Feb. 11, 2018
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Dial 666 by The Night Beats
Laptop Dog by The Fall
Riot in Cell Block #9 by Flat Duo Jets
Little Girl by The Goon Mat & Lord Bernardo
Lil Lobo by Joe "King" Carrasco  with Patricia Vonne
Coyote by Wild Evel & The Trahbones
Memphis Creep by The Oblivians
Mumbles by Jack Ross
Shock the Monkey by Don Ho

Let's Go to Mars by Barrence Whitfierld & The Savages
Tainted Love by King Salami & The Cumberland 3
Sugar Walls by Baronen & Satan
Chum on the Drum by Bee Bee Sea
Tie My Hands to the Floor by Sulphur City
I Love Mean Girl by Pan Ron & In Yeng
Two Thumbs Up by Rattanson
All's Well in Roswell by Harvey McLaughlin
200 Years Old by Frank Zappa & Captain Beefheart


IMG_3377


MARDI GRAS SET
Mardi Gras in New Orleans by Professor Longhair
Chock Mo Feendo Hey by Baby Dodds Trio
Jockamo Sugar Boy Crawford
Zydeco Mardi Gras by C.J. Chenier
My Indian Red by Dr. John
Meet Me Boys on the Battlefront by Wild Tchoupitoulas
Wild Injuns by The Neville Brothers
Mardi Gras Day by Kermit Ruffins & The Rebirth Brass Band
Mardi Gras Mambo by The Hawkettes
Down at the Mardi Gras by Rockin' Dopsie, Jr.
La Danse de Mardi Gras by Steve Riley, Steve Earle & The Eunice Revelers
Might Mighty Chief by Bo Dollis & The Wild Magnolias
In the Morning (Jockomo) by Big Chief Monk Boudreaux & The Golden Eagles
I Wish I Was in New Orleans by Tom Waits
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Want to keep the party going after I sign off at midnight?
Go to The Big Enchilada Podcast which has hours and hours of music like this.

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Friday, February 09, 2018

THE SANTA FE OPRY PLAYLIST



Friday, Feb. 9, 2018
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
Trouble by Sam Outlaw
I've Endured by Stump Tail Dolly
Mama's Got the Catfish Blues by Tom T. Hall
Four Years of Chances by Margo Price
Gin and Juice by The Gourds
Out in the Smokehouse Takin' a Bath by Leroy Pullins
Pretty Polly by The Dead Brothers
Little Sadie by The Sadies

Sing a Worried Song by Legendary Shack Shakers
Starlings, Ky /Rain and Snow by J.D.Wilkes
Something's Goin' On by Jessica Lee Wilkes
Trucks Tractors and Trains by The Dirt Daubers
Invisible Hand by Legendary Shack Shakers

Parting Words by Sarah Shook & The Disarmers
I Love My Truck by Glenn Campbell
The Mermaid Song by Jim Kweskin

Buy My Snake Oil by Jello Biafra & Mojo Nixon
Snake Oil by Steve Earle
The Snakes Crawl at Night by Charley Pride
Man Overboard by Libbi Bosworth with Toni Price
Single Girl Again by Oh Lazarus
Pay Day by Laino & Broken Seeds

I Know Your Name by Dad Horse Experience
Looks Like I Killed Again by Slackeye Slim
Soul Mercenary Blues by Blues Against Youth &The Restless Livers Collective
Springtime of Life by Zane Campbell
The Hard Way by Turnpike Troubadours
E.T. Bass at Last Finds the Woman of His Dreams by Jim White
Cold Trail Blues by Peter Case
CLOSING THEME: Comin' Down by The Meat Puppets



Like the Santa Fe Opry Facebook page

Want to keep this hoedown going after I sign off at midnight?
Check out The Big Enchilada Podcast Hillbilly Episode Archive where there are hours of shows where I play music like you hear on the SF Opry.

Subscribe to The Big Enchilada Podcast! CLICK HERE

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

TERRELL'S TUNE-UP: The Latest from Col Wilkes

A version of this was published in The Santa Fe New Mexican 
Feb. 9 , 2018




I’ve got a few things in common with J.D. Wilkes. For one, he lives in Paducah, Kentucky. My grandfather was born and raised in Kuttawa, Kentucky, a small town near Paducah. (My grandfather pronounced it “Ka-TOY.”) Another thing — Wilkes has been honored by his state as a “Kentucky Colonel.” Similarly, I’m a colonel aide-de-camp, that distinction having been bestowed upon me by former New Mexico Gov. David F. Cargo and former Lt. Gov. Walter Bradley. So we both know the pressures and responsibilities that such an office demands. We both were present at a Legendary Shack Shakers and Dirt Daubers show at the old Santa Fe Brewing Company in June 2012. (He was on stage. I was in the audience.)

