Friday, November, 2011
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
OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Halden is a Hell-Raisin' Town by Rick Brousard & Two Hoots and a Holler
Wake Up Sinners by The Dirt Daubers
I Want My Mojo Back by Scott H. Biram
Ding Dong Mama From Tennessee by Jimmy Myers
Skid Row Girl by Wanda Allred
Roll Truck Roll by Bill Kirchen
Move It by T. Tex Edwards & The Saddletramps
Drive, Drive, Drive by Dale Watson
Big Joe & The Phantom 309 by Red Sovine
Guns, Guitars and Women by Kell Robertson
Let's Go Through Menopause Together by Jim Terr (as "Buddy")
Jesus Car by The Yawpers
I'm So Happy I Found You by Lucinda Williams
The Way It Goes by Gillian Welch
Rita's Breakdown by Mama Rosin
Clap Hands by C.J. Chenier
The Devil's Gotta' Earn by Brett Detar
Nails in the Pine by Poor Boy's Soul
My Gal Sal Medley by Howard Armstrong
Where Should I Lay My Head, Lord? by O Lendario Churcrobillyman
Texas Rose by Possessed by Paul James
Learn to Say No by Lydia Loveless
Sweet Kind of Love by Pine Valley Cosmonauts
Johnson To Jones by The Milo Twins
Cool and Dark Inside by Kell Robertson
The Ghost and Honest Joe by Pee Wee King
Uncle Sam by Anthony Leon & The Chain
Perfect Far Away by The Bottle Rockets
Fallen Angel by Jimbo Mathus
I Pity The Poor Immigrant by Richie Havens
I'll Walk Around Heaven With You by Kell Robertson
CLOSING THEME: Comin' Down by The Meat Puppets
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Steve Terrell is proud to report to the monthly Freeform American Roots Radio list
Friday, November 04, 2011
Thursday, November 03, 2011
TERRELL'S TUNEUP: Bellowing Like the Immortals
A version of this was published in The Santa Fe New Mexican
Nov. 4, 2011
Here’s a cheesy blurb for Tom Waits’ new album: Bad as Me is as good as it gets.
I can’t help it. It’s true.
In these difficult economic and political times, hearing music this excellent from an old master who is well along the road to senior citizenship is a sweet and welcome beacon in the fog — even when much of the music is dark and threatening. It’s reassuring that Waits is awake and creating, making music that still matters, growling with the alley cats and bellowing like an immortal.
It’s his first album of new material since 2004’s Real Gone, and definitely his most powerful album of new material since 1999’s Mule Variations.
His output since the beginning of this century has been sparse and uneven. In 2002 he had the dual releases of Alice and Blood Money — both soundtracks from theatrical productions, each of which have some good songs but neither of which really seems like a Waits album. Real Gone is a strange album with lots of experimental human-beat-box effects, lots of anti-war lyrics, and not a trace of Waits’ trademark piano. (Rereading my review of it, I think now I was too generous at the time.) Two years later came his excellent but probably too long three-disc rarities compilation, Orphans: Brawlers, Bawlers & Bastards, followed in 2009 by Glitter and Doom Live.
Waits is such a monster that he attracts a whole boatload of star performers as sidemen, and yet you never once forget that Bad As Me is a Tom Waits album, not a guest-star extravaganza.
He has Marc Ribot and Keith Richards playing guitar (Richards joins on harmony vocals on some tracks), David Hidalgo of Los Lobos on a whole bunch of instruments, Augie Meyers on keyboards, Les Claypool, Flea, and longtime Waits compadre Larry “The Mole” Taylor (formerly of Canned Heat) on bass and guitar, and blues great Charlie Musselwhite on harmonica. Lesser artists would have these names plastered all over the album cover.
The album starts off with a bunch of Waits blues songs — blues from Pluto (more the god than the ex-planet). “Chicago” is charged with Balkan-like horns (has Waits been listening to Beirut?). The rhythm is tense and foreboding. Musselwhite blows his harp like a train whistle. It’s about a desperate family pulling up stakes and moving to another city. The song is new, but Bo Diddley, Howlin’ Wolf, Muddy Waters, and countless others had it in their hearts during the migration from the South in the past century. (The theme is repeated later in the album with the starker, wearier-sounding “Face to the Highway.”)
“Raised Right Men” is outright spooky, with its staccato guitar and Meyers’ creepy organ fill. The song is about domestic discord. A guy quarrels with his woman, who finally gets fed up enough to knock out a tooth. And now “He’s that lonely man on the turnpike in the toll-takers booth.”
