A version of this was published in The Santa Fe New Mexican
March. 24 , 2017
“I’m here to tell you about something that just might save your life..”
Those are the first intelligible words you hear on The Bad Testament, the new album by Scott H. Biram — that dirty old one-man band from Austin — right after a few seconds of ambient radio noise and when the first song, “Set Me Free” actually begins.
I can’t honestly say this album saved my life or will save yours. But it sure won’t hurt. The important thing is, this might be the best Biram album yet.
While it boasts the basic Biram sound — his rough-edged voice over acoustic guitar and foot-stomping — as a songwriter, Biram just keeps improving. He can still rock hard and crazy, the best examples here being “TrainWrecker” and “Hit the River,” a wild instrumental. He’s not afraid to get obscene if the spirit says so, as he proves on “Swift Driftin’.”
And he has always had a way with good-time drinking songs like “Red Wine.” (One can easily imagine Texas honky-tonker Dale Watson singing this one.) But what Biram really has going for him is a knack for writing downright pretty blues-soaked country songs, and The Bad Testament has plenty of those.
“Still Around” is a minor-key song of a scorned lover, proud and defiant: “Go ahead and throw me down, I might be broke, I’m still around,” he sings. “I’m the weapon in your hand/I’m the stone that drags you down/I am the rock on which you stand/I am the one who hangs around.” The lyrics provide few clues as to what led to the singer’s angry words (“I have never been your friend/I’m just worn down by wind”), but the pain is audible. Plus there’s some pretty fancy near-flamenco fingerpicking in a couple of places here.
“Crippled & Crazy” could very well be autobiographical. Nearly 15 years ago Biram survived an auto accident — a head-on collision with a pickup truck — that basically broke every bone in his body. Those wounds apparently still haunt him, as do others.
With a sad electric organ adding a little texture, Biram sings of being “crippled and crazy and out of control” as well as being “sober and stupid” and “sold down the river.” On the heart-wrenching bridge he cries, “Calling all angels, all heartaches and demons, calling all lovers that left for no reason, down through the chamber that echoed the screamin’; twisted and turnin’ I just quit believin’ in love.’’
“Righteous Ways,” with its own sweet fingerpicking, sounds as if Biram has been listening to some Mississippi John Hurt. It’s an introspective number on which he yearns for a spirituality he knows he may never achieve. “I struggle all the time in my mind and in my heart,” he sings. “There’s just never enough time for righteous ways.”
But later on the album he makes a stab at righteousness, with “True Religion,” an a cappella tune that goes back at least as far as Leadbelly (and I suspect further). Biram’s probably being tongue-in-cheek here, seeing how the song is sandwiched between crazy religious radio samples. But in light of “Righteous Ways,” I suspect there’s a grain of earnestness too.
Biram may seem a little bit touched at times, but I think the angels are among those who touched him.
Also recommended:
Front Porch Sessions by The Reverend Peyton’s Big Damn Band. This “big damn band” consists of exactly three people: Josh Peyton on vocals and guitar; his wife, Breezy Peyton, on washboard and background vocals; and drummer Maxwell Senteney — three people and no more. So it might seem odd to describe this album as more stripped-down than previous albums, but that’s what it is.
The record wasn’t really recorded on Peyton’s front porch. But it sounds as if it might have been. It could be the soundtrack of a great summer barbecue, where the music is as tasty as the ribs.
There are not as many hard-chugging songs as on most of the albums by this Indiana trio. In some ways, Front Porch resembles the 2011 album Peyton on Patton, which was a solo album in which the Reverend played songs by blues pioneer Charley Patton.
The new album has several covers of blues greats as well: Furry Lewis’ “When My Baby Left Me,” Blind Willie Johnson’s gospel stomper “Let Your Light Shine,” and “When You Lose Your Money,” which is based on Lewis’ version of the classic bad-man ballad “Billy Lyons & Stack O’ Lee.”
Peyton’s originals are worthy as well. The sweet opening cut, “We Deserve a Happy Ending,” sung with Breezy, is a moderate tempo blues, accented by the Reverend’s slide, about marital joy. “Even when we’re losing, it feels like we are winning,” the couple sing.
The mood shifts with “What You Did to the Boy Ain’t Right,” on which the singer scolds, “I don’t want to fight, but what you did to the boy ain’t right.” It’s never spelled out what exactly was done to whom. We just know the Reverend don’t like it.
Then there is the slow “One Bad Shoe,” which works an existential metaphor about traveling unprepared, knowing there’s a good chance you won’t make it to your destination.