But most important, both Wilkes and I are fans of American folk songs, blues, bluegrass, Gypsy jazz and swamp rock. (He plays it a lot better than I do. I do better in the audience.)

Wilkes’ love for this music and his ability to make it sound fresh, fun, and vital, is obvious in his new solo album Fire Dream, which will be officially released next week. This comes just a scant few months after the Shack Shakers’ most recent album, After You’ve Gone, which I’ll get to later.

Fire Dream, which was co-produced by Jimbo Mathus, is more eclectic than either the Shakers or The Dirt Daubers, a more country/bluegrass-based group that also featured Wilkes’ ex-wife Jessica.

A lot of the songs should sound familiar. There are at least a couple of tunes here — “Hoboes Are My Heroes” and “Bible, Candle and a Skull” — that Wilkes recorded before with the Shack Shakers. “Hoboes” was my favorite song from the Shakers’ 2010 album AgriDustrial. While both versions feature Wilkes’ banjo, the slower new version also has a dreamy violin and clarinet. The new take on “Bible, Candle and a Skull,” which first appeared on Pandelerium (2006), is also a departure from the more rocked-out original. On the solo record, Wilkes’ vocals are deep into the mix while a ghostly, tinkling piano and clarinet play an otherworldly tango.

Also here are a couple of venerated classics of rural America songs — a fine old outlaw ballad called “Wild Bill Jones” (first recorded by a woman named Eva Davis in 1924 but undoubtedly much older) and “Rain and Snow,” which I first heard as “Cold, Rain and Snow,” on The Grateful Dead’s first album but actually goes back at least to 1917, when it was collected in North Carolina by folklorists Olive Dame Campbell and Cecil Sharp in their compilation English Folk Songs from the Southern Appalachians. “Well I married me a wife, she’s been trouble all my life/Left me out in the cold, rain and snow.”

Tom Waits fans might hear some similarities between Wilkes and Waits in some of the tunes here. Their voices aren’t similar at all, but both are fond of Gypsy violins and Eastern European stomps. The song “Fire Dream” has serious echoes of Waits’ “Cemetery Polka.” And try to listen to “Moonbottle” without thinking of “Jockey Full of Bourbon,” I dare you!

Meanwhile, “Down in the Hidey Hole” has traces of metal and (might that be?) reggae. And “Starlings, Ky” might be described as lo-fi bluegrass, though the fiddle solo sounds suspiciously Cajun.

Fire Dream stands well on its own, but playing it side by side with the recent Legendary Shack Shakers record gives you a fuller glimpse of Wilkes’ artistry. As Shakers fans have come to expect, After You’ve Gone is a rocking, bluesy assault with some rockabilly overtones. This album comes closer in sound and raw spirit to roots-punk pioneers The Gun Club than past Shack Shakers efforts.

Though the music is more upbeat than Fire Dream, much of the subject matter, sparked by Wilkes’ divorce, is the personal, confessional kind of material that you might expect on a solo album.

There is something classic about break-up albums. Think Marvin Gaye’s stunning Here My Dear or Willie Nelson’s Phases and Stages or Shoot Out the Lights by Richard and Linda Thompson. Lots of the song titles here can be heard as Wilkes raging at his pain. In fact, the first words you hear on the opening track “Curse of the Cajun Queen,” are “Well, I feel so bad.”

The sax-augmented “War Whoop (Chief Paduke’s Revenge)” is pure anger. In the title song, Wilkes states his case clearly: “This place just ain’t the same/And I’m calling out your name/Just an empty echo/After you’ve gone.” And the hyped-up “Get Out of My Brain” shows just how hard a haunted psyche can rock. “You’re welcome to my heart, but stay out of my brain,” Wilkes pleads.

One of the most interesting cuts here is a cover song — a Bo Diddley-on-diet-pills version of a hillbilly classic, “Single Boy.” Usually this is done as “Single Girl” with a female singer. That’s how The Maddox Brothers and Rose recorded it back in the ’40s. And that’s how The Dirt Daubers recorded it with Jessica Wilkes singing just a few years ago. I’m not sure whether this is Wilkes thumbing his nose at his ex, or if it’s a private joke between them. Or what.

A little more subtle is the final song, “Invisible Hand,” in which Wilkes sings a pretty melody backed by what sounds like a player piano. And that melody seems hauntingly familiar. It took me a minute or two, but I realized that the melody is dangerously close to “Trucks, Tractors and Trains,” another Dirt Daubers song that Jessica sang. The Daubers did it upbeat in a jaunty bluegrass style. But the After You’ve Gone version is slow and sad.

Fire Dream shows a man still standing, made stronger by his musical roots. After You’ve Gone shows the storm he has endured.

