I'm not sure who this guy is, but he has way too much time on his hands. (And apparently, so does my friend Chuck, who always seems to find this damned website each year.)
Anyway, every year for at least the past three or four years this funky dude does a mathematical analysis of the Village Voice Pazz & Jop poll and ranks the participating critics as to how common their choices are.
What's shocking is that this year I rank 44 (out of more than 700!) in terms of picking popular choices. According to this guy's calculations, an average of 85.6 other critics voted for each of my selections.
The year before I ranked a respectable 435th.
Sorry for being so generic.
Saturday, February 21, 2004
The Santa Fe Opry Play List
The Santa Fe Opry
Friday, Feb. 20, 2004
KSFR, Santa Fe, NM
Host: Steve Terrell
OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Last Fair Deal Gone Down/Constanz by Jon Langford
Around the Bend by Dollar Store
(There'll Be Bluebirds Over) The White Clifts of Dover by Jon Rauhouse's Steel Guitar Rodeo with Sally Timms
Baby Won't You Please Come Home by Anna Fermin's Trigger Gospel
Lyin' by Elizabeth McQueen
I'm Not From Here by James McMurtry
Pretty Good Guy by Fred Eaglesmith
Color of the Blues by George Jones
Loneliness is Eating Me Alive by Merle Haggard
Roll on Mississippi by Charlie Pride
Remember the Eagle by Luke Reed with Waylon Jennings and Bill Miller
Lone Star Blues by Bill Hearne
Oh Lonesome Me by Bobby Flores
Chinatown, My Chinatown by The Last Mile Ramblers
The Hucklebuck by The Riptones
Reprimand Our Love by Joe West
There Ought to Be a Law Against Dunny California by Terry Allen
Eggs For Your Chickens by The Flatlanders
Dam by Kasey Chambers
Call My Name by Paul Burch
Bow Down to Me by Julien Aklei
Hogs on the Highway by The Bad Livers
Midnight Sun by Rolf Cahn
Milk and Honey by Nels Andrews
Main Road by Lucinda Williams
Rustbelt Blues by Acie Cargill
Permanently Lonely by Willie Nelson
In Tall Buildings by John Hartford
CLOSING THEME: Comin' Down by The Meat Puppets
Steve Terrell is proud to report to the monthly Freeform American Roots Radio list
Friday, Feb. 20, 2004
KSFR, Santa Fe, NM
Host: Steve Terrell
OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Last Fair Deal Gone Down/Constanz by Jon Langford
Around the Bend by Dollar Store
(There'll Be Bluebirds Over) The White Clifts of Dover by Jon Rauhouse's Steel Guitar Rodeo with Sally Timms
Baby Won't You Please Come Home by Anna Fermin's Trigger Gospel
Lyin' by Elizabeth McQueen
I'm Not From Here by James McMurtry
Pretty Good Guy by Fred Eaglesmith
Color of the Blues by George Jones
Loneliness is Eating Me Alive by Merle Haggard
Roll on Mississippi by Charlie Pride
Remember the Eagle by Luke Reed with Waylon Jennings and Bill Miller
Lone Star Blues by Bill Hearne
Oh Lonesome Me by Bobby Flores
Chinatown, My Chinatown by The Last Mile Ramblers
The Hucklebuck by The Riptones
Reprimand Our Love by Joe West
There Ought to Be a Law Against Dunny California by Terry Allen
Eggs For Your Chickens by The Flatlanders
Dam by Kasey Chambers
Call My Name by Paul Burch
Bow Down to Me by Julien Aklei
Hogs on the Highway by The Bad Livers
Midnight Sun by Rolf Cahn
Milk and Honey by Nels Andrews
Main Road by Lucinda Williams
Rustbelt Blues by Acie Cargill
Permanently Lonely by Willie Nelson
In Tall Buildings by John Hartford
CLOSING THEME: Comin' Down by The Meat Puppets
Steve Terrell is proud to report to the monthly Freeform American Roots Radio list
Friday, February 20, 2004
Terrell's Tuneup: Music From The Pile
As published in The Santa Fe New Mexican, Feb. 13, 2004
January and February are skimpy times for new CD releases. (Actually things slow down drastically in early November after the major companies’ Christmas season release schedule.) So this is a good time to look at some obscure discs that have been in my CD pile for awhile.
