Friday, March 22, 2013
THE SANTA FE OPRY PLAYLIST
Friday, March 22, 2013
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
Ride by Wayne Hancock
Banana Pudding by Southern Culture on the Skids
Do Right by Lydia Loveless
Take Me Lake Charles by Shinyribs
Bottle of Wine by Angry Johnny & The Killbilles
Honky Tonk Merry Go-Round by Kelli-Jones Savoy &Emma Young
If You Ain't Lovin (You Ain't Livin') by Faron Young
Motorcycle Man by The Riptones
Honky Tonk Heros by Billy Joe Shaver
Best Liquor Store by The Hickoids
Trouble in Mind by Jon Langford & The Pine Valley Cosmonauts
LSD by T. Tex Edwards & Out on Parole
West Wind by Jayke Orvis & The Broken Band
Flying Saucer Song/A Hard Lesson to Learn by Shooter Jennings
The Savior by The Imperial Rooster
Rainbow Stew by Jason Ringenberg
I Ain't Drunk by Whitey Morgan & The 78s
I Wanna Be Your Mama Agian by Mother Earth
Lou's Got the Flu by Roger Miller
Lucky That Way by Dwight Yoakam
This is How We Do Things in the Country by Slim Cessna's Auto Club
Barstool Mountain by Johnny Paycheck
Should'a Killed My Baby by The Dirty Charley Band
The Blues Chose Me by Country Blues Revue
Satellite of Love by DM Bob & The Deficits
Evenin' Breeze by Dan Hicks & His Hot Licks
20/20 by The Goddamn Gallows
Two Angels by Peter Case
Don't Touch Me by Eleni Mandel
Hold on to the House by Terry Allen
CLOSING THEME: Comin' Down by The Meat Puppets
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Thursday, March 21, 2013
TERRELL'S TUNEUP: Thurston's New Sonic Blast
A version of this was published in The Santa Fe New Mexican
March. 22, 2013
This is the closest thing you’re going to hear to a new Sonic Youth album in the foreseeable future.
I’m talking about the new self-titled album by a band called Chelsea Light Moving, headed by Sonic Youth singer-guitarist Thurston Moore. The group is named after a New York moving company that was run by composer Philip Glass before he got famous.
Moore and bassist Kim Gordon announced in late 2011 that their marriage was over and that the band, which had been exploring the furthest reaches of feedback screech for 30-some years, would be going on “hiatus” after it finished its tour. Except for an avant-garde project Moore and Gordon did with Yoko Ono that was released last year, we haven’t heard much of a peep from them since.
But earlier this month, Moore and his new cronies came banging in with this album. Had I heard songs like “Burroughs” or “Sleeping Where I Fall” without first knowing anything about the project, I would have just assumed it was some Sonic Youth material I’d never heard before.
In fact, it’s a huge relief to old fans that it sounds nothing like the folky, heavy-on-the-strings, look-ma-no-feedback, airy-fairy Demolished Thoughts, Moore’s most recent solo album.
With the opening song, “Heavenmetal,” I was afraid Moore might be heading back toward that Demolished Thoughts state of mind. There are no harps or violins, just a laid-back acoustic tune with New Agey proclamations like “Be a warrior. Love life.” I guess he’s just trying to align his chakras and be the best Thurston he can be.
Luckily, he and the band come roaring back in the next song, “Sleeping Where I Fall,” which starts off quietly but slowly builds to SY-like intensity.
One of my favorites is the roughly eight-minute tune “Alighted.” It goes through all sorts of changes in tone and tempo, including a fierce brontosaurus-rock interlude right before Moore’s vocals come in (nearly halfway through the song).
This is followed by “Empires of Time,” another excursion into discordant craziness, with Moore declaring “We are the third eye of rock ‘n’ roll!” I’m not sure who the pounding “Groovy & Linda” is about, but it is centered around the line “Don’t shoot — we are your children.” It takes this old hippie back to the days of Kent State.
In “Burroughs,” Moore pays tribute to Naked Lunch author William S. Burroughs, singing, “Ah, Billy, the sweetest drug is free/Will you, Billy, shoot it into me?”
“Mohawk” features Moore reciting poetry instead of singing. Toward the end of the track, he invokes the memory of the late singer of The Germs, an early Los Angeles punk group: “Darby Crash came back from England with a mohawk, though he might have referred to it as a ‘Mohican’/Your laugh stays with me. It’s not the first time.”