* Los Lobos returns to Santa Fe Friday night, Feb. 9,with a 7:30 p.m. concert at Santa Fe Community Convention Center. The show is a benefit for the Española Valley Humane Society, which gets 100 percent of the proceeds. Tickets are $35 in advance; $40 at the door; and $100 (which includes a meet-and-greet with the band). Get tickets at holdmyticket.com.

Video Time

Let's start with the official video for Wilkes' "Walk Between the Raindrops"



Here's a live recording of "Wild Bill Jones"



The Legendary Shack Shakers "Curse of the Cajun Queen"


 A cool cartoon for "Sing a Worried Song."



And here is The Dirt Daubers' "Single Girl"




Thursday, February 08, 2018

THROWBACK THURSDAY: It was Dock Boggs' Birthday

Art by R. Crumb

Yesterday was the birthday of Moran Lee Boggs, better known as Dock Boggs, was botn in Norton Virginia on Feb. 7, 1898.

Yesterday also was the anniversary of the death of Dock Boggs. He died in 1971 in Needmore, Virginia, about four miles from Norton.

Oh Death! You sure know how to ruin a birthday party.

Of all the early hillbilly singers, the banjo-picking Boggs was spookiest. His thin, terse tenor seemed to embody hard times and hard living.

Here's what Greil Marcus, on a 1994 road trip through Virginia coal country, had to say about the man called Dock:

Dock Boggs was born in Norton in 1898. For most of his life he worked the coal mines in the area, save for time as a moonshiner in the ’20s and as a professional musician between 1927 and 1929, when he recorded twelve sides for the Brunswick and Lonesome Ace labels. In 1963, at the height of the folk-music revival, he was rediscovered, right where he’d always been, and went on to record three albums and play festivals and concerts around the country. He died in Norton in 1971. He was—as Thomas Hart Benton had recognized from the first, pressing Boggs’s version of the old ballad “Pretty Polly” on anyone who would listen to it—pos­sessed of one of the most distinctive and uncanny voices the American language has ever produced.

On Boggs’s 1927 “Country Blues” a wastrel faces ordinary, everyday doom. The banjo, which as a white man Boggs plays like a blues guitar, presses a queer sort of fatalism: fate in a hurry. At the close (“When I am dead and buried/My pale face turned to the sun”—Boggs worms you into the old, common lines until you sense the strange racial transformation they hint at), the singing rises and falls, jumps and plummets in a rush, as if  to say, Get it over with. In 1963 Boggs recorded “Oh Death”—“Won’t you spare me over for another year?”—and you can imagine Death’s reply, which would have been as fitting thirty-six years be­fore. Sure thing, man, what the hell. It’s no skin off my back. You sound like you’re already dead.


Here's Dock's "Country Blues":



Here's "Oh Death," recorded in the 1960s when Boggs was getting older. It's starker, far less melodic, and, true to Marcus, more dead than the Ralph Stanley that everyone knows from O,  Brother Where Art Thou?



Marcus also talked about another song Boggs sung, the ancient murder ballad "Pretty Polly," which he recorded in 1927.:

... in its English versions Polly’s pregnancy is part of the story. In Boggs’s version there is ... no mention of it — but there is something more, or anyway something else. The evil in his singing, a psychotic momentum that goes beyond any plain need to do-this-to-achieve-that, overwhelms the song’s musicological history. As Boggs sings, the event is happening for the first time and the last.

Hear the evil in his singing here:




One of Boggs' best known songs is "Sugar Baby." But it's not very sweet. It sounds like it's coming from a guy who truly hates his wife. The song has a similar line as one in "Pay Day," a Mississippi John Hurt song, also from the late 1920s. But when Hurt sings, "I've done all I can do and can't get along with you/ Gonna take you to your mama pay day," he sounds sweet, if sad. But when Boggs sings, "I'll send it to your mama next payday," a listener just hopes the woman does make it back to her mama. And when he sings, , "I'll rock the cradle when you gone," you hope he doesn't murder the baby too.



If this music is just too intense for you, calm your nerves with a good stiff belt of rub alacohol. Bottoms up and happy belated birthday, Dock!

Wednesday, February 07, 2018

WACKY WEDNESDAY: In an Age of Fake News We Need True Stories


So what do you do with all the fake news that's spewing forth on social media these days? Well if you're David Byrne, you make a movie with it.

That's what Byrne did back in 1986, while still a member of The Talking Heads. He took a bunch of twisted tabloid tales of the day and made them come to life in a little town in the middle of nowhere called Virgil, Texas.

Aided by his band, and a handful of other musicians -- including Pops Staples and Tito Larriva -- and actors including John Goodman, Spalding Gray, Swoosie Kurtz, Annie McEnroe and Santa Fe's own Jo Harvey Allen --  Byrne's True Stories was, in my book, the most under-rated movie of the '80s. It was a commercial flop, but it's one that I keep going back to, each one uncovering a new secret I'd missed before.