* The Soul of John
Black. John Black isn’t a person, it’s a group consisting of John Bigham (guitar, vocals) and bassist Christopher Thomas (not to be confused with Chris Thomas King), two musical veterans who, as individuals, have worked with an impressive array of jazz, rock, and rap acts, from Miles Davis to Eminem to Marianne Faithful to Joshua Redman to Everlast to Betty Carter to Fishbone (of which Bigham was a member for eight years).
But the key word in the title is “soul.” This album is a refreshing contemporary take on good old soul music. Sure, it’s got some hip-hop and funk overtones, but like the best of Stevie Wonder or Al Green, the emphasis here is on catchy melodies and honest emotion rather than merely beat and rhythm.
And it does so without sounding retro.
The best songs here are about danger or women. Sometimes the two intersect.
The album starts off with a sparse, slow and menacing tune called “Scandalous (No. 9)” that introduces a narrator who is almost sick with obsessive jealousy (“It ain’t funny what can happen/ when you ain’t around … You got some folks who goin’ to peep/ tryin’ to creep up on yo’ good thing …”
This sets the mood for the next track, “Lost and Paranoid” which is more upbeat and has a fuller band sound with a female backup singer (Jonell Kennedy), a turntable and, yes, even a kazoo, tooted soulfully by Bigham. The lyrics live up to the title, with Bingham fleeing some unknown enemy: “I locked the door/pulled down the shades/ next thing I know the phone’s ringin’/ can’t seem to get away …” The song ends with Bingham repeatingly crying, “please,please, leave me alone!”
The danger becomes more specific in “The Odyssey,” which is the story of a fatal DWI wreck. “The top was down, the air was cool/ The only night was from the moon/ Her body was in flames/ I heard her call my name …”
“Supa Killer” is a Shaft-like latter-day Blaxploitation song that makes a lyrical -- as well a bass-riff -- reference to The Temptations’ “Runaway Child Running Wild.” The true star of this song though is the saxophone of Tracy Wannamae. He should have been used more on this album.
TSOJB isn’t afraid to get pretty. The brooding ballad “Joy” features a Bigham on acoustic guitar.
As vocal talents go, Bigham is no Al Green or Otis Redding. He’s probably closer to Prince -- and that’s not bad. He gets the job done. And most important, he and Thomas have written and performed some fine songs and made an album that never sags.
* Mercedes by Stuurbaard Bakkebaard. O.K. I’ll admit that lately I’ve been a sucker for weird European art rock from non-English-speaking countries. This lo-fi Dutch band certainly fits that bill.
There must be something about smoky, sometimes sinister music with a singer getting excited about things I can’t understand that appeals to me. Some of the lyrics are in English, though I still haven’t figured out what they are about.
Stuurbaard has good tastes in influences. You can hear echoes of Tom Waits, P.J. Harvey’s stranger stuff and maybe even a little Sparklehorse here.
SB can rock sloppy, as they do on the opening song “Clutch” and the mutant blues called “Earl’s Room.”
Some of the most interesting tunes here are the otherworldly acoustic songs that use a stand-up bass (which is bowed on the song “Brown”) and acoustic guitar. “Downfall,“ which features an accordion, sounds like a nightmare in a French café. The title song sounds like a Dutch bosa nova. And “Steel Talk” has a somewhat out-of-tune banjo playing over a clomping drum and a singer who sounds like he’s lived on a strict diet of Residents records.
*Let’s Cool One by The Diplomats of Solid Sound. This is a retro-sounding instrumental group, but no, it’s not surf music. The Diplomats, from landlocked Iowa, are far closer to Booker T. & The MGs than they are to Dick Dale.
Keyboardist Nate “Count” Basinger and guitarist Doug Roberson take turn on leads.