Things slow down a little with “Talking at the Same Time,” in which Waits sings, “Well, we bailed out all the millionaires/They’ve got the fruit/We’ve got the rind/And everybody’s talking at the same time,” in his greasy falsetto over a sinister, atmospheric Twin Peaks- style guitar twang.
This is followed by “Get Lost,” some mutant rockabilly with Ribot and Hidalgo dueling on guitar.
“Hell Broke Luce,” more than any other track on this album, will remind listeners of Real Gone — except it’s better than anything on that album. This is a horrifying tale of war in which Waits is mostly backed by crazy tape-loop percussion and frantic, disjointed guitar riffage by Ribot and Richards, and, at one point, a dreamlike horn section that sounds like a Salvation Army band.
Like many of the songs on that album, this is a topical song, dealing with a wounded veteran of the war in Iraq — or is it Afghanistan? Waits starts out with a soldier’s marching rhyme: “I had a good home, but I left. I had a good home, but I left, right ...” T-Model Ford fans will instantly recall the elder blues hound’s “To the Left, to the Right.” But Waits’ song is far more pointed. His lyrics sink into rants against military brass, the tedium of military life, and the ravages of war (“That big fucking bomb made me deaf ... My face was scorched, scorched ... Kelly Presutto got his thumbs blown off/Sergio’s developing a real bad cough ... Left, right, left”).
Then there’s “Satisfied,” a hard-edged blues (with a strange shout-out to Mr. Jagger and Mr. Richards) with an underlying gospel fervor. And don’t forget the title song, in which the singer tells a lover, “You’re the letter from Jesus on the bathroom wall/You’re mother superior with only a bra. ... You’re the same kind of bad as me.”
If these are brawlers, there are also plenty of bawlers on this album.
“Pay Me,” with accordion by Meyers and fiddle by Hidalgo, has a back-street Parisian feel. “Back in the Crowd,” with an acoustic Spanish guitar, could be a lost Gene Pitney song. “Kiss Me” is a slow, smoky, tune with jazz guitar played by Waits himself. It sounds like the little brother of Waits’ old tune “Blue Valentines.” And “Last Leaf,” featuring Richards on wino harmonies, should remind Waits fans of their classic duet “That Feel” from almost 20 years ago.
There are two versions of Bad as Me — the regular and the “deluxe edition,” which has three extra songs. (I saved a little money, but not much, by buying the regular CD and downloading the bonus tracks from eMusic.) It’s worth picking these up. “After You Die” is a banjo-based hobo meditation on the afterlife. “She Stole the Blush” is more junkyard blues. “Tell Me” is a pretty tune that’s close to radio ready — you can almost imagine Glen Campbell doing this one. It will appeal to those who might be scared off by some of the darker, crazier tracks on Bad as Me.
The disc ends with “New Year’s Eve,” a bittersweet waltz featuring Hidalgo’s accordion. Waits sings of moving on, as well as drunken bonding. “I ran out on Sheila and everything’s in storage./Calvin’s right, I should go back to driving a truck.”
This song should be played in every household in America at the stroke of midnight on Dec. 31.
Every year.
Forever.
Blog Bonus: Check this out for laffs
Nov. 4, 2011
Here’s a cheesy blurb for Tom Waits’ new album: Bad as Me is as good as it gets.
I can’t help it. It’s true.
In these difficult economic and political times, hearing music this excellent from an old master who is well along the road to senior citizenship is a sweet and welcome beacon in the fog — even when much of the music is dark and threatening. It’s reassuring that Waits is awake and creating, making music that still matters, growling with the alley cats and bellowing like an immortal.
It’s his first album of new material since 2004’s Real Gone, and definitely his most powerful album of new material since 1999’s Mule Variations.
His output since the beginning of this century has been sparse and uneven. In 2002 he had the dual releases of Alice and Blood Money — both soundtracks from theatrical productions, each of which have some good songs but neither of which really seems like a Waits album. Real Gone is a strange album with lots of experimental human-beat-box effects, lots of anti-war lyrics, and not a trace of Waits’ trademark piano. (Rereading my review of it, I think now I was too generous at the time.) Two years later came his excellent but probably too long three-disc rarities compilation, Orphans: Brawlers, Bawlers & Bastards, followed in 2009 by Glitter and Doom Live.
Waits is such a monster that he attracts a whole boatload of star performers as sidemen, and yet you never once forget that Bad As Me is a Tom Waits album, not a guest-star extravaganza.
He has Marc Ribot and Keith Richards playing guitar (Richards joins on harmony vocals on some tracks), David Hidalgo of Los Lobos on a whole bunch of instruments, Augie Meyers on keyboards, Les Claypool, Flea, and longtime Waits compadre Larry “The Mole” Taylor (formerly of Canned Heat) on bass and guitar, and blues great Charlie Musselwhite on harmonica. Lesser artists would have these names plastered all over the album cover.