Critic Roger Ebert was a fan:

 There is no real plot here, just wonderment. ... This movie does what some painters try to do: It recasts ordinary images into strange new shapes. There is hardly a moment in "True Stories" that doesn't seem everyday to anyone who has grown up in Middle America, and not a moment that doesn't seem haunted with secrets, evasions, loneliness, depravity or hidden joy - sometimes all at once. 

In the Los Angeles Times, Sheila Benson wrote:

Byrne's Polaroids of Virgil become an accumulative portrait that hints at unease in the heartland. ... When Byrne shows us that glowing neon stage out in that eerie emptiness, or The Invisible Hospital of St. John the Baptist, a great voodoo altar to love, ...  he also fixes in our minds a view of the country he is unwilling to see vanish.  

Here are some of the songs and scnes that made True Stories the wonder it is:

In this scene, featuring John Ingle, Byrne foresaw the rise of Alex Jones -- if Jones were backed by good music. Contemplate the "Puzzling Evidence."



In that scene the choir's keyboard player was none other than Tito Larriva from the influential Chicano punk-rock band The Plugz (and later Cruzados and Tito & Tarantula) Here is Tito's big solo spot in True Stories, a song called "Radiohead," featuring Tejano music titan Steve Jordan on accordion.  I heard a rumor that some overrated band in the '90s named themselves for this song.



Pops Staples, known for his gospel and soul music with The Staples singers, appeared as a voodoo priest to invoke the trickster god Legba in this scene.



John Goodman, as the lovelorn bachelor Louis "The Bear" was the star of True Stories. He wrote a little song that, with the help of Papa Legba, won the heart of his true love. (And he's not a bad country singer!) What good is freedom? God laughs at people like us.



One of the most memorable citizens of Virgil, Texas was a lady known only as "The Lying Woman." She was portrayed by Jo Harvey Allen (wife of artist/musician Terry Allen) (This looks like a dead YouTube link, but it's not. Go ahead and click.)


"I wrote 'Billie Jean.' And half of Elvis' songs."




Sunday, February 04, 2018

TERRELL'S SOUND WORLD PLAYLIST





Sunday, Feb. 4, 2018
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Good Morning Judge by Wynonie Harris
We're So Ugly by Hornet Leg
This Dog is the King of Losers by Bee Bee Sea
Close to Me by The Cynics
Blue Ether by The Loons
Wimp by Jean Caffeine
Black Eyes by Boss Hog
Pictures of Lily by Hickoids

Flesh Eating Parasite by Pocket FishRMen
You'll Bring Me Flowers by The Darts
Surrender My Heart by Pussycat & The Dirty Johnsons
Don't Look Down by Lovestruck
Sunshine Don't Make the Sun by Barrence Whitfield & The Savages
It's a Lie by King Khan
Mysterioso Blues by Harvey McLaughlin
You Keep Me Hangin' On by Vanilla Fudge
Saved by Lavern Baker

Manny's Bones / Walking Song by Los Lobos
Red Hot by Sam the Sham & The Pharoahs
Dick's Automotive by Rugburns
Late Night by Dinola
Stand by Your Ghoul by The Cavemen
1932 Berlin by Kult
Hell by The Bonevilles

Job 17: 11-17 by Johnny Dowd
Ride Cyclo by Yol Aularong
Gravy for My Mashed Potatoes by Dee Dee Sharp
I'm Not Satisfied by The Fall
In My Tenement by Jackie Shane
Lay Me Low by Nick Cave
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Want to keep the party going after I sign off at midnight?
Go to The Big Enchilada Podcast which has hours and hours of music like this.

Subscribe to The Big Enchilada Podcast CLICK HERE

Friday, February 02, 2018

THE SANTA FE OPRY PLAYLIST



Friday, Feb. 2, 2018
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
I Got Mine by Tommy Collins
A Little Pain by Margo Price
Twelve Gates by Joe West
Heartache in Hell by Sarah Shook & The Disarmers
Texarkana Baby by Jason Ringenberg
Dirty Water by Salty Pajamas
Stranger by Houston Barks
Trying to Get to You by Tex Rubinowitz & Bob Newscaster
The Wreck of the Old 97 by Jim Kweskin

Dyin' Crapshooter Blues by David Bromberg
Hippies and Cowboys by Cody Jinks
Banded Clovis by Tyler Childers
Big Iron by Mike Ness
Up on the Hill Where They Do the Boogie by John Hartford
My Rough and Rowdy Ways by Dad Horse Experience
Black Lady Blues by Paul Burch