Like the title implies, the sound is basically cool. Close your eyes and you probably can imagine this music to be in the soundtrack of some ’60s action flick (or, depending on your mood, perhaps a porno film)
But somehow I keep waiting for the cool sounds to heat up. There’s a few songs featuring a sax here, and that helps. So I guess my criticism here is the same as with The Soul of John Black: When in doubt, use more sax.
Hear selections from the above CDs on the radio Sunday night on Terrell’s Sound World, 10-p.m to midnight Sunday on KSFR, 90.7 FM, Santa Fe Public Radio. Friday night is Steve Terrell’s Santa Fe Opry, same time, same station. Sorry, KSFR isn't on the web yet. But just you wait ...
January and February are skimpy times for new CD releases. (Actually things slow down drastically in early November after the major companies’ Christmas season release schedule.) So this is a good time to look at some obscure discs that have been in my CD pile for awhile.
* The Soul of John
Black. John Black isn’t a person, it’s a group consisting of John Bigham (guitar, vocals) and bassist Christopher Thomas (not to be confused with Chris Thomas King), two musical veterans who, as individuals, have worked with an impressive array of jazz, rock, and rap acts, from Miles Davis to Eminem to Marianne Faithful to Joshua Redman to Everlast to Betty Carter to Fishbone (of which Bigham was a member for eight years).
But the key word in the title is “soul.” This album is a refreshing contemporary take on good old soul music. Sure, it’s got some hip-hop and funk overtones, but like the best of Stevie Wonder or Al Green, the emphasis here is on catchy melodies and honest emotion rather than merely beat and rhythm.
And it does so without sounding retro.
The best songs here are about danger or women. Sometimes the two intersect.
The album starts off with a sparse, slow and menacing tune called “Scandalous (No. 9)” that introduces a narrator who is almost sick with obsessive jealousy (“It ain’t funny what can happen/ when you ain’t around … You got some folks who goin’ to peep/ tryin’ to creep up on yo’ good thing …”
This sets the mood for the next track, “Lost and Paranoid” which is more upbeat and has a fuller band sound with a female backup singer (Jonell Kennedy), a turntable and, yes, even a kazoo, tooted soulfully by Bigham. The lyrics live up to the title, with Bingham fleeing some unknown enemy: “I locked the door/pulled down the shades/ next thing I know the phone’s ringin’/ can’t seem to get away …” The song ends with Bingham repeatingly crying, “please,please, leave me alone!”
The danger becomes more specific in “The Odyssey,” which is the story of a fatal DWI wreck. “The top was down, the air was cool/ The only night was from the moon/ Her body was in flames/ I heard her call my name …”
“Supa Killer” is a Shaft-like latter-day Blaxploitation song that makes a lyrical -- as well a bass-riff -- reference to The Temptations’ “Runaway Child Running Wild.” The true star of this song though is the saxophone of Tracy Wannamae. He should have been used more on this album.
TSOJB isn’t afraid to get pretty. The brooding ballad “Joy” features a Bigham on acoustic guitar.
As vocal talents go, Bigham is no Al Green or Otis Redding. He’s probably closer to Prince -- and that’s not bad. He gets the job done. And most important, he and Thomas have written and performed some fine songs and made an album that never sags.
* Mercedes by Stuurbaard Bakkebaard. O.K. I’ll admit that lately I’ve been a sucker for weird European art rock from non-English-speaking countries. This lo-fi Dutch band certainly fits that bill.
There must be something about smoky, sometimes sinister music with a singer getting excited about things I can’t understand that appeals to me. Some of the lyrics are in English, though I still haven’t figured out what they are about.
Stuurbaard has good tastes in influences. You can hear echoes of Tom Waits, P.J. Harvey’s stranger stuff and maybe even a little Sparklehorse here.
SB can rock sloppy, as they do on the opening song “Clutch” and the mutant blues called “Earl’s Room.”
