TERRELL'S SOUND WORLD PLAYLIST

Sunday, July 12, 2015
KSFR, Santa Fe, N.M.
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

Here's the playlist
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
The Phantom by Flat Duo Jets
Ring of Fire by Social Distortion
Skeletons by The Routes
Kill You Tonight by The Sinister Six
Killers From Space by Figures of Light
Motobunny by Motobunny
The Wolf Pack Barrence Whitfield & The Savages
Cadillac Hips by Soledad Brothers
Bikini Girl by Panty Meltdown Aftermath
Bikini Girls With Machine Guns by The Cramps

Web by Thee Oh Sees
Golden Surf II by Pere Ubu
Jesus Built My Hotrod by Ministry
Mean Ass Girlfriend by The Barbarellatones
Call of the West by Wall of Voodoo
Fattening Frogs for Snakes by Sonny Boy Williamson

Song for a Future Generation by B-52s
Star Dream Girl by David Lynch
Daddy Rolling Stone by The Who
Can't Do Nuttin' For Ya Man by Public Enemy
Wicked Waters by Benjamin Booker
Jimmy's Warmup by Jimmy Russell
Medley: It's Allright/ For Sentimental Reasons by Sam Cooke
Feel All Right by The Oblivians with Mr. Quintron
Sugar Farm by T-Model Ford

Vodka is Poison by Golem
El Perversion by Deadbolt
We're Desperate by X
Run Run Run by The Velvet Underground
On a Mississippi Porch by Marcus James
Glow in the Dark by Lovestruck
Yours to Destroy by Laura St. Jude
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
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THE SANTA FE OPRY PLAYLIST

Friday, July 10, 2015
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)ksfr.org

Here's my playlist :

OPENING THEME: Buckaroo by Buck Owens

Wave That Flag by The Bottle Rockets (Chicken Truck)

Time Heals by The Gear Daddies

Dig Them Squeaky Shoes by Andy Starr

Nervous Breakdown by Wanda Jackson

Dixie Fried by The Howlin' Brothers

The Devil's Right Hand by Steve Earle

Down in Mississippi By J.B. Lenoir

Big Bad Bill is Sweet William Now by Ry Cooder

Feels Good by Dustbowl Revival

Let's Talk About Us by Van Morrison & Linda Gail Lewis

 

The Women Make a Fool Out of Me by Ernest Tubb

The Silver Tongued Devil and I by Kris Kristofferson

Big Bad John by Jimmy Dean

Let's Take a Ride by The Beaumonts

Whiskey And Women And Money To Burn by Joe Ely

Tongues by Jo Carol Pierce

Boomtown Boogie by Butch Hancock, Terry Allen & Jo Carol Pierce

The Way I Was Raised by Jo Harvey Allen

Cup of Tea by Joe Ely & Jo Harvey Allen

The Devil's at Red's by Anthony Leon & The Chain

Bad News by Alejandro Escovedo & Jon Langford

Fast Train Down by The Waco Brothers

Good News by Amy Helm

Mighty Lonesome Man by James Hand

Hey Mama, My Time Ain't Long by Ray Wylie Hubbard

When the Hammer Came Down by House of Freaks

Two Daughters And A Beautiful Wife by Drive-By Truckers

 

The Last War by Jim Stringer

Think I'll Just Sit Here and Drink by Merle Haggard

Gypsy Songman by Jerry Jeff Walker

Richland Woman by David Johansen & The Harry Smiths

Here Comes That Rainbow Again by Jerry Lee Lewis with Shelby Lynn

It's Not MyTime to Go by Dan Hicks & The Hot Licks

The Lost Cause by Legendary Shack Shakers

Take it Down by John Hiatt

CLOSING THEME: Comin' Down by The Meat Puppets

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TERRELL'S TUNE-UP: The War That Never Ends

If the South woulda won we'd still have Junior

A version of this was published in The Santa Fe New Mexican 
July 10, 2015

It’s the war that never seems to end.

Last month’s killing of nine people at Emanuel African Methodist Episcopal Church in Charleston reopened a lot of old wounds; the young man who police say has confessed to the crime reportedly had the deluded hope of starting a race war. Dylann Roof didn’t accomplish that. 

But what he did spark was another intense national debate about the Confederate flag, the nature of the Confederacy itself, and the meaning of the American Civil War. 

And what do you know? The scars still are too tender to declare this debate done.

This week South Carolina's legislature voted to remove the Confederate flag from the Capital grounds and Gov. Nikki Haley signed the bill. Somehow, I don't think this war is over.

The battle over Confederate culture has been fought in the world of music as well — and I’m not just whistling “Dixie.” Here is a look at a handful of the musical shots fired in the past 50-some years.