You Mean Too Much to Me by Big Sandy & The Fly-Rite Boys
A Day Late and a Darlin' Short by Clay Blaker
I Ain't Gonna Hang Around by Southern Culture on the Skids
Long White Line by Sturgill Simpson
Walk Between the Raindrops by J.D. Wilkes
Get Off My Land by Ramblin' Deano
One Good Gal by Charlie Feathers
A Woman Lives for Love by Wanda Jackson
Misty Blue by Wilma Burgess
Left to Right by Kitty Wells
Seein' Double by Nikki Lane

Drunkard's Prayer by Chris Stapleton
When I Get a Little Money by Chris Hillman
Howard Hughes' Blues by Laura Cantrell
This Old Road by Kris Kristofferson
I'll Think of Something by Hank Williams, Jr.
Darkness on the Face of the Earth by Willie Nelson
I Catch Myself Crying by Roger Miller
CLOSING THEME: Comin' Down by The Meat Puppets



Like the Santa Fe Opry Facebook page

Want to keep this hoedown going after I sign off at midnight?
Check out The Big Enchilada Podcast Hillbilly Episode Archive where there are hours of shows where I play music like you hear on the SF Opry.

Subscribe to The Big Enchilada Podcast! CLICK HERE

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

Thursday, February 01, 2018

THROWBACK THURSDAY: The Songs of the Civil Rights Movement


Mahalia Jackson sings at the March on Washington
Aug. 28, 1963

In honor of this being the first day of Black History, I'm just going to post a bunch of great songs from the Civil Rights movement in the 1950s.

You've probably heard some of these a thousand times.

Listen again. The spiritual heirs of Bull Connor and George Wallace and Thomas Edwin Blanton, Jr. are raising their hateful heads again. These songs need to be heard!

Let's start with the immortal Queen of Gospel, Mahalia Jackson singing the anthem -- "We Shall Overcome."

This performance is said to be from "the late '60s" and might be from a European concert. It appears to be part of some kind of documentary. The actual songs ends right before the 4 minute mark. the last couple of minutes consist of biographical narrative.



Here is some actual Civil Rights history. It's The Freedom Singers (from the Student Non-Violent Coordinating Committee) singing "We Shall Not Be Moved" at the 1963 March on Washington.



The song is Sam Cooke's "A Change Gonna Come." The video is a scene from Spike Lee's Malcolm X (1992).



Bluesman J.B. Lenoir was known for writing topical songs from the day's headlines. "Down in Mississippi" probably is his most haunting.



Mavis Staples back in 2007 released an entire album of Civil Rights songs. Here's the title tack, "Eyes on the Prize."



I'm fortunate to have been able to see Odetta play live at a Thirsty Ear Festival a few years before she died. I believe she ended her set with this song.



I'll end this with Nina Simone. Titling this song "Mississippi Goddam" probably ensured it would never get any radio airplay to speak of back in 1964. But let's not kid ourselves -- if if she'd called it "Mississippi Gosh Darn" the lyrics are so direct and Simone's anger so palpable, commercial radio still would have been scared to touch it.



Wednesday, January 31, 2018

WACKY WEDNESDAY: A Very Rotten Birthday




I've never met John Lydon, but I have a feeling that the artist formerly known as Johnny Rotten would hate this.

But today is his 62nd birthday, so I can't resist.

Here is a musical tribute with several musicians in various styles performing Sex Pistols songs.

Happy birthday, Johnny!

Let's start with a Southern California Chicano band called Manic Hispanic



I was looking for a bluegrass Pistols cover, just naturally assuming that there was a "Pickin' On the Sex Pistols" album. I mean there are Pickin' on Creed and Pickin' on Modest Mouse and Pickin' on Poison albums, so what are the Pickin' On people waiting for?

The closest I found was this one by Hayseed Dixie. (I'm not impressed.)

 

This is a French group I liked in the late '80s. They're called Les Negresses Vertes and they covered this Pistols classic.



This one's really dumb. Anyone remember Green Jello -- or didn't they have to change ther name to "Green Jelly? They got some MTV play in the early '90s with their rap-metal re-telling of the 3 Little Pigs.

"Anarchy in Bedrock" is even worse.



Ever get the feeling you've been cheated? Lydon neither wrote nor sang "The Great Rock 'n' Roll Swindle." But in the hands of Lolita 18, one of my favorite Japanese punk bands, it became one of my favorite Sex Pistols covers.



Martin Clive Atkins was a drummer for Lydon's Public Image Ltd. in the late '70s and early 80's. He also did time with Nine Inch Nails, Ministry, Pigface and other "industrial" groups. Around the turn of the century Atkins, recording under the name Opium Jukebox, released an entire album of Bhangra versions of Pistols songs. This is one of them:

Tuesday, January 30, 2018

Hot Damn! It's a Brand New Big Enchilada Hillbilly Episode!