The memory of Mr. Crash is further honored in the last song, a high-charged cover of The Germs’ “Communist Eyes.”
Chelsea Light Moving isn’t exactly an album for the ages. Though Moore’s bandmates are all fine musicians, guitarist Keith Wood is no Lee Ranaldo. And if Samara Lubelski has anything resembling Gordon’s snarling aura, it doesn’t come out on the record.
A larger problem is that with Moore handling all the vocal duties, old fans probably will miss the vocal variety of his old group, in which Ranaldo and Gordon also contributed lead vocals.
But it’s an enjoyable romp for those who have followed Moore all these years. If Sonic Youth can’t go home again, this is a tasty, if not completely satisfying, consolation prize.
Sonic nostalgia: Sonic Youth was a wonderful thing. The group sprung out of New York in the early ’80s, heavily influenced by the avant-garde post-punk No Wave scene. It started getting mainstream attention with 1988’s Daydream Nation, rode the Nirvana-era alt-rock scare and braved on, true to its vision for nearly two more decades.
Like The Beach Boys, who never changed their name to The Beach Men, Sonic Youth remained forever Youth well after the band and most of its fans reached middle age.
I got to see the group four times in four different cities.
I caught them in Denver in 1995 when they were headlining Lollapolooza and working their then-current album, Washing Machine.
Two years later, I was at the Freedom Tibet show in New York, where they played mostly long instrumentals.
The following year, I caught them in Austin at South by Southwest, where they previewed material from A Thousand Leaves. The show was far better than the album. In the next couple of days, I happened to be in two different barbecue joints where Sonic Youth was eating. (I wasn’t stalking, honest.)
But the best Sonic Youth show I ever saw was in Santa Fe in the summer of 1999. In a tent.
It was for SITE Santa Fe’s third international biennial, back in the days when SITE had artsy rockers for fundraisers during that event. (Patti Smith and Laurie Anderson had performed in connection with previous biennial shows.)
The night before, in Austin, someone stole Sonic Youth’s rented Ryder truck full of instruments and equipment, so the band had to rent all of that to perform.
Then Moore got irked when he found out that tickets for the show were $50, which would exclude a lot of fans. The group demanded that kids from Warehouse 21 next door be let in for $1. (That’s what I remember. Some say the kids were let in for free.)
Suddenly the tent was shaking with dozens of sonic teens rocking out, and the band seemed to feed off that injection of energy.
Blog Bonus:
Here's the song "Burroughs"
March. 22, 2013
This is the closest thing you’re going to hear to a new Sonic Youth album in the foreseeable future.
I’m talking about the new self-titled album by a band called Chelsea Light Moving, headed by Sonic Youth singer-guitarist Thurston Moore. The group is named after a New York moving company that was run by composer Philip Glass before he got famous.
Moore and bassist Kim Gordon announced in late 2011 that their marriage was over and that the band, which had been exploring the furthest reaches of feedback screech for 30-some years, would be going on “hiatus” after it finished its tour. Except for an avant-garde project Moore and Gordon did with Yoko Ono that was released last year, we haven’t heard much of a peep from them since.
But earlier this month, Moore and his new cronies came banging in with this album. Had I heard songs like “Burroughs” or “Sleeping Where I Fall” without first knowing anything about the project, I would have just assumed it was some Sonic Youth material I’d never heard before.
In fact, it’s a huge relief to old fans that it sounds nothing like the folky, heavy-on-the-strings, look-ma-no-feedback, airy-fairy Demolished Thoughts, Moore’s most recent solo album.
With the opening song, “Heavenmetal,” I was afraid Moore might be heading back toward that Demolished Thoughts state of mind. There are no harps or violins, just a laid-back acoustic tune with New Agey proclamations like “Be a warrior. Love life.” I guess he’s just trying to align his chakras and be the best Thurston he can be.
Luckily, he and the band come roaring back in the next song, “Sleeping Where I Fall,” which starts off quietly but slowly builds to SY-like intensity.
One of my favorites is the roughly eight-minute tune “Alighted.” It goes through all sorts of changes in tone and tempo, including a fierce brontosaurus-rock interlude right before Moore’s vocals come in (nearly halfway through the song).
