TERRELL'S TUNEUP: A TRIBUTE TO TRIBUTE ALBUMS

As published in The Santa Fe New Mexican
January 21, 2005

No matter how harshly critics dismiss tribute albums, the dang things keep proliferating. Someone out there must like ’em. And despite my own grumbling from time to time, in more than a few cases, I like ‘em too.

So here’s my idea: A tribute to tribute albums. Here a batch of “various artists” would do their interpretations of other various artists’ interpretations on a variety of tribute albums.

For example, Alejandro Escovedo could do his version of Elvis Costello’s version of “Ship of Fools” from Deadicated, the Grateful Dead tribute, while Tom Waits could do his take on Los Lobos’ version of “Midnight Shift” on Not Fade Away: Remembering Buddy Holly. Guided by Voices and Beck would have to fight over who covered the Bongwater rendition of “You Don’t Love Me Yet” from the Roky Erikson tribute Where the Pyramid Meets the Eye. The possibilities nearly are infinite …

Meanwhile here’s a bunch of recent tribute albums I’ve been enjoying.

The Late Great Daniel Johnston: Discovered Covered. This is a double-disc set featuring a various-artist tribute on the first disc and the original versions by Johnston on the second. This format actually is a great idea, particularly for an artist as obscure as Johnston. Some of the tunes on Disc Two, namely the ones that originally were released on self-recorded, lo-to-no-fi cassette tapes, are pretty hard to find.

For the uninitiated, Johnston, a Texas resident, is a cult hero of the indie rock world. He's got a history of mental problems, many of which are addressed on his painfully sincere songs of unrequited love, loneliness and rejection.

Many of the interpretations on Disk One emphasize the pretty melodies, which sometimes are obscured by tape hiss on Johnston's early works. This especially is true on "Go," a collaboration between Sparklehorse and The Flaming Lips, Mercury Rev's down-home take on "Blue Clouds" and "Dream Scream" by Death Cab For Cutie, which is more dreamy than screamy.

There are a couple of stripped-down primitive Johnston interpretations, like frog-voiced Calvin Johnson's "Sorry Entertainer," (just vocals and percussion) and "King Kong," which, as done by Tom Waits is a disturbing chant that sounds like an outtake from Waits' recent Real Gone.

But the true standout here is Vic Chesnutt's mournful "Like a Monkey in the Zoo." It already arguable was Johnston's saddest song, but Chesnutt makes it even sadder.

*Hard-Headed Woman" A Celebration of Wanda Jackson. The word "celebration" is right on the mark here. Just about every track on this record sounds like the various artists took to heart the command in Jackson's signature: "Let's Have a Party."

Jackson, for those deficient in rock history credits, was an important rockabilly pioneer. Starting out as a protégé of country star Hank Thompson, she was one 1950s country singer who had no trouble adapting to rock 'n' roll. She's well into her 60s now, but she's still touring.

Not surprisingly, this album is dominated by female singers. Rosie Flores, who helped revive Jackson's career last decade, sings a swingy "In the Middle of a Heartache," that has a lot of Patsy Cline in it. Meanwhile, the indomitable Neko Case rips it up on "Brown-Eyed Handsome Man," Candye Kane is as brassy on "Rock Your Baby" as Laura Cantrell is wide-eyed innocent on "Wasted."

Meanwhile, Jackson's country side is well-represented by Kelly Hogan's smoky "Right or Wrong," Ana Fermin's heartbreaking "The Box it Came In" and Jesse Sykes' sweet moan on "Weary Blues From Waiting."

But Jackson's music isn't just for women. Cornell Hurd's droll vocals on "This Gun Don't Care Who It Shoots," Robbie Fulks' earnest version of "Tears at the Grand Ol' Opry" and Wayne Hancock's rendition of the classic "Let's Have a Party" all are highlights.

But my favorite here is the most radical reworking of a Jackson song, Trailer Bride's surreal take on Jackson's first rockabilly hit "Fujiama Mama." There's heavy drums and monster-movie organ as Melissa Swingle tosses off the lyrics in a carefree way. When she sings "I'm a Fujiama Mama just about to blow my top," it sounds like you'd better get out of her way. It's contributions like this, which take familiar songs to new territory, that make tribute albums worth it.