THE BIG ENCHILADA



Welcome to the first Big Enchilada of 2018, a brand new hillbilly episode that travels to the heart of the mythological Old West for another rollicking hillbilly episode. I know it's January but this show is hotter than a pistol at the O.K. Corral. 

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Here's the playlist:

(Background Music: March With Hope by Hugo Montenegro & His Orchestra)
Big Iron by Mike Ness
Dirty Boogie by Roy Hall & His Cohutta Mountain Boys
Whiskey Down by Diamonds & Whiskey
My Last Ride by The Dad Horse Experience
I Hate Men by Little Carolyn Sue
Pistol Packin' Mama by A Man Called Stu

(Background Music: The Vice of Killing by Hugo Montenegro & His Orchestra)
Pinball by Hellbound Glory
Pinball Machine by The Fall
Oh My Darling Clementine by Johnny Dowd
The President is Out of His Goddamn Mind by Ramblin' Deano
Purgatory by Tyler Childers
Blood on the Saddle by T. Tex Edwards

(Background Music: For a Few Dollars More by Hugo Montenegro & His Orchestra)
Guns, Guitars and Women by Kell Robertson
Another Pretty Country Song by The Blues Against Youth & The Restless Livers Collective
As It Was by Salty Pajamas
Wild Bill Jones by J.D. Wilkes
Big Rig Rollin' Man by Johnny Dollar
Seven Lonely Days by Ginny Carter
(Background Music: The Good, The Bad and The Ugly by Hugo Montenegro & His Orchestra)

Play it below:




Sunday, January 28, 2018

TERRELL'S SOUND WORLD PLAYLIST





Sunday, Jan. 28, 2018
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Girlfriend by Ty Segall
Jon Henry by Snakefarm
Jesus' Chariot by Neil Young & Crazy Hourse
St. James Infirmary Blues / Red River Valley by Johnny Dowd
Cocaine Lil by The Mekons
It Ain't Gonna Save Me by Jay Reatard
Pain by Barrence Whitfield & The Savages

Too Many People / Hey Joe by The Leaves
Mad as Hell (in the White Night) by Jean Caffeine
Haunted House by Bazooka
We're Not Alone by Mean Motor Scooter
Late Night by Dinola
Poor Beast, Marginal Man by Rattanson
Closer to Fine by Sicko
Psycho Babe by Bee Bee Sea




R.I.P. Mark E. Smith

All songs by The Fall

New Big Prinz
Mexico Wax Solvent
Cruiser's Creek
Dead Beat Descendant
Last Exit to Brooklyn (Last Chance to Turn Around)
Gibbus Gibson
The Man Whose Head Expanded
Glam Racket - Star
Cab it Up




My Baby Joined the Army by Terry Evans
Call on God by Sharon Jones & The Dap-Kings
Don't You Ever Let Nobody Drag Yo' Spirit Down by Linda Tillery with Wilson Pickett & Eric Bibb
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Want to keep the party going after I sign off at midnight?
Go to The Big Enchilada Podcast which has hours and hours of music like this.

Subscribe to The Big Enchilada Podcast CLICK HERE

Friday, January 26, 2018

THE SANTA FE OPRY PLAYLIST



Friday, Jan. , 2018
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
Sally Was a Good Old Girl by Don Rich
Skip a Rope by Kentucky Headhunters
Pipe Bomb Dream by Turnpike Troubadours
Diggy Liggy Lo by Doug & Rusty Kershaw
Bang Bang Bang by Eilen Jewell
Callin' My Name by Lara Hope
Miss Jesse Lee / When I See You by Billy Hancock
Crazy Mixed Emotions by Rosie Flores
Devil on My Shoulder by Kim Lenz
I'm Coming Home by Johnny Horton

Ghost Train Four-Oh-Ten by Marty Stuart
Fryin' Pan by Salty Pajamas
Wolves in the Street by Dinosaur Truckers
Ocean of Diamonds by Jimmy Martin
Truck Drivin' Man by Twang Bangers
I'm Tired of Pretending by Hank Thompson
Damned If I Do, Damned If I Don't by Sarah Shook & The Disarmers

Oh My Darling, Clementine by Johnny Dowd
Pinball Machine by The Fall
Ugly Woman by Hasil Adkins
War Whoop by Legendary Shack Shakers
Fire Dream b y J,D, Wilkes
Wicked Path of Sin by Dad Horse Experience
The Grand Ole Opry Ain't So Grand by Hank Williams III
Beatin' My Head by Jayke Orvis
Don't You Think This Outlaw Bit's Done Got Out of Hand by Waylon Jennings

After the Fire Is Gone by Tracy Nelson with Willie Nelson
As Soon as I Hang Up the Phone by Conway Twitty & Loretta Lynn
Tryin' to Untangle My Mind by Chris Stapleton
Paradise Etc. by Peter Case
I've Got a Tender Heart by Merle Haggard
Back in My Day by The Handsome Family
Drift Away by Shake Russell & Michael Hearne
CLOSING THEME: Comin' Down by The Meat Puppets



Like the Santa Fe Opry Facebook page

Want to keep this hoedown going after I sign off at midnight?
Check out The Big Enchilada Podcast Hillbilly Episode Archive where there are hours of shows where I play music like you hear on the SF Opry.