This is followed by “Empires of Time,” another excursion into discordant craziness, with Moore declaring “We are the third eye of rock ‘n’ roll!” I’m not sure who the pounding “Groovy & Linda” is about, but it is centered around the line “Don’t shoot — we are your children.” It takes this old hippie back to the days of Kent State.
In “Burroughs,” Moore pays tribute to Naked Lunch author William S. Burroughs, singing, “Ah, Billy, the sweetest drug is free/Will you, Billy, shoot it into me?”
“Mohawk” features Moore reciting poetry instead of singing. Toward the end of the track, he invokes the memory of the late singer of The Germs, an early Los Angeles punk group: “Darby Crash came back from England with a mohawk, though he might have referred to it as a ‘Mohican’/Your laugh stays with me. It’s not the first time.”
The memory of Mr. Crash is further honored in the last song, a high-charged cover of The Germs’ “Communist Eyes.”
Chelsea Light Moving isn’t exactly an album for the ages. Though Moore’s bandmates are all fine musicians, guitarist Keith Wood is no Lee Ranaldo. And if Samara Lubelski has anything resembling Gordon’s snarling aura, it doesn’t come out on the record.
A larger problem is that with Moore handling all the vocal duties, old fans probably will miss the vocal variety of his old group, in which Ranaldo and Gordon also contributed lead vocals.
But it’s an enjoyable romp for those who have followed Moore all these years. If Sonic Youth can’t go home again, this is a tasty, if not completely satisfying, consolation prize.
Sonic nostalgia: Sonic Youth was a wonderful thing. The group sprung out of New York in the early ’80s, heavily influenced by the avant-garde post-punk No Wave scene. It started getting mainstream attention with 1988’s Daydream Nation, rode the Nirvana-era alt-rock scare and braved on, true to its vision for nearly two more decades.
Kim Gordon with Sonic Youth Denver 1994 |
Like The Beach Boys, who never changed their name to The Beach Men, Sonic Youth remained forever Youth well after the band and most of its fans reached middle age.
I got to see the group four times in four different cities.
I caught them in Denver in 1995 when they were headlining Lollapolooza and working their then-current album, Washing Machine.
Two years later, I was at the Freedom Tibet show in New York, where they played mostly long instrumentals.
The following year, I caught them in Austin at South by Southwest, where they previewed material from A Thousand Leaves. The show was far better than the album. In the next couple of days, I happened to be in two different barbecue joints where Sonic Youth was eating. (I wasn’t stalking, honest.)
But the best Sonic Youth show I ever saw was in Santa Fe in the summer of 1999. In a tent.
It was for SITE Santa Fe’s third international biennial, back in the days when SITE had artsy rockers for fundraisers during that event. (Patti Smith and Laurie Anderson had performed in connection with previous biennial shows.)
The night before, in Austin, someone stole Sonic Youth’s rented Ryder truck full of instruments and equipment, so the band had to rent all of that to perform.
Then Moore got irked when he found out that tickets for the show were $50, which would exclude a lot of fans. The group demanded that kids from Warehouse 21 next door be let in for $1. (That’s what I remember. Some say the kids were let in for free.)
Suddenly the tent was shaking with dozens of sonic teens rocking out, and the band seemed to feed off that injection of energy.