In the tradition of previous Reverend Peyton food songs — like “Pot Roast and Kisses,” “Born Bred Corn Fed,” and “Mama’s Fried Potatoes” — the final track on Front Porch Sessions is “Cornbread and Butterbeans.” Here Peyton celebrates “eatin’ beans and makin’ love as long as I am able.” It’s a well-deserved feast.
Let's see some videos
First, a couple from The Bad Testament
And now, Rev. Peyton
Thursday, March 23, 2017
THROWBACK THURSDAY: Remembering Cindy Walker
One of country music's finest songwriters from the 1940s through the 1950s died
on this date in 2006.
I'm talking of course about Cindy Walker.
This little lady from Mart, Texas wrote so many classics it's uncanny.
And still today I'm frequently surprised when I realize that a song I love was one of Cindy's.
And actually it's unfair to pigeon hole her as only a country songwriter. Her songs have been covered by pop, rock and jazz stars as well.
In fact she got a recording contract after pitching a song -- "Lone Star Trail" to none other than Bing Crosby.
As a gutsy 22-year-old on a trip to Los Angeles with her parents, she walked into Crosby's office determined to get the song to Der Bingle. And she did.
Below are several Cindy Walker songs, some well-known, some not so much. Each one is a jewel.
Woody Guthrie's not the only one who wrote Dustbowl ballads. This is an early song by Cindy, ritten in the 1930s when she was a teenager. Bob Wills & The Texas Playboys recorded it in 1941.
Some of Wills' most famous songs were written by Cindy, including this one:
She wrote this singing cowboy tune for Gene Autry. I first heard the version by The Byrds on Sweetheart of the Rodeo.
This Vietnam era recording by Jim Reeves is as moving now as it was in 1966. This is one that was loved by doves as well as hawks. Cindy's lyrics cut to the heart.
Ernest Tubb did "Warm Red Wine"
I recently posted a video of Webb Pierce doing this song, which was a hit for him the '60s. Here's a more recent version by Ricky Skaggs.
She even wrote a song for Spike Jones, "Barstool Cowboy from Barstow."
Finally, this last song probably is my favorite Cindy Walker songs -- and one of my favorite songs in general. I'm still partial to Ray Charles' version from Modern Sounds in Country and Western Music. But Cindy's own version is wonderful as well.
I'm talking of course about Cindy Walker.
This little lady from Mart, Texas wrote so many classics it's uncanny.
And still today I'm frequently surprised when I realize that a song I love was one of Cindy's.
And actually it's unfair to pigeon hole her as only a country songwriter. Her songs have been covered by pop, rock and jazz stars as well.
In fact she got a recording contract after pitching a song -- "Lone Star Trail" to none other than Bing Crosby.
As a gutsy 22-year-old on a trip to Los Angeles with her parents, she walked into Crosby's office determined to get the song to Der Bingle. And she did.
Below are several Cindy Walker songs, some well-known, some not so much. Each one is a jewel.
Woody Guthrie's not the only one who wrote Dustbowl ballads. This is an early song by Cindy, ritten in the 1930s when she was a teenager. Bob Wills & The Texas Playboys recorded it in 1941.
Some of Wills' most famous songs were written by Cindy, including this one:
She wrote this singing cowboy tune for Gene Autry. I first heard the version by The Byrds on Sweetheart of the Rodeo.
This Vietnam era recording by Jim Reeves is as moving now as it was in 1966. This is one that was loved by doves as well as hawks. Cindy's lyrics cut to the heart.
Ernest Tubb did "Warm Red Wine"
I recently posted a video of Webb Pierce doing this song, which was a hit for him the '60s. Here's a more recent version by Ricky Skaggs.
She even wrote a song for Spike Jones, "Barstool Cowboy from Barstow."
Finally, this last song probably is my favorite Cindy Walker songs -- and one of my favorite songs in general. I'm still partial to Ray Charles' version from Modern Sounds in Country and Western Music. But Cindy's own version is wonderful as well.
Wednesday, March 22, 2017
WACKY WEDNESDAY: Happy Birthday Rusty !
Monday was the 87th birthday of Ilene Goldman, better known in the Free World as Rusty Warren.
She was a comedian and a nightclub singer. And even though she graduated from the New England Conservatory of Music, this brassy broad became the undisputed Queen Mother of what they used call "party records."
Or as she puts it, "I was one of the first loud-mouthed women who would admit we liked sex."
Rusty's off-color, sex-obsessed act managed to sell tons of records-- even though radio wouldn't touch albums with titles like Songs of Sin, Bottoms Up, Sin-Sational, Banned in Boston and -- her most famous -- Knockers Up!