Subscribe to The Big Enchilada Podcast! CLICK HERE

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

TERRELL'S TUNE-UP: Johnny Dowd's Twinkle Twinkle

A version of this was published in The Santa Fe New Mexican 
Jan. 26, 2018




I love great old American folk songs and other hoary tunes from past centuries. And I love radical reinterpretations of great American folk songs, ancient murder ballads, epic love ballads, supernatural weirdness, field hollers, proto-Tin Pan Alley standards, Stephen Foster classics, and spirituals.

Neil Young’s Americana, with its fearsome take on “She’ll Be Comin’ ’Round the Mountain” (retitled “Jesus’ Chariot” and recast as an appeal to our space-alien forefathers), is a prime example of this. Lesser known is Snakefarm’s Songs From My Funeral, in which singer Anna Domino puts a funky, electronic, atmospheric twist on spooky old tunes like “St. James Infirmary Blues,” “Banks of the Ohio,” and “House of the Rising Sun.”

If stodgy old purists balked at these efforts, Johnny Dowd’s new album Twinkle, Twinkle should give them all heart attacks. Dowd doesn’t bring these songs into the present. He doesn’t take them to the future. He takes them straight to hell — and listeners not only will feel the heat, they’ll smell the devil’s breath.

With Dowd on vocals, guitar (torturing the poor thing), keyboards, and other instruments, plus backing vocals by Anna Coogan and Michael Edmondson, most of the songs here will take on different shades, spotlight hidden corners, and reveal strange new meanings. It’s like a dream in which familiar things — in this case, the lyrics of the songs — melt into menacing new forms. The closest comparison I can come up with is The Residents, those mysterious masked mutants who have applied their strange craft to the works of Elvis, Hank Williams Sr., James Brown, and others. Dowd sounds downright Residential on this album.

Dowd’s prominent drawl is not affected. He was raised in Texas and Oklahoma. But for the last few decades he has resided in Ithaca, New York, where he has earned his daily bread operating a moving company. He didn’t start recording until he was nearly fifty, when he released his 1998 debut, Wrong Side of Memphis, full of off-kilter original murder ballads and other tales of the underbelly.

Starting off Twinkle, Twinkle with an original song called “Execute American Folklore, Again” (an obvious reference to the title of his previous album), Dowd lays out his purpose. And while you’re still scratching your head over that one, he goes into the title song, a version of “Twinkle Twinkle Little Star” with industrial percussion, Coogan singing a surreal soprano, and a demonic electronic voice that seems to be mocking Dowd’s earnest recitation.

That’s followed by a Dada-like take on one of my favorite folk songs. Even before Dowd got his hands on it, “The Cuckoo” was filled with mystery, with its seemingly unconnected references to Independence Day (“She never hollers cuckoo ’til the fourth day of July”) and the Jack of Diamonds robbing you of your silver and your gold. It’s an old British ballad that I suspect has evolved into a patchwork of two or three songs. It became a folk-scene standard in the ’50s when Harry Smith put Clarence Ashley’s version of it on his Anthology of American Folk Music. There are great versions by Doc Watson, The Holy Modal Rounders, Taj Mahal, Dave Alvin, and — perhaps my favorite — by Big Brother & The Holding Company. But Dowd does the most cuckoo “Cuckoo.” He makes this bird holler louder than anyone (and several months before the fourth of July).

Dowd’s take on the New Orleans classic “St. James Infirmary Blues” sounds even more ominous than a song about viewing your sweetheart’s corpse in a hospital morgue is supposed to sound. He includes an opening-verse framing device that Cab Calloway and others omitted:

“... Old Joe’s barroom, it was on the corner of the square./The usual crowd was assembled, and Big Joe McKinney was there./He was standing by my shoulder. His eyes were bloodshot red/He turned to the crowd around him and these are the words he said.” 

When Dowd sings the part in which the narrator fantasizes about his own funeral, he changes a line, perhaps to add cosmic significance: “Put a $20 gold piece on my watch chain/So that God will know I died standing pat.”

Other highlights of Twinkle, Twinkle include what sounds like a Martian hip-hop interpretation of “Rock of Ages.” Dowd punctuates the versions saying “Rock! I said Rock!” with a crazy guitar twang coming in behind him. On “John the Revelator,” Dowd delivers each line as if he’s relaying information that could get him killed. “Going Down the Road Feeling Bad” sounds like a road trip into another dimension. Yes, it’s strange, but I bet Woody Guthrie would have gotten a kick out of it.