* “The Burning of Atlanta” by Claude King. This 1962 single was the follow-up to Claude King’s biggest hit, the country classic “Wolverton Mountain.” In many ways, the song — which concerns Gen. William Sherman’s torching of the Georgia city in Nov. 1864 — fits in the “faux folk song” phenomenon of that era, songs like Johnny Horton’s “The Battle of New Orleans,” “El Paso” by Marty Robbins, and Bobby Bare’s “Miller’s Cave.” But “Atlanta” has an edge to it, especially considering what was going on with the civil rights movement in the South in 1962. King singing, “We don’t care what the Yankees say, the South’s gonna rise again,” was more than a little charged in this context.

* “Down in Mississippi” by J.B.  Lenoir. For some reason, bluesman J.B. Lenoir’s swampy tune, recorded in Chicago in 1966, didn’t get a fraction of the airplay that “The Burning of Atlanta” received. Lenoir definitely wasn’t fantasizing about the South rising again. As far as he was concerned, things hadn’t really changed that much from the old days. Lenoir had been writing topical blues and protest songs since the ’50s. “Mississippi” is his finest. “They had a huntin’ season on a rabbit/If you shoot him you went to jail/The season was always open on me/Nobody needed no bail.”

* “An American Trilogy” by Mickey Newbury. Elvis Presley turned this haunting medley into a showstopper for his live performances in the mid-’70s. But it was renegade Nashville songwriter Mickey Newbury who put the three songs — “Dixie,” “Battle Hymn of the Republic,” and “All My Trials” together. It is a sweet plea for reconciliation. Hat tip to the online publication Saving Country Music for recently re-publishing Chris Campion’s liner notes to Newbury’s An American Trilogy compilation album, which focuses on Newbury’s performance of “Trilogy” at a Hollywood nightclub in 1970. Campion describes “All My Trials” as “a Bahamian lullaby turned plantation spiritual.” He continues, “It fit so well, forming a breach and symbolizing a quiet revolution to the other two songs, charged as they were by their association with Civil War conflict.” Campion says that Newbury’s wife was concerned that the Confederate anthem “Dixie” would offend Odetta, the iconic African-American folksinger who was in the audience that night. But from the stage, Newbury himself “could see Odetta’s eyes glisten as they welled up, her face shine as the emotion stained her cheek.”

Remember this guy?

* “If the South Woulda Won” by Hank Williams Jr. Had the South won the Civil War, Hank Williams Jr. suggests in this 1988 ditty, it would be so cool. We’d celebrate Kentucky bourbon, Cajun cooking, Elvis, Patsy, and his dad. The Supreme Court would be in Texas where they’d execute criminals quicker to avoid all those boring appeals and embarrassing exonerations. The girls all would have sexy Southern accents. All this, plus slaves!

* “Ronnie & Neil” by Drive-By Truckers. The Truckers’ 2001 album Southern Rock Opera is a concept album about what frontman Patterson Hood calls “the duality of the South.” This song is the strongest. It starts off talking about the 1963 Birmingham church bombing. (“Four little black girls killed for no goddamn good reason,” Hood sings.) Then it gets into the rhetorical back and forth between Lynyrd Skynyrd singer Ronnie Van Zant and Neil Young, who had written a couple of disparaging songs about the South (“Southern Man” and “Alabama”). Van Zant in “Sweet Home Alabama,” responded, singing, “I hope Neil Young will remember Southern man don’t need him around anyhow.” But Hood points out that in real life Ronnie and Neil became pals, a symbol of reconciliation.

* “Wave That Flag” by The Bottle Rockets. This song, from the 1993 debut album of the influential alt-country band from Festus, Missouri, deals directly with the stars and bars. “Wave that flag, hoss, wave it high/Do you know what it means? Do you know why?/Maybe being a Rebel ain’t no big deal/But if somebody owned your ass, how would you feel?” 

* “Take it Down” by John Hiatt. This stark and mournful song from John Hiatt’s Crossing Muddy Waters album from 2000, starts out talking about lost love and ends up commenting on the issue of the Confederate flag flying over the South Carolina capitol. The message is that people should realize when they’ve been defeated — be it a romance or a civil war — and stop clinging to symbols of the past. 

* “The Lost Cause” by The Legendary Shack Shakers. Over the strains of what sounds like a player piano, in this 2010 tune, J.D. Wilkes describes a battalion of undead Confederate soldiers. It’s not really a ghost story; it’s a refutation of historical revisionism that glorifies the Confederacy: “A company of skeletons in rags/March home under tattered white flags/Dusty Bibles and deep empty pockets/Dark dreams and deeper eye sockets/We ain’t right in the head and our women lay dead/We’re the losers who chose the Lost Cause.” The final verse seems even more ominous after Charleston: “From the dirt where they plant us,/‘Sic semper tyrannis!’/ May we one day avenge our lost cause."

You can hear most of these songs on this playlist, plus a few bonus tracks:

THROWBACK THURSDAY: All My Trials Over "All My Trials"

Consider this Throwback Thursday post a prelude to this week's Terrell's Tune-up column. I can't say why right now, but a certain song I mention in the column has an obvious connection with "All My Trails," a tune I first learned at various United Methodist Youth Fellowship gatherings during my high school days in the late '60s and early '70s.