Some of the most interesting tunes here are the otherworldly acoustic songs that use a stand-up bass (which is bowed on the song “Brown”) and acoustic guitar. “Downfall,“ which features an accordion, sounds like a nightmare in a French café. The title song sounds like a Dutch bosa nova. And “Steel Talk” has a somewhat out-of-tune banjo playing over a clomping drum and a singer who sounds like he’s lived on a strict diet of Residents records.
*Let’s Cool One by The Diplomats of Solid Sound. This is a retro-sounding instrumental group, but no, it’s not surf music. The Diplomats, from landlocked Iowa, are far closer to Booker T. & The MGs than they are to Dick Dale.
Keyboardist Nate “Count” Basinger and guitarist Doug Roberson take turn on leads.
Like the title implies, the sound is basically cool. Close your eyes and you probably can imagine this music to be in the soundtrack of some ’60s action flick (or, depending on your mood, perhaps a porno film)
But somehow I keep waiting for the cool sounds to heat up. There’s a few songs featuring a sax here, and that helps. So I guess my criticism here is the same as with The Soul of John Black: When in doubt, use more sax.
Hear selections from the above CDs on the radio Sunday night on Terrell’s Sound World, 10-p.m to midnight Sunday on KSFR, 90.7 FM, Santa Fe Public Radio. Friday night is Steve Terrell’s Santa Fe Opry, same time, same station. Sorry, KSFR isn't on the web yet. But just you wait ...
Thursday, February 19, 2004
Roundhouse Round-up: Pressure in the Halls of Power
As published in The Santa Fe New Mexican
The clock is edging toward midnight Tuesday at the Roundhouse -- and edging ever closer to the noon Thursday cutoff when the session, as mandated by the state Constitution, must end.
The vote has just been taken on the food/medical tax repeal in the Senate. An ad-hoc coalition of five Democrats and 17 Republicans has just passed a substitute bill that sponsor Sen. John Arthur Smith, D-Deming, unabashedly described as a "tactical move."
Another Democrat, Tim Jennings of Roswell, has framed the substitute as a way to send a message to Gov. Bill Richardson, who only hours before had threatened -- and that's Richardson's word -- to call a special session if he doesn't get the tax bill he wants by the session's end.
The atmosphere in the hallway between the Senate gallery and the Senate lounge is understandably tense.
Various senators wander in and out of the gallery with dazed expressions brought on by the day's seemingly endless session. Standing in the hallway with stern expressions are Richardson spokesman Billy Sparks, House Speaker Ben Luján of Nambé -- who sponsored the original House Bill 625 that just got ravaged in the Senate -- and Luján's assistant Regis Pecos.
"This isn't over yet," passers-by keep whispering to reporters in the hall.
It seemed the vote was done, but the real work had just begun.
The word is the Senate will vote to reconsider the bill. To do so, someone who had voted with the majority would have to make the motion to reconsider.
If this is going to happen, conventional wisdom said, it will be one of five Democrats who voted for the Smith substitute -- Smith, Jennings, Michael Sanchez of Belen, Linda Lopez of Albuquerque and Lidio Rainaldi of Gallup.
With the shift of just one vote, the tally would be 21-21. Lt. Gov. Diane Denish would break the tie and go against the Smith substitute.
Immediately after the vote, the focus seems to be on Rainaldi, a kindly faced, grandfatherly, retired magistrate judge who some say resembles actor Abe Vigoda.
As Rainaldi emerges from the gallery, the speaker approaches him.
As the two walk down the hall together, I overhear Rainaldi say, "Let me explain something to you," to Luján. Unfortunately that's all I hear.
"The speaker is leaning on (Rainaldi) as hard as he knows how," Smith later tells reporters.
The speaker and the senator disappear for a few minutes. When Rainaldi comes back into the hallway, Sen. Phil Griego, D-San Jose, who voted against the Smith substitute, grabs him.
"Lidio, can I talk to you for a minute?" The two go into the Senate Lounge for several minutes. I don't think they're talking about the weather.
About 20 minutes later, a weary-looking Rainaldi is seen walking briskly down the outer hall.
He's polite as I try to get a word from him. But he doesn't slow down.
