Sunday, July 22, 2007
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell
email me during the show! terrell@ksfr.org
Now Simulcasting 90.7 FM, and out new, stronger signal, 101.1 FM
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Hard to Be Human by The Mekons
Guest Informant by The Fall
Wonderlust King by Gogol Bordello
Of Whales and Woe by Les Claypool
Pedro Bound by Mike Watt
Chocolate Out by The Boredoms
Jet Ninjin by Go! Go! 7188
Bumble Bee Zombie by Roky Erikson
Surfin' Down the Rio Grande by Sir Richard & The Knights
Lost in the Bayou by The Surf Lords
Liberteens in My Scene by The Dirty Novels
Nicole Told Me by Half Japanese
Plot Against the President by The Dick Nixons
Catch Hell Blues by The White Stripes
Stabbing Trilogy by The Gluey Brothers
Boys Don't Cry by Mummy the Peepshow
SWAMP DOGG SET
They Crowned an Idiot King
California is Drowning and I Live By The River
Surfin' in Harlem
America is Bleeding
God Bless America for What?
F**k the Bomb, Ban the Drugs
Crawdad Hole
Here Comes Terry by NRBQ
Peter's Trip by The Electric Flag
I Feel a Little Spaced Out by Os Mutantes
Qu'ran by Brian Eno & David Byrne
Won't You Try/Saturday Afternoon by The Jefferson Airplane
Last Kiss by Pearl Jam
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
Monday, July 23, 2007
Saturday, July 21, 2007
THE SANTA FE OPRY PLAYLIST
Friday, July 20, 2007
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
Good BBQ by The Riptones
Come on Home to Houston by Cornell Hurd
Moon Gone Down by The Gourds
Long Haired Country Boy by Charlie Daniels
Waymore's Blues by Waylon Jennings with John Anderson
Wolverton Mountain by Southern Culture on the Skids
Old Black Joe by Jerry Lee Lewis
Shake That Thing by Big Al Anderson
She Got the House by NRBQ
Peach Blossom by Hundred Year Flood
Starry Eyes by Roky Erickson with Luanne Barton
You're Humbuggin' Me by Lefty Frizzell
Philadelphia Lawyer by Rose Maddox
Scraps From Your Table by Hazel Dickens
Happy Hour by Ted Hawkins
Gimme a Ride to Heaven by Terry Allen
Phantom Riders by King Richard & The Knights
Wicked Game by The Surf Lords
Old Chunk of Coal by Billy Joe Shaver
Worthless by Tony Gilkyson
Wildcat Tamer by John Schooley
Eleven Cent Cotton by Porter Wagoner
The Night Porter Wagoner Came to Town by Tabby Crabb
Back Home by Dolly Parton
Up the Country Blues by Maria Muldaur
I'm So Lonesome Without You by Hazeldine
Prodigal Son by John Egenes
Don't Go Back to Sleep by Patty Booker
Next Time You're Drifting My Way by ThaMuseMeant
Mean Old Wind Die Down by North Mississippi Allstars
Comin' Down by The Meat Puppets
Steve Terrell is proud to report to the monthly Freeform American Roots Radio list
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell
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
Good BBQ by The Riptones
Come on Home to Houston by Cornell Hurd
Moon Gone Down by The Gourds
Long Haired Country Boy by Charlie Daniels
Waymore's Blues by Waylon Jennings with John Anderson
Wolverton Mountain by Southern Culture on the Skids
Old Black Joe by Jerry Lee Lewis
Shake That Thing by Big Al Anderson
She Got the House by NRBQ
Peach Blossom by Hundred Year Flood
Starry Eyes by Roky Erickson with Luanne Barton
You're Humbuggin' Me by Lefty Frizzell
Philadelphia Lawyer by Rose Maddox
Scraps From Your Table by Hazel Dickens
Happy Hour by Ted Hawkins
Gimme a Ride to Heaven by Terry Allen
Phantom Riders by King Richard & The Knights
Wicked Game by The Surf Lords
Old Chunk of Coal by Billy Joe Shaver
Worthless by Tony Gilkyson
Wildcat Tamer by John Schooley
Eleven Cent Cotton by Porter Wagoner
The Night Porter Wagoner Came to Town by Tabby Crabb
Back Home by Dolly Parton
Up the Country Blues by Maria Muldaur
I'm So Lonesome Without You by Hazeldine
Prodigal Son by John Egenes
Don't Go Back to Sleep by Patty Booker
Next Time You're Drifting My Way by ThaMuseMeant
Mean Old Wind Die Down by North Mississippi Allstars
Comin' Down by The Meat Puppets
Steve Terrell is proud to report to the monthly Freeform American Roots Radio list
Friday, July 20, 2007
BACK TO REALITY
Yes, Santa Fe is REALITY ...