Here is a trailer for a DVD Rusty was hawking a few years ago:
This one probably is her best-known song. Liberal talk-show host Randi Rhodes used to play it every Friday on her show.
I'm not sure why this video features a photo of busty Asian woman, but who am I to argue?
Sunday, March 19, 2017
TERRELL'S SOUND WORLD PLAYLIST
Sunday, March 19. 2017
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
Leave the Capitol by The Fall
Who Will Save Rock 'n' Roll by The Dictators
You're Gonna Miss Me by Dog Sahm & Sons
Staubsauger Baby by Blind Butcher
Fate of a Gambler by Laino & Broken Seeds
What They Tell Me by Mission of Burma
I Wanted Everything by The Ramones
On Broadway by Esquerita
Trainwrecker by Scott H. Biram
Corpse on a Roof by The Blind Shake
It's Fun by Lynx Lynx
Coyote Conundrum by Kid Congo Powers & The Pink Monkeybirds
Don't Look in the Basement by The Devils
We Repel Each Other by Reigning Sound
Pony Tail and a Black Cadillac by King Automatic
Hollywood Swinging by Kool & The Gang
R.I.P. Chuck Berry 1926-2017 |
Hail Hail Chuck Berry!
You Can't Catch Me by Chuck Berry
Around and Around by The Animals
Too Much Monkey Business by Chuck Berry
Roll Over Beethoven by The Beatles
The Promised Land by Chuck Berry
Johnny B. Goode by Jimi Hendrix
Sweet Little Rock and Roller by Chuck Berry
Berry Rides Again by Steppenwolf
C.C. Rider by Chuck Berry with the Steve Miller Band
Carol by The Rolling Stones
You Never Can Tell by Chuck Berry
Brown Eyed Handsome Man by Jerry Lee Lewis
Havana Moon by Chuck Berry
Whatever Happened to Jesus (and Maybellene) by Terry Allen
School Days by Chuck Berry
Something's Broken in the Promised Land by Wayne Kramer
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
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Thursday, March 16, 2017
THROWBACK THURSDAY: The Questionable Spawn of Big Bad John
Back before he became known mostly for his sausage, Jimmy Dean was a country / pop singer famous mostly for creating a modern legend in the form of a mysterious coal miner named Big John.
Every mornin' at the mine you could see him arrive
He stood six-foot-six and weighed two-forty-five
Kinda broad at the shoulder and narrow at the hip
And everybody knew ya didn't give no lip to big John
Released in September, 1961 at the height of country music's "faux-folksong" craze (think Marty Robbins' "El Paso," Johnny Horton's "The Battle of New Orleans," Lefty Frizzell's "Long Black Veil," Bobby Bare's "Miller's Cave," etc.) Dean became the ultimate white rapper with his hip, finger poppin' delivery on "Big Bad John." The subject of the song was a bigge-than-life Paul Bunyan / John Henry style hero who captured the nation's imagination by selflessly sacrifcing his own life to save his fellow workers in a mining disaster.
Then came the day at the bottom of the mine
When a timber cracked and men started cryin'
Miners were prayin' and hearts beat fast
And everybody thought that they'd breathed their last, 'cept John
Through the dust and the smoke of this man-made hell
Walked a giant of a man that the miners knew well
Grabbed a saggin' timber, gave out with a groan
And like a giant oak tree he just stood there alone, big John ...
Here is Jimmy performing the song on his own TV show a couple of years after it became his biggest hit.
But Jimmy couldn't just leave Big John at the bottom of that pit. A few months later, in January, 1962, he released a sequel about Big John's long lost lover, the Cajun Queen.
But this song just didn't have the same magic. In fact, in 2013, the Cracked website used "The Cajun Queen" to lead off its list of "4 Songs You Didn't Know Had Sequels (That Ruin The Original)."
All that gritty realism from the original is tossed out the window. In its place we get a bullshit tall tale that, if you told it to your grandchildren, they would immediately ask your doctors to up your meds. And they'd be right; clearly you need it.
Basically Queenie has so much magical sex appeal she has the power to raise the dead with her kiss.
Listen for yourself ...
Cracked concludes that "Jimmy Dean should have left poor John to rot alone in the mines, instead of artificially resurrecting him for the sake of a happy-dappy-sappy ending."
Maybe Jimmy agreed. In June 1962 he released a second sequel about the bastard spawn of Big John and the Cajun Queen, "Little Bitty Big John." And it was as if the magical resurrection that took place in "The Cajun Queen" never happened.