And there’s “Tom Dooley,” in which Dowd ends the song by singing a verse of “Jesus Loves Me.” And on “Oh, My Darling, Clementine,” Dowd actually sings the melody, backed up by Coogan on the choruses. This is about as straight as he plays it, at least until the last minute or so of the song — in which the music gets stranger and “Jesus Loves Me” makes a return.

He ends the album with some Bible verse — “Job 17: 11-17” — taking about as many liberties with the Good Book as he does with the folk songs. The Bible says, “If I wait, the grave is my house: I have made my bed in the darkness. I have said to corruption, `You are my father’: to the worm, `You are my mother, and my sister.’” Dowd adds words you never heard in the Bible: “TGIF, thank God it’s Friday, gonna have a party. ... Hey everybody, come on over to my house.”

When my kids were growing up, I warned them not to accept party invitations from strangers spouting Bible verses full of worms and death. But Dowd’s crazy party is pretty hard to resist.

Video time! 

Well Hell's bells, I couldn't find any videos of Twinkle Twinkle songs to post here. But here are a few of my favorites from the past.

Here's an ode to Nancy Sinatra:



To this next song, I pledged my eternal love .



And going way way back to 1999, this one from Dowd's second album, Pictures from Life's Other Side this one still haunts my nightmares.






Thursday, January 25, 2018

For Mark E. Smith


I'm so bummed out about the death of Mark E. Smith, the leader of The Fall, I'm just not up to doing a regular Throwback Thursday today.

Instead I'm just going to post a jumble of some of my ramblings about Smith and The Fall from various reviews I wrote of their albums (from 1989 to a couple of weeks ago.)

Then I'll post some music.

xxxx

I never thought that first (and only) time I saw The Fall in concert, back in the early ’80s, that 30 years later [now closer to 40 years later] I would:
a) be reviewing a brand new Fall album and
b) find that fact reassuring.

Although Fall guy Mark E. Smith was surprisingly open and friendly when I interviewed him over a couple of beers at Evangelo’s that night — until then I thought I might be the only person outside my small circle of friends who loved both Johnny Cash and Captain Beefheart — The Fall’s concert was confusing and even a little threatening.

As I wrote at the time, I felt like Dylan’s Mr. Jones. I knew something was happening there, but I just didn’t know what it was. It took me a couple of years to appreciate and eventually love The Fall, though I’ve never really understood them.

xxx

I had never heard of The Fall but I was intrigued by their press kit. Instead of the hyperbolic raves and slick fluff that record companies crank out to hype their artists, The Fall's press kit consisted of several pages of poorly reproduced Xerox collages of weird photos, typewritten madness and and copies of their concert and record reviews -- many of them negative ... [Smith] carried a little tape recorder to preserve, he said, funny things he had heard on The Fall's American tour. Nonsequitous snippets of conversation, street noises, motel room televisions and so on. Part of the Evangelos interview became part of that tape.

xxxx

More than a decade ago, in reviewing some Fall album or another, I wrote, “I doubt if all the CIA’s computers could crack the garbled ranting of Mark E. Smith.” In recent years I’ve been leaning toward a conspiracy-theory explanation for The Fall’s appeal to its scattered cult.

The band is actually sending coded messages to some alien/Lovecraftian sleeper cell. Some isolated Smith yelp in conjunction with some post-Standells guitar hook causes some shift in brain chemistry in some isolated listener, and next thing you know some unwitting Fall fan in Dalhart, Texas, is making a 4 a.m. drive to the Tucumcari airport to pick up a crate of something unspeakable delivered on a secret flight from Bohemian Grove.

xxx

He still sounds like a crazy old wino who loves to scream at you on the bus, his voice ranging from a menacing growl to a desperate rasp. That instrument is showing signs of wear and tear, but the craziness is still there. His current band is muscular enough to drive home Smith’s message. Whatever the heck that might be.

xxx

To the truly initiated, The Fall is everywhere. Every time you hear a car crash, a distant explosion, thunder cracking, a radio blaring static, a wino screaming profanities at nobody in particular — you hear the voice of Mark E. Smith ranting, grumbling, making rude noises in your head.

Here's some songs:

Check the record check the record, check the guy's track record. HE IS NUTS!



He's totally wired!



The Fall go country!



Now I Wanna Be Your Elf



The Fall in Norway 2006



Mark E. has left the Capitol.



And if that wasn't enough for you, here's my Spotify playlist featuring more than four hours of Fall music.



R.I.P. Mark E. Smith

TERRELL'S SOUND WORLD PLAYLIST

  Sunday, July 13, 2025 KSFR, Santa Fe, NM, 101.1 FM  Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell E...