I'm back from my vacation to Texas. We visited my daughter and son-in-law, made a side trip to Waco to see the Branch Davidian compound (I always make my children visit crime scenes and massacre sites) and the not-so-fabulous Dr. Pepper Museum (cheap pricks don't even give free samples!)
And we got to see Hundred Year Flood at the Saxon Pub.
Check out my FLICKR site for my vacation photos. (Thanks to FLICKR I don't have to come to your house and give you a personal slide show.)
I'm back from my vacation to Texas. We visited my daughter and son-in-law, made a side trip to Waco to see the Branch Davidian compound (I always make my children visit crime scenes and massacre sites) and the not-so-fabulous Dr. Pepper Museum (cheap pricks don't even give free samples!)
And we got to see Hundred Year Flood at the Saxon Pub.
Check out my FLICKR site for my vacation photos. (Thanks to FLICKR I don't have to come to your house and give you a personal slide show.)
TERRELL'S TUNEUP: SWAMP DIGGITY DOGG!
A version of this was published in The Santa Fe New Mexican
July 20, 2007
Nobody has ever accused Swamp Dogg of being too subtle. The cover of his new album, Resurrection, features a picture of the singer nailed to a cross, clad only in an American flag loincloth and a cap that reads "Witness Protection Program." Above his head a sign reads "Program Failure."
Yep, it’s a Swamp Dogg album all right, and it’s Swamp Dogg through and through, with songs of love, lust, and cranky political ranting.
While the notion of “cult artist” is overused, it fits Swamp Dogg (aka Jerry Williams). While he’s been releasing records for nearly 40 years, he’s never been a mainstream success. As he said in a June 2007 interview in the London newspaper The Guardian, “I’m not a down-and-out R & B singer. I’m not a used-to-be because I never was. I am so glad now that I didn’t become a great R & B hit in the ’60s, because I may still be in the ... ’60s, running around singing ‘Baby You’re My Everything’ and ‘I’m the Lover Man.’”
One of the things I love most about this singer is that he embodies so many contradictions. He’s known as a musical renegade and iconoclast who bolted the big-label, music-industrial complex and started his own independent label (Swamp Dogg Entertainment Group) years before it was fashionable. And yet his music, instrumentally at least, is basically conservative — old-fashioned, late ’60s/early ’70s soul that sounds as if George Clinton, Prince, and hip-hop never happened.
Although Dogg’s a soulster through and through, his biggest songwriting success is “She’s All I Got,” a country hit for Johnny Paycheck in the early ’70s.
And then there’s the matter of his lyrics. You’d probably expect him to be a fire-breathing, radical militant judging by the cover of this album; the titles of some of the songs (“America is Bleeding” and “They Crowned an Idiot King,” a one-fingered salute to the current chief executive); and his comfort with casual profanity and liberal use of the N word (Swamp Dogg obviously didn’t go to the recent NAACP “funeral” for the offensive epithet).
It’s true Swamp Dogg is anti-war and anti-Bush, and he believes racism is alive and well in modern America. But from his lyrics you also learn he opposes abortion and gay marriage, doesn’t like Mexican immigrants using Civil Rights-era slogans, and wants to keep God in the Pledge of Allegiance.
By my count, his politics are pretty close to those of Merle Haggard, which I personally find far more fascinating than those of the straight paint-by-numbers, talking-point liberal or conservative.
The 12-minute title song is a tour de force of Swamp Dogg’s political theory. Starting off with the rumbling of thunder he evokes the days of slavery, comparing it with the crucifixion. He praises Martin Luther King Jr. as “the messenger.”
Soon some of his social conservatism becomes apparent. Swamp Dogg denounces the welfare system, saying it encourages fatherless families. He blasts drugs, espousing a just-say-no policy. “You don’t have to do nothing about it, just leave it the hell alone and it will go away/It’s a proven fact that if a product is not being consumed the supplier will soon move on to other things.”
Swamp Dogg offers som
e sound economic advice to African Americans (or anyone else for that matter): “Start putting $10 to $15 a week into a savings account until it becomes big enough to buy a six-month certificate of deposit at 9 percent then continuously roll it over and don’t touch it and buy no damned Christmas presents!”
He also advises his people to put aside frivolous reading and “read a copy of Black Enterprise, Forbes, Money, and Fortune/Discover what the upscale black is doing and what the white man is planning to build in a year on the same site where you’re renting.”
He works himself into an emotional frenzy by the end of the song. “I will see you when you come out of the tomb!” he shouts. “ I will see you when you rise!”