I've always had a special place in my heart for the song. And lots of great -- and some not-so-great -- singers have recorded and performed versions of it. Most the usual folkie suspects -- Seeger, Baez, Van Ronk, The Kingston Trio, Peter, Paul & Mary -- have done it. The Bible-soaked lyrics tie in nicely with the Civil Rights struggle of the early '60s. "If religion were a thing that money could buy / The rich would live and the poor would die ..." and "I had a little book was given to me / And every page spelled liberty .."  etc.

The lyrics get changed around from version to version. Some even cut out the first verse "Hush little baby don't you cry/ You know your mama was born to die ..."  which is pretty morbid for a goddamn lullaby!

Yes, a lullaby. Practically every source I looked at while researching the song said it came from or might have come from an old "Bahamian lullaby" or perhaps a Bahamian "spiritual." One dubious source even referred to it as a "Jamaican slave song."

But when I set out trying to find out where the darn thing came from, I kept running into a brick wall. I couldn't find anything definite. No accounts of Nassau sailors singing it to delighted British journalists. Not even any Youtubes with Bahamian singers. (And I seriously wanted to find a crazed, incomprehensible version by Joseph Spence to post here!) Seems like Alan Lomax or somebody should have stumble across some mama in the Bahamas trying to put her kid to sleep with something like this.

It turns out that another blogger (and fellow podcaster and fellow musician and fellow DJ) who wanted to explore "All My Trials" ran into the same problems. Jim Moran of Comparative Video 101 wrote:

It turned out that "All My Trials" is of extremely uncertain pedigree, and the chances seem very good that the "folk" song was in fact assembled from fragments of earlier spirituals to sound like a traditional song when it was set to a mysterious Bahamian lullaby that no one really seems ever to have heard or bothered to record. 

If Moran is right -- and I suspect he is --  then I've got an inaccuracy in tomorrow's Tune-up!

So where did it first appear? According to Moran, "The earliest commercial recording anyone can find seems to be Bob Gibson in 1957 -- on an album of what he thought were `strange' folk songs."

Here are some of my favorite versions, starting with Odetta (who also figures into tomorrow's column)



The first non-United Methodist Youth Fellowship version of "All My Trials" I ever heard was Harry Belafonte's. My mom had an album that contained it.



Over on the country side of the tracks, Anita Carter (June's sister, Maybelle's daughter, Hank Williams' singing partner) did this lovely take.



And, thanks to a blog by a Portland soul DJ called DJ Action Slacks, I just discovered this 1967 version by a classic girl group called The Cookies, bettter known for their early '60s hits "Chains" and "Don't Say Nothin' Bad About My Baby." In the middle of the song they sing a verse of "Kumbaya" another song I learned from my Methodist youth group.



Early on in the history of "All My Trials," there was a spin-off version. The Kingston Trio used the same basic melody -- apparently that good old Bahamian lullaby -- but overhauled the lyrics to create "All My Sorrows," a song full of heartache but at least no dying mamas. This song was recorded by The Chordettes, The Shadows and, best of all, The Searchers,



And don't forget that Nashville songwriter Mickey Newbury merged "All My Trials" with "Dixie" and "Battle Hymn of the Republic" to create "American Trilogy," best known through Elvis Presley's version.

But we'll talk more of that tomorrow.

For more deep dives into songs, check out The Stephen W. Terrell Web Log Songbook

WACKY WEDNESDAY: A Musical Tribute to Phil Austin

Phil Austin of The Firesign Theatre died June 18. I'm still getting over that.

Hell, I'm still getting over Peter Bergman's death three years ago. Phil Proctor and David Ossman now are the only Firesigns left.

Back in my college days in the early '70s I practically worshiped The Firesign Theatre. They were far more than a comedy team. And it wasn't just hippie humor. In their records they created new worlds, surreal, satirical, multi-layered universes where the jokes had multiple meanings. They were full of references to pop culture of the day and Shakespeare  and Edgar Allan Poe and spoofs of  old radio shows and televangelists and politicians and cheesy TV shows and commercials

It's been 45 years since they released my favorite Firesign album, Don't Crush That Dwarf, Hand Me the Pliers  and I still find lines I never noticed before.

So if you've never heard The Firesign Theatre, by all means seek them out. (Most of their albums, including their early classics, are on Spotify and a bunch of their stuff is on Youtube. Or you might do something old timey and BUY some of their albums. (Start with Dwarf or How Can You Be In Two Places At Once When You’re Not Anywhere At All -- which includes the debut of Austin's most famous character, Nick Danger.)

Because this is a music blog, this Wacky Wednesday I'm paying tribute to Phil with some Firesign musical bits -- songs The Firesign Theatre taught us.

R.I.P. Nick Danger!

Here is a live version of "Oh Blinding Light" from the movie Martian Space Party. Phil Proctor's fiddle solo comes in at about 1:42



Here's one from I Think We're All Bozos on This Bus.



And finally, "Toad Away," a hymn and sermonette from Dear Friends. Someday we'll all be toad away.