"No, nobody's pressuring me," the senator says, not very convincingly.
But asked whether he'd make the motion to reconsider, Rainaldi replies, "I don't know. I don't know what the bill is going to say."
Some wags said Rainaldi voted for the Smith substitute because the original bill didn't include gross-receipts taxes on dentists. He has a son who's a dentist.
This implies some new version of House Bill 625 is in the works.
Meanwhile Smith has no allusions that his substitute bill has much of a future.
He only introduced it to put a monkeywrench in the progress of the original bill, which he vehemently opposes. "I had 22 votes tonight, but I've been here long enough to know that could slip away," he tells reporters.
By Wednesday morning, Rainaldi no longer seems like the focus of arm-twisting. Rumors now center around Lopez or possibly Sanchez as the one who'd make the motion to reconsider.
Update: Shortly after 9 p.m. Wednesday on the floor of the Senate, Rainaldi made that motion. He and Sanchez would change their votes and vote against the Smith substitute Wednesday, though their votes were offset by Sen. Leonard Tsosie, D-Crownpoint and Sen. Joe Carrarro, R-Albuquerque changing their minds and voting for the substitute on Wednesday.
The clock is edging toward midnight Tuesday at the Roundhouse -- and edging ever closer to the noon Thursday cutoff when the session, as mandated by the state Constitution, must end.
The vote has just been taken on the food/medical tax repeal in the Senate. An ad-hoc coalition of five Democrats and 17 Republicans has just passed a substitute bill that sponsor Sen. John Arthur Smith, D-Deming, unabashedly described as a "tactical move."
Another Democrat, Tim Jennings of Roswell, has framed the substitute as a way to send a message to Gov. Bill Richardson, who only hours before had threatened -- and that's Richardson's word -- to call a special session if he doesn't get the tax bill he wants by the session's end.
The atmosphere in the hallway between the Senate gallery and the Senate lounge is understandably tense.
Various senators wander in and out of the gallery with dazed expressions brought on by the day's seemingly endless session. Standing in the hallway with stern expressions are Richardson spokesman Billy Sparks, House Speaker Ben Luján of Nambé -- who sponsored the original House Bill 625 that just got ravaged in the Senate -- and Luján's assistant Regis Pecos.
"This isn't over yet," passers-by keep whispering to reporters in the hall.
It seemed the vote was done, but the real work had just begun.
The word is the Senate will vote to reconsider the bill. To do so, someone who had voted with the majority would have to make the motion to reconsider.
If this is going to happen, conventional wisdom said, it will be one of five Democrats who voted for the Smith substitute -- Smith, Jennings, Michael Sanchez of Belen, Linda Lopez of Albuquerque and Lidio Rainaldi of Gallup.
With the shift of just one vote, the tally would be 21-21. Lt. Gov. Diane Denish would break the tie and go against the Smith substitute.
Immediately after the vote, the focus seems to be on Rainaldi, a kindly faced, grandfatherly, retired magistrate judge who some say resembles actor Abe Vigoda.
As Rainaldi emerges from the gallery, the speaker approaches him.
As the two walk down the hall together, I overhear Rainaldi say, "Let me explain something to you," to Luján. Unfortunately that's all I hear.
"The speaker is leaning on (Rainaldi) as hard as he knows how," Smith later tells reporters.
The speaker and the senator disappear for a few minutes. When Rainaldi comes back into the hallway, Sen. Phil Griego, D-San Jose, who voted against the Smith substitute, grabs him.
"Lidio, can I talk to you for a minute?" The two go into the Senate Lounge for several minutes. I don't think they're talking about the weather.
About 20 minutes later, a weary-looking Rainaldi is seen walking briskly down the outer hall.
He's polite as I try to get a word from him. But he doesn't slow down.
"No, nobody's pressuring me," the senator says, not very convincingly.
But asked whether he'd make the motion to reconsider, Rainaldi replies, "I don't know. I don't know what the bill is going to say."