Besides politics, the other major topic on Resurrection is love, specifically his recent marriage. “Today I Got Married” is a string-sweetened, tinkly-piano tribute to his wife, with a refrain that goes, “She knows how to fight to funk/She knows how to lift a [N word] up.” He promises to “do the things that make a marriage work/Bring my money home, get my lovin’ at home, and spend more time in church.”
This is a man who is passionate about and believes in everything he sings. It makes his music a true pleasure.
Also recommended:
* Bad Blood in the City: The Piety Street Sessions by James Blood Ulmer. Here’s another 60-something black musician who has a way with angry protest songs.
Ulmer is a jazzman who has played with the likes of Ornette Coleman and Art Blakey. But in recent years his art has taken him deeper and deeper into the blues. I loved his 2005 album Birthright, but this new one is even more exciting. It was recorded in New Orleans’ Piety Street studios with a full band.
Ulmer performs several fresh-sounding covers of songs by Son House, Howlin’ Wolf, John Lee Hooker, and Junior Kimbrough. But New Orleans — particularly, the aftermath of Hurricane Katrina — is never far from Ulmer’s mind. Songs include “Survivors of the Hurricane,” “Katrina,” “Let’s Talk About Jesus,” and “Backwater Blues,” a traditional blues number that in Ulmer’s hands sounds like a prophecy.
Ulmer’s main strength is that he captures the mysteriousness of the blues. Even when the band is rocking, you can imagine the husky-voiced singer in a graveyard, sitting on a tombstone, playing his guitar, and shouting melodies that double as secret incantations and dark warnings.
July 20, 2007
Nobody has ever accused Swamp Dogg of being too subtle. The cover of his new album, Resurrection, features a picture of the singer nailed to a cross, clad only in an American flag loincloth and a cap that reads "Witness Protection Program." Above his head a sign reads "Program Failure."
Yep, it’s a Swamp Dogg album all right, and it’s Swamp Dogg through and through, with songs of love, lust, and cranky political ranting.
While the notion of “cult artist” is overused, it fits Swamp Dogg (aka Jerry Williams). While he’s been releasing records for nearly 40 years, he’s never been a mainstream success. As he said in a June 2007 interview in the London newspaper The Guardian, “I’m not a down-and-out R & B singer. I’m not a used-to-be because I never was. I am so glad now that I didn’t become a great R & B hit in the ’60s, because I may still be in the ... ’60s, running around singing ‘Baby You’re My Everything’ and ‘I’m the Lover Man.’”
One of the things I love most about this singer is that he embodies so many contradictions. He’s known as a musical renegade and iconoclast who bolted the big-label, music-industrial complex and started his own independent label (Swamp Dogg Entertainment Group) years before it was fashionable. And yet his music, instrumentally at least, is basically conservative — old-fashioned, late ’60s/early ’70s soul that sounds as if George Clinton, Prince, and hip-hop never happened.
Although Dogg’s a soulster through and through, his biggest songwriting success is “She’s All I Got,” a country hit for Johnny Paycheck in the early ’70s.
And then there’s the matter of his lyrics. You’d probably expect him to be a fire-breathing, radical militant judging by the cover of this album; the titles of some of the songs (“America is Bleeding” and “They Crowned an Idiot King,” a one-fingered salute to the current chief executive); and his comfort with casual profanity and liberal use of the N word (Swamp Dogg obviously didn’t go to the recent NAACP “funeral” for the offensive epithet).
It’s true Swamp Dogg is anti-war and anti-Bush, and he believes racism is alive and well in modern America. But from his lyrics you also learn he opposes abortion and gay marriage, doesn’t like Mexican immigrants using Civil Rights-era slogans, and wants to keep God in the Pledge of Allegiance.
By my count, his politics are pretty close to those of Merle Haggard, which I personally find far more fascinating than those of the straight paint-by-numbers, talking-point liberal or conservative.
The 12-minute title song is a tour de force of Swamp Dogg’s political theory. Starting off with the rumbling of thunder he evokes the days of slavery, comparing it with the crucifixion. He praises Martin Luther King Jr. as “the messenger.”
Soon some of his social conservatism becomes apparent. Swamp Dogg denounces the welfare system, saying it encourages fatherless families. He blasts drugs, espousing a just-say-no policy. “You don’t have to do nothing about it, just leave it the hell alone and it will go away/It’s a proven fact that if a product is not being consumed the supplier will soon move on to other things.”
Swamp Dogg offers som
e sound economic advice to African Americans (or anyone else for that matter): “Start putting $10 to $15 a week into a savings account until it becomes big enough to buy a six-month certificate of deposit at 9 percent then continuously roll it over and don’t touch it and buy no damned Christmas presents!”He also advises his people to put aside frivolous reading and “read a copy of Black Enterprise, Forbes, Money, and Fortune/Discover what the upscale black is doing and what the white man is planning to build in a year on the same site where you’re renting.”