Blog Bonus:
Here's the song "Burroughs"
Sunday, March 17, 2013
TERRELL'S SOUND WORLD PLAYLIST
Sunday, March 17, 2013
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
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Leave the Capitol by The Fall
When Irish Eyes are Smilin' by Frank Patterson
The Gentleman Soldier by The Pogues
Drunken Lazy Bastard by The Mahones
I'll Tell Me Ma by Van Morrison & The Chieftains
The Rocky Road to Dublin by The Young Dubliners
A Bang on the Ear by The Waterboys
Brennan on the Moor by The Clancy Brothers
What's Left of the Flag by Flogging Molly
Captain Kelly's Kitchen by The Dropkick Murpheys
Donegal Express by Shane MacGowan & The Popes
Wild Rover by The Dropkick Murpheys with Shane MacGowan
Molly Malone by Sinead O'Connor
Breaking Through by Blood or Whiskey
Forty Deuce by Black 47
Albuquerque Freakout by Holy Wave
Weedey by Churchwood
I Need Somebody by Manby's Head
Psychologically Overcast by Fishbone
Tommy the Cat by Primus
Good Night for a Heart Attack by Nashville Pussy
Nantucket Girls Song by The Tossers
Baby Let Me Hold Your Hand by Detroit Cobras
Yeah Yeah by Georgie Fame
Rock 'n' Roll by Lou Reed
Blofonyobi Wo Atale by The Psychedelic Aliens
Black Plague Blues by Figures of Light
Rosettes by The Men They Couldn't Hang
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
Like the Terrell's Sound World Facebook page
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Friday, March 15, 2013
TERRELL'S TUNEUP: View From the Bottom
A version of this was published in The Santa Fe New Mexican
March 15, 2013
I was Googling Terry Allen the other night, looking for a recent interview I’d heard about. The Lubbock-born Santa Fe resident has just released Bottom of the World, his first CD of new material since 1999. At the top of the Google news page was a little web ad that read “Terry Allen’s records www.instantcheckmate.com Did you know Terry Allen’s criminal history is searchable?”
How’s that for outlaw cred? No, I didn’t run Allen’s name through the search. I seriously doubt that it has anything on the artist. And even if it did, I’m sure it wouldn’t be nearly as interesting as the record of his records.
You can’t call Allen a prolific musician — he’s just a henchman of his weird muse, which often commands him to work in other mediums, such as sculpture, painting, theater, and multimedia installation.
The albums he has released since the 1970s are full of poignant stories, hard-eyed observations, sardonic wit, unforgettable characters, and occasionally some righteous rage.
The first thing that Allen fans might notice on the new record is that it seems more somber and quieter than most of his others. There are no raucous roadhouse rockers like you find on earlier records. Here the songs tend to be slow, the melodies are mostly sad, and the lyrics are clear — and they often sting. It’s the kind of album you have to sit down and listen to.
Do it. It’s worth it.
Except for Allen’s keyboards, this is basically an acoustic affair with longtime Lubbock crony Lloyd Maines adding some guitar and steel guitar; Richard Bowden, another longtime Allen collaborator, on fiddle; Brian Standefer on cello; and Allen’s son Bukka on accordion and B3 organ. Bukka’s wife, Sally Allen, does harmony vocals on some tunes.
Bottom of the World starts out in familiar territory. The opening track, “Four Corners,” is a new version of an old song that originally appeared on Allen’s 1975 debut album, Juarez (which a wise critic once described as “a breathtaking tour of the underbelly of the Southwest, the barrooms, the whorehouses, the trailer parks, and the highways by hard-bitten and not entirely lovable characters”). It’s a bittersweet memory of a lost love and a wistful way to open the new album. After nearly 40 years, the song (as well as the entire Juarez album) has aged quite well.
“Four Corners” is followed by “Queenie’s Song,” which Allen co-wrote with Guy Clark more than a decade ago. It appeared on Clark’s 2002 album The Dark. This is the story of a crime that took place in Santa Fe. On New Year’s Day in 1999, Allen’s dog Queenie, who had been missing, was found shot to death. “Bet you got a gun for Christmas/That don’t make it right/What in the hell were you thinkin’/With little Queenie in your sights,” Allen sings, the anger still in his voice. It makes me pig-bitin’ mad too. I hope the jerk who shot Allen’s dog is reading this.
But this is only the beginning. Allen’s new songs show he’s still got the knack. “Do They Dream of Hell in Heaven” would tickle the ghosts of Mark Twain and William Blake. “Do they dream of hell in heaven?/Do they regret how hard they’ve tried/Wish now they’d been much more sinful/And repented just a minute before they died?” Here he raises an important theological question: “Is there something strange about heaven they just don’t want you to know?”He ends the song with the image of “the golden gates of forever” closing “tight on all the fun.”
Some of the best songs on this album show earthly situations in which fun doesn’t seem like an option. “Emergency Human Blood Courier” wouldn’t sound out of place in a sequel to Juarez. In an ominous minor-key Mexican-style melody, Allen speaks the lyrics: “Emergency human-blood courier headed south down to Mexico/Where there’s been a whole lot of bleeding, and there’s going to be a whole lot more/Emergency human-blood courier in a vehicle red as nails/Haulin’ blood down to the borderlines/Where all systems seem to have failed.”