*Touch My Heart: A Tribute to Johnny Paycheck. Robbie Fulks produced this tribute to the legendary hell-raiser Paycheck, so you know it's going to be tasteful. Fulks rounded up an impressive gaggle of various artists including stars of traditional country (George Jones, Gail Davies, Johnny Bush), alternative country (Neko Case, Mike Ireland, Jim Lauderdale) and beyond.

Mavis Staples does a take on the title song that completely blurs the lines between soul and country. Former NRBQ guitarist and part-time (Santa Fe resident) Big Al Anderson does much the same on "Someone to Give My Love To."

As usual, Hank Williams III sounds like the ghost of his granddaddy on "I'm the Only Hell My Daddy Ever Raised."

And baritone belter Dave Alvin is even more impressive than usual with his tough, bluesy "11 Months and 29 Days."

The saddest part of this record though is the fact that Buck Owens' voice, which has been ravaged by throat cancer, is unrecognizable on "Take This Job and Shove It," where he shares vocals with a rather strange line-up: Wilco's Jeff Tweedy, Bobby Bare and Radney Foster. It's a fun tune, it's just disturbing to hear Buck that way.

ROUNDHOUSE ROUND-UP: REPUBLICANS FOR LUJAN

As published in The Santa Fe New Mexican
January 20, 2005

Nobody doubted that Democrat Ben Lujan would be officially re-elected as House Speaker when the Legislature convened this week. After all, the Ds outnumber the Rs 42-28 in the House.

What was surprising was that he received four votes from House Republicans, who on Tuesday chose him instead of House Republican Leader Ted Hobbs of Albuquerque.

The dissenting four were Reps. Jeanette Wallace of Los Alamos, Sandra Townsend of Aztec, Janice Arnold-Jones of Albuquerque and Dan Foley of Roswell.

It’s obvious the nomination of Hobbs was symbolic, just like the nomination of Sen. Joe Carraro, R-Albuquerque for Senate president pro-tem. (Carraro lost to Democrat Ben Altamirano of Silver City Tuesday on a straight party vote.) Minority parties in both chambers do such things to show solidarity.

So why would four Republicans buck their leader?

Both Wallace said Townsend said they did it partly because Lujan was assured of victory.

“Ben is my neighbor,” Wallace said, referring to the fact that Lujan’s Santa Fe County district is next to hers. “I enjoy working together with my neighbors. Sometimes we put up (challengers) just to be antagonistic.” Republicans should save confrontations for more important issues, she said.

“It was nothing to do with Rep. Hobbs,” Townsend said.

But the two others who voted for Lujan said it was because of Hobbs.

“I vote for the one who could do the best job,” Arnold-Jones said. “I have no big political agenda. I have no desire to hurt Ted. But I have serious questions about his leadership style and the lack of communication.”

Foley, who made an unsuccessful bid for Republican whip several weeks ago, said, “The leadership team is trying to get me moved off my committees. It was hard for me to vote for someone who was trying to cut me off at the knees.”

Hobbs on Wednesday denied he had tried to get Foley removed from the Judiciary and Business and Industry Committees.

“When I submitted my recommendations to the speaker, I basically asked for 99 percent of what my members had asked for,” he said. The speaker of the House has the authority to appoint all House committee members.

When Lujan announced the appointments Wednesday, Foley was off both his old committees.

Hobbs said he doesn’t think the four votes against him indicates any serious divisions among House Republicans.

“I don’t think there are insurmountable problems,” he said. “I don’t twist arms and I never have questioned a member’s vote.”

What was the governor reading? Tuesday’s State of the State address represented a technological milestone of sorts. It’s the first time a governor used an electronic teleprompter to read his speech.

Richardson spokesman Billy Sparks said such machines frees up a speaker from having to look down on the podium to read a text. Instead, the speaker can look directly at the crowd — and directly into a television camera.

“Most major speeches these days are done with teleprompters,” Sparks said.
The machine itself belongs to the state Film Office, Sparks said. “The speech was a training event for them,” he said.

I blog, therefore I am: Don't forget, for the next two months, in addition to my regular legislative coverage, I’ll be keeping a web log concerning the festivities at the session. For anecdotes, observations and wisecracks concerning the Legislature, check it out.