The album starts off with a bunch of Waits blues songs — blues from Pluto (more the god than the ex-planet). “Chicago” is charged with Balkan-like horns (has Waits been listening to Beirut?). The rhythm is tense and foreboding. Musselwhite blows his harp like a train whistle. It’s about a desperate family pulling up stakes and moving to another city. The song is new, but Bo Diddley, Howlin’ Wolf, Muddy Waters, and countless others had it in their hearts during the migration from the South in the past century. (The theme is repeated later in the album with the starker, wearier-sounding “Face to the Highway.”)
“Raised Right Men” is outright spooky, with its staccato guitar and Meyers’ creepy organ fill. The song is about domestic discord. A guy quarrels with his woman, who finally gets fed up enough to knock out a tooth. And now “He’s that lonely man on the turnpike in the toll-takers booth.”
Things slow down a little with “Talking at the Same Time,” in which Waits sings, “Well, we bailed out all the millionaires/They’ve got the fruit/We’ve got the rind/And everybody’s talking at the same time,” in his greasy falsetto over a sinister, atmospheric Twin Peaks- style guitar twang.
This is followed by “Get Lost,” some mutant rockabilly with Ribot and Hidalgo dueling on guitar.
“Hell Broke Luce,” more than any other track on this album, will remind listeners of Real Gone — except it’s better than anything on that album. This is a horrifying tale of war in which Waits is mostly backed by crazy tape-loop percussion and frantic, disjointed guitar riffage by Ribot and Richards, and, at one point, a dreamlike horn section that sounds like a Salvation Army band.
Like many of the songs on that album, this is a topical song, dealing with a wounded veteran of the war in Iraq — or is it Afghanistan? Waits starts out with a soldier’s marching rhyme: “I had a good home, but I left. I had a good home, but I left, right ...” T-Model Ford fans will instantly recall the elder blues hound’s “To the Left, to the Right.” But Waits’ song is far more pointed. His lyrics sink into rants against military brass, the tedium of military life, and the ravages of war (“That big fucking bomb made me deaf ... My face was scorched, scorched ... Kelly Presutto got his thumbs blown off/Sergio’s developing a real bad cough ... Left, right, left”).
Then there’s “Satisfied,” a hard-edged blues (with a strange shout-out to Mr. Jagger and Mr. Richards) with an underlying gospel fervor. And don’t forget the title song, in which the singer tells a lover, “You’re the letter from Jesus on the bathroom wall/You’re mother superior with only a bra. ... You’re the same kind of bad as me.”
If these are brawlers, there are also plenty of bawlers on this album.
“Pay Me,” with accordion by Meyers and fiddle by Hidalgo, has a back-street Parisian feel. “Back in the Crowd,” with an acoustic Spanish guitar, could be a lost Gene Pitney song. “Kiss Me” is a slow, smoky, tune with jazz guitar played by Waits himself. It sounds like the little brother of Waits’ old tune “Blue Valentines.” And “Last Leaf,” featuring Richards on wino harmonies, should remind Waits fans of their classic duet “That Feel” from almost 20 years ago.
There are two versions of Bad as Me — the regular and the “deluxe edition,” which has three extra songs. (I saved a little money, but not much, by buying the regular CD and downloading the bonus tracks from eMusic.) It’s worth picking these up. “After You Die” is a banjo-based hobo meditation on the afterlife. “She Stole the Blush” is more junkyard blues. “Tell Me” is a pretty tune that’s close to radio ready — you can almost imagine Glen Campbell doing this one. It will appeal to those who might be scared off by some of the darker, crazier tracks on Bad as Me.
The disc ends with “New Year’s Eve,” a bittersweet waltz featuring Hidalgo’s accordion. Waits sings of moving on, as well as drunken bonding. “I ran out on Sheila and everything’s in storage./Calvin’s right, I should go back to driving a truck.”
This song should be played in every household in America at the stroke of midnight on Dec. 31.
Every year.
Forever.
Blog Bonus: Check this out for laffs
BUTCH CROUCH MEMORIAL
I just received this from Alan Ackoff. The memorial is 3-5pm Sunday Nov. 13 at El Farol. The cover charge is "a story about Butch."