But Big John also made a gratuitous cameo appearance in another Jimmy Dean hit, "PT-109" which mythologized the World Wart II exploits of John F. Kennedy, who was president at the time. Check the very end of this song (which actually was released a couple of months before "Little Bitty Big John.")
But that's not the last we heard of Big Bad John or his woman. Dottie West released this "answer song" in 1964. It's a re-imaging of the Cajun Queen story.
Fortunately the next place the legend of Big Bad John played out in the tacky world of homophobic parody. A guy named Steve Greenberg turned the legendary coal miner into a swishy hairdresser named "Big Bruce"
Similarly, Ben Colder -- the comic persona of Sheb Wooley who was best known for the novelty tune "The Purple People Eater" -- turned the heroic coal miner into "Big Sweet John." Colder's hero not only was gay, but a hippie also well. A real knee-slapper.
A more worthy successor is Hank Penny's 1970 "Big Bad John" inspired song of racial understanding called "The Strong Black Man," who not only saves his fellow minors from a cave-in, but makes the narrator see the errors of his racist thinking.
For more deep dives into songs, check out The Stephen W. Terrell Web Log Songbook
Every mornin' at the mine you could see him arrive
He stood six-foot-six and weighed two-forty-five
Kinda broad at the shoulder and narrow at the hip
And everybody knew ya didn't give no lip to big John
Released in September, 1961 at the height of country music's "faux-folksong" craze (think Marty Robbins' "El Paso," Johnny Horton's "The Battle of New Orleans," Lefty Frizzell's "Long Black Veil," Bobby Bare's "Miller's Cave," etc.) Dean became the ultimate white rapper with his hip, finger poppin' delivery on "Big Bad John." The subject of the song was a bigge-than-life Paul Bunyan / John Henry style hero who captured the nation's imagination by selflessly sacrifcing his own life to save his fellow workers in a mining disaster.
Then came the day at the bottom of the mine
When a timber cracked and men started cryin'
Miners were prayin' and hearts beat fast
And everybody thought that they'd breathed their last, 'cept John
Through the dust and the smoke of this man-made hell
Walked a giant of a man that the miners knew well
Grabbed a saggin' timber, gave out with a groan
And like a giant oak tree he just stood there alone, big John ...
Here is Jimmy performing the song on his own TV show a couple of years after it became his biggest hit.
But Jimmy couldn't just leave Big John at the bottom of that pit. A few months later, in January, 1962, he released a sequel about Big John's long lost lover, the Cajun Queen.
But this song just didn't have the same magic. In fact, in 2013, the Cracked website used "The Cajun Queen" to lead off its list of "4 Songs You Didn't Know Had Sequels (That Ruin The Original)."
All that gritty realism from the original is tossed out the window. In its place we get a bullshit tall tale that, if you told it to your grandchildren, they would immediately ask your doctors to up your meds. And they'd be right; clearly you need it.
Basically Queenie has so much magical sex appeal she has the power to raise the dead with her kiss.
Listen for yourself ...
Cracked concludes that "Jimmy Dean should have left poor John to rot alone in the mines, instead of artificially resurrecting him for the sake of a happy-dappy-sappy ending."
Maybe Jimmy agreed. In June 1962 he released a second sequel about the bastard spawn of Big John and the Cajun Queen, "Little Bitty Big John." And it was as if the magical resurrection that took place in "The Cajun Queen" never happened.
But Big John also made a gratuitous cameo appearance in another Jimmy Dean hit, "PT-109" which mythologized the World Wart II exploits of John F. Kennedy, who was president at the time. Check the very end of this song (which actually was released a couple of months before "Little Bitty Big John.")
But that's not the last we heard of Big Bad John or his woman. Dottie West released this "answer song" in 1964. It's a re-imaging of the Cajun Queen story.
Fortunately the next place the legend of Big Bad John played out in the tacky world of homophobic parody. A guy named Steve Greenberg turned the legendary coal miner into a swishy hairdresser named "Big Bruce"
Similarly, Ben Colder -- the comic persona of Sheb Wooley who was best known for the novelty tune "The Purple People Eater" -- turned the heroic coal miner into "Big Sweet John." Colder's hero not only was gay, but a hippie also well. A real knee-slapper.
A more worthy successor is Hank Penny's 1970 "Big Bad John" inspired song of racial understanding called "The Strong Black Man," who not only saves his fellow minors from a cave-in, but makes the narrator see the errors of his racist thinking.
For more deep dives into songs, check out The Stephen W. Terrell Web Log Songbook
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TERRELL'S SOUND WORLD PLAYLIST
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