He works himself into an emotional frenzy by the end of the song. “I will see you when you come out of the tomb!” he shouts. “ I will see you when you rise!”
Besides politics, the other major topic on Resurrection is love, specifically his recent marriage. “Today I Got Married” is a string-sweetened, tinkly-piano tribute to his wife, with a refrain that goes, “She knows how to fight to funk/She knows how to lift a [N word] up.” He promises to “do the things that make a marriage work/Bring my money home, get my lovin’ at home, and spend more time in church.”
This is a man who is passionate about and believes in everything he sings. It makes his music a true pleasure.
Also recommended:
* Bad Blood in the City: The Piety Street Sessions by James Blood Ulmer. Here’s another 60-something black musician who has a way with angry protest songs.
Ulmer is a jazzman who has played with the likes of Ornette Coleman and Art Blakey. But in recent years his art has taken him deeper and deeper into the blues. I loved his 2005 album Birthright, but this new one is even more exciting. It was recorded in New Orleans’ Piety Street studios with a full band.
Ulmer performs several fresh-sounding covers of songs by Son House, Howlin’ Wolf, John Lee Hooker, and Junior Kimbrough. But New Orleans — particularly, the aftermath of Hurricane Katrina — is never far from Ulmer’s mind. Songs include “Survivors of the Hurricane,” “Katrina,” “Let’s Talk About Jesus,” and “Backwater Blues,” a traditional blues number that in Ulmer’s hands sounds like a prophecy.
Ulmer’s main strength is that he captures the mysteriousness of the blues. Even when the band is rocking, you can imagine the husky-voiced singer in a graveyard, sitting on a tombstone, playing his guitar, and shouting melodies that double as secret incantations and dark warnings.
Tuesday, July 17, 2007
TERRELL'S SOUND WORLD PLAYLIST
Sunday, July 15, 2007
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell
Now Simulcasting 90.7 FM, and out new, stronger signal, 101.1 FM
email me during the show! terrell@ksfr.org
(This is the pre-recorded show I left for Sunday. Tom Adler filled in for me on The Santa Fe Opry Friday.)
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Conquest by The White Stripes
Fire Engine by 13th Story Elevators
Memos from Purgatory by The Chesterfield Kings
My Dawgy Heap by The A-Bones
Pinon Lurker by The Gluey Brothers
Come Back Baby by Rev. Beat Man & The Unbelievers
Step Aside by Sleater-Kinney
Mi Saxophone by Al Hurricane
Forty Dollars by The Twilight Singers
Big Shoe Head by Buick MacKain
Lonesome Cowboy Bill by The Velvet Underground
Ask The Angels by Patti Smith
Where Were You by The Mekons
Road Runner by Jonathan Richman & The Modern Lovers
Motorcycle Irene by Moby Grape
Violenza Domestica by Mr. Bungle
Budokan Tape Try (500 Tapes High) by The Boredoms
Moon I'm Coming Home by Pere Ubu
I'm Insane by Sonic Youth
I Live in a Split Level Head by Napoleon XIV
The Torture Never Stops by Frank Zappa
Love is All Around by The Troggs
Sad Days, Lonely Nights by James Blood Ulmer
Hookers in the Street by Otis Taylor
Hiawatha by Laurie Anderson
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell
Now Simulcasting 90.7 FM, and out new, stronger signal, 101.1 FM
email me during the show! terrell@ksfr.org
(This is the pre-recorded show I left for Sunday. Tom Adler filled in for me on The Santa Fe Opry Friday.)
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Conquest by The White Stripes
Fire Engine by 13th Story Elevators
Memos from Purgatory by The Chesterfield Kings
My Dawgy Heap by The A-Bones
Pinon Lurker by The Gluey Brothers
Come Back Baby by Rev. Beat Man & The Unbelievers
Step Aside by Sleater-Kinney
Mi Saxophone by Al Hurricane
Forty Dollars by The Twilight Singers
Big Shoe Head by Buick MacKain
Lonesome Cowboy Bill by The Velvet Underground
Ask The Angels by Patti Smith
Where Were You by The Mekons
Road Runner by Jonathan Richman & The Modern Lovers
Motorcycle Irene by Moby Grape
Violenza Domestica by Mr. Bungle
Budokan Tape Try (500 Tapes High) by The Boredoms
Moon I'm Coming Home by Pere Ubu
I'm Insane by Sonic Youth
I Live in a Split Level Head by Napoleon XIV
The Torture Never Stops by Frank Zappa
Love is All Around by The Troggs
Sad Days, Lonely Nights by James Blood Ulmer
Hookers in the Street by Otis Taylor
Hiawatha by Laurie Anderson
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
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