The album’s biggest punch in the gut is “The Gift,” a song ripped from the headlines. It was apparently inspired by the suicide of Wall Street swindler Bernie Madoff’s eldest son, who hanged himself in December 2010, on the second anniversary of his father’s arrest. “Ah, oooh, it’s a gift from daddy,” Allen sings. “Everything you see, is daddy’s.” In the last verse he describes the suicide — how Mark Madoff put his young son to bed and then went and hanged himself in the kitchen doorway. “It’s a gift from daddy/He lost all he had, and he gave it to you.”
While “The Gift” might leave you feeling bleak, Allen ends the album with two songs of love and commitment. “Sidekick Anthem” assures a friend that “I’m just a call away.” Then the last track, “Covenant (for Jo Harvey),” is a sweet love song for his wife of five decades. Some of the people he sings about in Bottom of the World have indeed hit bottom. Allen may empathize with them, but he knows he’s got a refuge.
BLOG BONUS:
Here's a song from Bottom of the World
And here's one from Terry's show on Santa Fe's Plaza last summer
I was Googling Terry Allen the other night, looking for a recent interview I’d heard about. The Lubbock-born Santa Fe resident has just released Bottom of the World, his first CD of new material since 1999. At the top of the Google news page was a little web ad that read “Terry Allen’s records www.instantcheckmate.com Did you know Terry Allen’s criminal history is searchable?”
How’s that for outlaw cred? No, I didn’t run Allen’s name through the search. I seriously doubt that it has anything on the artist. And even if it did, I’m sure it wouldn’t be nearly as interesting as the record of his records.
You can’t call Allen a prolific musician — he’s just a henchman of his weird muse, which often commands him to work in other mediums, such as sculpture, painting, theater, and multimedia installation.
The albums he has released since the 1970s are full of poignant stories, hard-eyed observations, sardonic wit, unforgettable characters, and occasionally some righteous rage.
The first thing that Allen fans might notice on the new record is that it seems more somber and quieter than most of his others. There are no raucous roadhouse rockers like you find on earlier records. Here the songs tend to be slow, the melodies are mostly sad, and the lyrics are clear — and they often sting. It’s the kind of album you have to sit down and listen to.
Do it. It’s worth it.
Except for Allen’s keyboards, this is basically an acoustic affair with longtime Lubbock crony Lloyd Maines adding some guitar and steel guitar; Richard Bowden, another longtime Allen collaborator, on fiddle; Brian Standefer on cello; and Allen’s son Bukka on accordion and B3 organ. Bukka’s wife, Sally Allen, does harmony vocals on some tunes.
Bottom of the World starts out in familiar territory. The opening track, “Four Corners,” is a new version of an old song that originally appeared on Allen’s 1975 debut album, Juarez (which a wise critic once described as “a breathtaking tour of the underbelly of the Southwest, the barrooms, the whorehouses, the trailer parks, and the highways by hard-bitten and not entirely lovable characters”). It’s a bittersweet memory of a lost love and a wistful way to open the new album. After nearly 40 years, the song (as well as the entire Juarez album) has aged quite well.
“Four Corners” is followed by “Queenie’s Song,” which Allen co-wrote with Guy Clark more than a decade ago. It appeared on Clark’s 2002 album The Dark. This is the story of a crime that took place in Santa Fe. On New Year’s Day in 1999, Allen’s dog Queenie, who had been missing, was found shot to death. “Bet you got a gun for Christmas/That don’t make it right/What in the hell were you thinkin’/With little Queenie in your sights,” Allen sings, the anger still in his voice. It makes me pig-bitin’ mad too. I hope the jerk who shot Allen’s dog is reading this.
But this is only the beginning. Allen’s new songs show he’s still got the knack. “Do They Dream of Hell in Heaven” would tickle the ghosts of Mark Twain and William Blake. “Do they dream of hell in heaven?/Do they regret how hard they’ve tried/Wish now they’d been much more sinful/And repented just a minute before they died?” Here he raises an important theological question: “Is there something strange about heaven they just don’t want you to know?”He ends the song with the image of “the golden gates of forever” closing “tight on all the fun.”