Some wags said Rainaldi voted for the Smith substitute because the original bill didn't include gross-receipts taxes on dentists. He has a son who's a dentist.
This implies some new version of House Bill 625 is in the works.
Meanwhile Smith has no allusions that his substitute bill has much of a future.
He only introduced it to put a monkeywrench in the progress of the original bill, which he vehemently opposes. "I had 22 votes tonight, but I've been here long enough to know that could slip away," he tells reporters.
By Wednesday morning, Rainaldi no longer seems like the focus of arm-twisting. Rumors now center around Lopez or possibly Sanchez as the one who'd make the motion to reconsider.
Update: Shortly after 9 p.m. Wednesday on the floor of the Senate, Rainaldi made that motion. He and Sanchez would change their votes and vote against the Smith substitute Wednesday, though their votes were offset by Sen. Leonard Tsosie, D-Crownpoint and Sen. Joe Carrarro, R-Albuquerque changing their minds and voting for the substitute on Wednesday.
Wednesday, February 18, 2004
ARCHIVES BACK UP; MORE ON THE BONNIE HEARNE LOVEFEST
For several days my January archives were missing a few weeks worth of my wisdom-filled posts. That's the bad news. The good news is that the Blogger folks acted promptly and fixed it as of this morning.
That might not seem like a big deal to most of you readers, but considering the inept and unresponsive dolts who run the free site where I used to park my old web site (that's Dreamwater. Avoid them at all costs!), this place is a Godsend. There wasn't even a way to contact the Dreamwater jerks.
So thanks, Blogger or Blogspot or whoever you are.
Bonnie Hearne Benefit
Mark Sunday, March 7 on your calendar. That's the benefit for the ever lovely Bonnie Hearne, who's been plaugued with health problems in recent months. Half of the
Santa Fe musicians you've ever heard of will be playing -- including yours truly. I'll be contributing one song to the show. (Note to self: get a substitute for Terrell's Sound World that night!)
For a complete list of musicians, go to the February archives and scroll down to the Feb. 1 entry.
The show starts at 6:00 p.m. and goes on till closing. Tickets are $20 -- and remember it's a good cause.
A day and a half left of the Legislature!
swt
That might not seem like a big deal to most of you readers, but considering the inept and unresponsive dolts who run the free site where I used to park my old web site (that's Dreamwater. Avoid them at all costs!), this place is a Godsend. There wasn't even a way to contact the Dreamwater jerks.
So thanks, Blogger or Blogspot or whoever you are.
Bonnie Hearne Benefit
Mark Sunday, March 7 on your calendar. That's the benefit for the ever lovely Bonnie Hearne, who's been plaugued with health problems in recent months. Half of the
Santa Fe musicians you've ever heard of will be playing -- including yours truly. I'll be contributing one song to the show. (Note to self: get a substitute for Terrell's Sound World that night!)
For a complete list of musicians, go to the February archives and scroll down to the Feb. 1 entry.
The show starts at 6:00 p.m. and goes on till closing. Tickets are $20 -- and remember it's a good cause.
A day and a half left of the Legislature!
swt
Tuesday, February 17, 2004
New Junior Brown CD Coming!
My old Santa Fe High locker partner, Junior Brown (local folks still call him "Jamie") just signed a new record deal.
The "Kirksville, Indiana" reference below is only part of the story. Mr. Brown moved to Santa Fe in the late '60s, attended Mid High and Santa Fe High and was in several local bands including the psychedelic Humble Harvey (they played at my first DeMolay dance!) and more importantly, The Last Mile Ramblers, an "outlaw" country band who contributed to a good deal of the soundtrack to my drunken college years.
Sorry, Jamie, but I'm going to use this opportunity to re-publish your junior year photo from the 1970 SFHS yearbook (as well as a more recent photo I took not too many years ago)
For Immediate Release
For more information, please contact
Mike Wilpizeski: 718 459 2117 or mikew@telarc.com
JUNIOR BROWN SIGNS DEAL WITH TELARC
August 2004 Debut is His First Release in Over Three Years
February 16, 2004, Cleveland, OH - Telarc International Corporation, one of the world's leading independent recording companies, today announced the signing of an exclusive deal with guitarist/singer/songwriter Junior Brown to be inaugurated with an August 24, 2004, release (title to be announced).