Sunday, October 30, 2011
TERRELL'S SOUND WORLD PLAYLIST
Sunday, October 30, 2011
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
The 2011 Steve Terrell (Radio) SPOOKTACULAR
Halloween Hootenanny by Zacherle
Jack the Ripper by Screamin' Lord Sutch
Psychic Voodoo Doll by Deadbolt
Zombified by Southern Culture on the Skids
Hellhound by The Barbarellatones
Devil in My Car by The B52s
Bo Meets the Monster by Bo Diddley
Headless Hip-Shakin' Honey by Captain Clegg & The Night Creatures
My Daddy Is A Vampire by The Meteors
The Vampire Radio Spot by T. Valentine
Hallowed Be My Name by Alice Cooper
Voodoo Voodoo by LaVern Baker
I'm Your Boogie Man (Sex On The Rocks Mix) by White Zombie
Halloween (She Get So Mean) by Rob Zombie with The Ghastly Ones
Vampire Lover by The Tex Reys
Halloween by The Misfits
Taint No Sin (To Take Off Your Skin) by Fred Hall
The Blob by The Five Blobs
Take A Trip To My Grave by The Monsters
The Vampire Song by Concrete Blonde
Halloween by Mudhoney
Stand For The Fire Demon by Roky Erickson & The Aliens
Ghost Woman Blues by George Carter
Whistling Past the Graveyard by Screamin' Jay Hawkins
Pumpkinhead by Wee Hairy Beasties
Monsters of the Id by Mose Allison
Halloween Spooks by Lambert, Hendricks & Ross
Dance With The Ghoulman by The Fleshtones
Mr. Ghost Goes to Town by Louis Prima
Aloha from Hell by The Cramps
Full Moon by Elvira
Werewolf by Michael Hurley
Hell Hound On My Trail by Robert Johnson
Subscribe to The Big Enchilada Podcast! CLICK HERE
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
The 2011 Steve Terrell (Radio) SPOOKTACULAR
Halloween Hootenanny by Zacherle
Jack the Ripper by Screamin' Lord Sutch
Psychic Voodoo Doll by Deadbolt
Zombified by Southern Culture on the Skids
Hellhound by The Barbarellatones
Devil in My Car by The B52s
Bo Meets the Monster by Bo Diddley
Headless Hip-Shakin' Honey by Captain Clegg & The Night Creatures
My Daddy Is A Vampire by The Meteors
The Vampire Radio Spot by T. Valentine
Hallowed Be My Name by Alice Cooper
Voodoo Voodoo by LaVern Baker
I'm Your Boogie Man (Sex On The Rocks Mix) by White Zombie
Halloween (She Get So Mean) by Rob Zombie with The Ghastly Ones
Vampire Lover by The Tex Reys
Halloween by The Misfits
Taint No Sin (To Take Off Your Skin) by Fred Hall
The Blob by The Five Blobs
Take A Trip To My Grave by The Monsters
The Vampire Song by Concrete Blonde
Halloween by Mudhoney
Stand For The Fire Demon by Roky Erickson & The Aliens
Ghost Woman Blues by George Carter
Whistling Past the Graveyard by Screamin' Jay Hawkins
Pumpkinhead by Wee Hairy Beasties
Monsters of the Id by Mose Allison
Halloween Spooks by Lambert, Hendricks & Ross
Dance With The Ghoulman by The Fleshtones
Mr. Ghost Goes to Town by Louis Prima
Aloha from Hell by The Cramps
Full Moon by Elvira
Werewolf by Michael Hurley
Hell Hound On My Trail by Robert Johnson
Subscribe to The Big Enchilada Podcast! CLICK HERE
R.I.P. Butch Crouch
I just learned of the death of Santa Fe musician Butch Crouch, singer, guitarist,songwriter, storyteller.According to a mutual friend, Alan Akcoff, Butch, who was 72, fell while working on his home south of Santa Fe last week and hit his head on a rock.
According to his bio, which I've seen a couple of places on the Internet:
Butch grew up on the corner of Texas, Louisiana, and the Gulf Of Mexico (Pt. Arthur, Tex.). He considers himself lucky to have spent his formative years in a time and place that had big cars, cheap gasoline, young Rock and Roll, classic Country, timeless Cajun music, and rules.
Butch moved to Santa Fe in the late 80s. He was a mainstay at places like El Farol for years.
Here's what Alan said about him on his own blog a few years ago:
It ain't a perfect world folks but you'll feel better about it after you listen to Butch sing about it all with compassion and humor. After all these years and all the things life has thrown his way Butch still has that magic sparkle in his eye and his gravelly whiskey baritone just gets more soulful with every passing season. Go have a couple of beers and listen to Butch. I bet before long you'll be smilling through the tears.
Apparently Butch had just moved back to New Mexico having lived in Colorado in recent years. I hadn't seen him in several years.
Some of his songs can be heard on his Myspace page.
UPDATE: 1:30 pm. Akcoff posted a nice tribute to Butch on his blog HERE
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