Some of the best songs on this album show earthly situations in which fun doesn’t seem like an option. “Emergency Human Blood Courier” wouldn’t sound out of place in a sequel to Juarez. In an ominous minor-key Mexican-style melody, Allen speaks the lyrics: “Emergency human-blood courier headed south down to Mexico/Where there’s been a whole lot of bleeding, and there’s going to be a whole lot more/Emergency human-blood courier in a vehicle red as nails/Haulin’ blood down to the borderlines/Where all systems seem to have failed.”
The album’s biggest punch in the gut is “The Gift,” a song ripped from the headlines. It was apparently inspired by the suicide of Wall Street swindler Bernie Madoff’s eldest son, who hanged himself in December 2010, on the second anniversary of his father’s arrest. “Ah, oooh, it’s a gift from daddy,” Allen sings. “Everything you see, is daddy’s.” In the last verse he describes the suicide — how Mark Madoff put his young son to bed and then went and hanged himself in the kitchen doorway. “It’s a gift from daddy/He lost all he had, and he gave it to you.”
While “The Gift” might leave you feeling bleak, Allen ends the album with two songs of love and commitment. “Sidekick Anthem” assures a friend that “I’m just a call away.” Then the last track, “Covenant (for Jo Harvey),” is a sweet love song for his wife of five decades. Some of the people he sings about in Bottom of the World have indeed hit bottom. Allen may empathize with them, but he knows he’s got a refuge.
BLOG BONUS:
Here's a song from Bottom of the World
And here's one from Terry's show on Santa Fe's Plaza last summer
Tuesday, March 12, 2013
Imperial Rooster Has New Album
Espanola's beloved underground country jug-punk band The Imperial Rooster has finished a new album.
I'm not sure when they're releasing it though. Yesterday the band tweeted, "We also might release our new album Cluckaphony this week. We're kinda goofy like that."
I won't argue their goofiness.
But while we're waiting on the album, the Roosters have in recent days released a bunch of videos for the online Couch by Couchwest "festival."
Here's three of those. I hadn't heard these songs before, so I'm assuming they're on the new album.:
You can find all the band's videos HERE.
I'm not sure when they're releasing it though. Yesterday the band tweeted, "We also might release our new album Cluckaphony this week. We're kinda goofy like that."
I won't argue their goofiness.
But while we're waiting on the album, the Roosters have in recent days released a bunch of videos for the online Couch by Couchwest "festival."
Here's three of those. I hadn't heard these songs before, so I'm assuming they're on the new album.:
You can find all the band's videos HERE.
Monday, March 11, 2013
FREE MUSIC FROM FARMAGEDDON
The Calamity Cubes in Austin |
Among the 21 artists on the sampler are Slim Cessna's Auto Club, The Calamity Cubes, The Ugly Valley Boys, The Goddamn Gallows and Black-Eyed Vermillion.
Sunday, March 10, 2013
TERRELL'S SOUND WORLD PLAYLIST
Sunday, March 10, 2013
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
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Don't Tease Me by Question Mark & The Mysterians
Keels Be Damned by Churchwood
Strychnine by The Sonics
Train Crash by The Molting Vultures
Catastrophe by Mark Sultan
Johnny's Got a Gun by Dead Moon
Falling Off the Face of the Earth by The Electric Mess
American Music by The Blasters
If I Should Fall From the Grace of God by Shane McGowan & The Popes
Communist Eyes by Chelsea Light Moving
Nightingale by The Copper Gamins
Cocaine Blues by Wayne Kramer & The Pink Fairies
I'll Make You Happy by The Ugly Beats
I'm Going to Bring a Watermelon to My Girl Tonight by The Bonzo Dog Band
Martin Scorsese by King Missile
AFRICAN PSYCHEDELIA
Rough Rider by The Hygrades
Pardon by Orchestre Poly-Rhthmo
Love's a Real Thing by Super Eagles
Adieu by Ofege
Chokoi & Oreje by The Elcados
Sorry Bamba by Possy
Ekassa 31 by Victor Uwaifo
Blue Rain in Africa by Otis Taylor
Shoot the Freak by Lovestruck
The Ballad of Dwight Fry/Sun Arise by Alice Cooper
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
Like the Terrell's Sound World Facebook page
Subscribe to The Big Enchilada Podcast! CLICK HERE
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TERRELL'S SOUND WORLD PLAYLIST
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