Michael Bishop engineered Brown's Telarc debut - his first new recording in over three years - at the Tracking Room at Emerald Entertainment in Nashville, TN, in February. The album will also be released as an SACD in 5.1 Surround Sound.
"Junior is a fabulously talented entertainer and musician with lots of fans, which was the only consideration when it came to signing him to the label," says Telarc president Bob Woods. "The more eclectic the better these days, and we're truly excited that Junior decided to work with us."
Brown says, "I think we are coming into a time where music is less dependent on categories than it used to be. I think I'm the kind of artist that can't be categorized easily, and I believe Telarc is a label that's interested in the creativity of a performer. It's that focus that many labels have chosen to ignore more and more due to their emphasis on mass marketing over substance. The Telarc folks are great and supportive - I'm thrilled to be on the label."
Playing fiery rock-guitar licks and hardcore honky-tonk with equal aplomb on his self-styled double-necked "guit-steel" - a combination electric and steel guitar - Junior Brown is regarded as one of the most talented guitar players the world. Born in 1953 and raised in Kirksville, IN, Brown first learned to play the piano from his father and became a professional musician at the end of the '60s. A dream prompted him to create an instrument fusing a six-string guitar with its steel counterpart, and in 1985, he developed the "guit-steel," a double-necked guitar combining the standard instrument with the steel.
He made his long-awaited album debut in 1993 with 12 Shades of Brown,
which featured a tribute to his biggest influence, "My Baby Don't Dance to Nothing but Ernest Tubb." Guit With It followed later in the year, and like its predecessor, was met with considerable critical acclaim.
After a five-song EP, 1995's Junior High, Brown returned in 1996 with
Semi-Crazy.
The Long Walk Back followed two years later, and Brown released his
fifth album, Mixed Bag, in 2001.
The "Kirksville, Indiana" reference below is only part of the story. Mr. Brown moved to Santa Fe in the late '60s, attended Mid High and Santa Fe High and was in several local bands including the psychedelic Humble Harvey (they played at my first DeMolay dance!) and more importantly, The Last Mile Ramblers, an "outlaw" country band who contributed to a good deal of the soundtrack to my drunken college years.
Sorry, Jamie, but I'm going to use this opportunity to re-publish your junior year photo from the 1970 SFHS yearbook (as well as a more recent photo I took not too many years ago)
For Immediate Release
For more information, please contact
Mike Wilpizeski: 718 459 2117 or mikew@telarc.com
JUNIOR BROWN SIGNS DEAL WITH TELARC
August 2004 Debut is His First Release in Over Three Years
February 16, 2004, Cleveland, OH - Telarc International Corporation, one of the world's leading independent recording companies, today announced the signing of an exclusive deal with guitarist/singer/songwriter Junior Brown to be inaugurated with an August 24, 2004, release (title to be announced).
Michael Bishop engineered Brown's Telarc debut - his first new recording in over three years - at the Tracking Room at Emerald Entertainment in Nashville, TN, in February. The album will also be released as an SACD in 5.1 Surround Sound.
"Junior is a fabulously talented entertainer and musician with lots of fans, which was the only consideration when it came to signing him to the label," says Telarc president Bob Woods. "The more eclectic the better these days, and we're truly excited that Junior decided to work with us."
Brown says, "I think we are coming into a time where music is less dependent on categories than it used to be. I think I'm the kind of artist that can't be categorized easily, and I believe Telarc is a label that's interested in the creativity of a performer. It's that focus that many labels have chosen to ignore more and more due to their emphasis on mass marketing over substance. The Telarc folks are great and supportive - I'm thrilled to be on the label."
Playing fiery rock-guitar licks and hardcore honky-tonk with equal aplomb on his self-styled double-necked "guit-steel" - a combination electric and steel guitar - Junior Brown is regarded as one of the most talented guitar players the world. Born in 1953 and raised in Kirksville, IN, Brown first learned to play the piano from his father and became a professional musician at the end of the '60s. A dream prompted him to create an instrument fusing a six-string guitar with its steel counterpart, and in 1985, he developed the "guit-steel," a double-necked guitar combining the standard instrument with the steel.
He made his long-awaited album debut in 1993 with 12 Shades of Brown,
which featured a tribute to his biggest influence, "My Baby Don't Dance to Nothing but Ernest Tubb." Guit With It followed later in the year, and like its predecessor, was met with considerable critical acclaim.
After a five-song EP, 1995's Junior High, Brown returned in 1996 with
Semi-Crazy.
The Long Walk Back followed two years later, and Brown released his
fifth album, Mixed Bag, in 2001.
Monday, February 16, 2004
Terrell's Sound World Play List
(Sorry it's late. Blame it on the state Legislature ...)
Terrell's Sound World
Sunday, February 15, 2004
KSFR, Santa Fe, N.M.
Host: Steve Terrell
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Electric Uncle Sam by Primus
Rope Bridge Crossing by John Parrish & P.J. Harvey
The Kid is a Witch by Stuurbaard Bakkebaard
Happy Man by Sparklehorse
Lamb by Kult
Garden of Delight by Johnny Dowd
Eternity Ahead by New Creation
The Cuban Bake by The Diplomats of Solid Sound
Nothing Lies Still Long by Pell Mell
Gritty Shaker by David Holmes
"H" is For Harlot by The Civil Tones
Jungle Drums by Esquivel
Inspector Jay From Delhi by Kalyanji & Anandji Shah
Surf Age by Jerry Cole & His Spacemen
Supa Killa by The Soul of John Black
Truck Turner by Isaac Hayes
Sweet Sticky Thing by The Ohio Players
Vibration by Terrance Trent D'Arby
Letitgo by Prince
Hide nor Hair by Ray Charles
You Only Live Twice by Nancy Sinatra
Chopper Squad by The Mekons
Staging the Plaguing of the Raised Platform by Cornershop
Make Believe Mambo by David Byrne
I'm Sorry by B.B. King & Bobby Bland
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
Terrell's Sound World
Sunday, February 15, 2004
KSFR, Santa Fe, N.M.
Host: Steve Terrell
OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Electric Uncle Sam by Primus
Rope Bridge Crossing by John Parrish & P.J. Harvey
The Kid is a Witch by Stuurbaard Bakkebaard
Happy Man by Sparklehorse
Lamb by Kult
Garden of Delight by Johnny Dowd
Eternity Ahead by New Creation
The Cuban Bake by The Diplomats of Solid Sound
Nothing Lies Still Long by Pell Mell
Gritty Shaker by David Holmes
"H" is For Harlot by The Civil Tones
Jungle Drums by Esquivel
Inspector Jay From Delhi by Kalyanji & Anandji Shah
Surf Age by Jerry Cole & His Spacemen
Supa Killa by The Soul of John Black
Truck Turner by Isaac Hayes
Sweet Sticky Thing by The Ohio Players
Vibration by Terrance Trent D'Arby
Letitgo by Prince
Hide nor Hair by Ray Charles
You Only Live Twice by Nancy Sinatra
Chopper Squad by The Mekons
Staging the Plaguing of the Raised Platform by Cornershop
Make Believe Mambo by David Byrne
I'm Sorry by B.B. King & Bobby Bland
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
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TERRELL'S SOUND WORLD PLAYLIST
Sunday, April 28, 2024 KSFR, Santa Fe, NM, 101.1 FM Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrel...
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A version of this was published in The Santa Fe New Mexican January 14, 2011 Junior Kimbrough is dead. R.L. Burnside is dead. Paul “Wi... -
Remember these guys? I'm not sure how I missed this when it first was unleashed a few weeks ago, but Adult Swim — the irrevere... -
Sunday, May 15, 2022 KSFR, Santa Fe, NM Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell 101.1 FM Em...