FUNNIEST BUCK OWENS REVIEW I EVER READ

Here's just a taste:

"I pulled the sharpened keno pencil from my neck where I had attempted to puncture my jugular vein after witnessing Buck Motherfucking Owens doing a Shania Twain number and began writing out MY request ..."

CLICK HERE for the whole thing.

LEGISLATIVE BLOG

In addition to keeping this silly blog going, I'm going to be blogging for The New Mexican during this year's session of the state Legislature, which begins tomorrow.

To check out the paper's blog CLICK HERE. I'll also add a permanent link on the right-hand side.

I'm not exactly sure what it's going to look like every day. Like Blogdom in general at this point, I'll kind of make it up as I go along here.

My editors have stressed that my first duty is to produce copy for the paper, not the blog. So if the going gets tough, the blogging could get thin. We'll have to just see how it goes.

But don't worry, gentle blog readers. This blog you're reading now will continue to have my columns, my playlists and all the other fun stuff you find here.

But check back frequently for updates and observations, some of which might end up in the next day's paper, some of which might not. And feel free to use the comment feature at the bottom of each post. Talk back! (Same goes for this blog.)

TERRELL'S SOUND WORLD PLAYLIST

Sunday, January xx, 2005
KSFR, Santa Fe, N.M.
Now Webcasting
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell Co-host Laurell Reynolds

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
New Big Prinz by The Fall
Dear John by Holly Golightly
Don't Worry About the Government by Talking Heads
Set Me Free/Till the End Of the Day by The Kinks
Seasons In the Sun by Too Much Joy
I Can't Control Myself by The Ramones
That's Not Really Funny by The Eels
South Street by The Orlons

Don't Worry Baby/Warmth of the Sun by The Beach Boys
Rio Grande by Brian Wilson
Don't Be Denied by Neil Young
Poor Murdered Woman by Shirley Collins & The Albion County Band
A Woman Left Lonely by Janis Joplin
Guess Who I Saw in Paris/97 Men in This Here Town Wuld Give a Half a Grand in Silver Just to Follow Me Down by Buffy Sainte Marie

Por Morfina y Cocaina Part 1 by Manuel C Valdez
Jefe De Jefes by Los Tigres Del Norte
El Rey De Pipa Roja by Los Montenos
A Pistol For Paddy Garcia by The Pogues
If You Got to Make a Fool of Somebody by James Ray
Aijo by Varttina
Bomb by Kazik Staszewski
Blue and Black by Mercury Rev

Tapdancin' Bats by NRBQ
Grim by The Ass Ponys
Make Me a Pallet on Your Floor by Sandy Denny
When Your Number Isn't Up by Mark Lannegan Band
Welcome to My World by Giant Sand
This One's From the Heart by Tom Waits & Crystal Gayle
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

THE SANTA FE OPRY PLAYLIST

Friday, January 14, 2005
KSFR, Santa Fe, NM
Now Webcasting
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell

OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Let's Have a Party by Wanda Jackson
Tears at the Grand Old Opry by Robbie Fulks
Weary Blues From Waiting by Jesse Sykes & The Sweet Hereafter
Saturday Midnight Bop by Jerry J. Nixon
Hex by Neko Case
Wrong John by Jim Stringer
I Always Loved a Waltz by Kell Robertson

Wife Beater/Bulldozers and Dirt by Drive-By Truckers
Dancing With the Women at the Bar by Whiskeytown
Nothin' Wrong With Me by NRBQ
Bible Cyst by The Legendary Shack Shakers
Pussy Pussy Pussy by The Light Crust Doughboys
My Girl's Pussy by R. Crumb & The Cheap Suit Serenaders
La Marijuana by Trio Garnica-Ascencio

Mose Allison Played Here by Greg Brown
The Train Carrying Jimmie Rodgers Home by Iris DeMent
Jacob's Ladder by Greg Brown with Iris DeMent
Come On by Hundred Year Flood
Little Tease by Goshen
Elizabeth Cotton's Song by The Moaners
Take the Devil Out of Me by Tres Chicas

Cans, Copper & Car Batteries by Joe West
Same Old Tale the Crow Told Me by Johnny Horton
Sixteen Roses by Miranda Brown
Heartache to Hide by Rex Hobart & The Misery Boys
Wild Irish Rose by George Jones
Linda on My Mind by Conway Twitty
Trouble in Mind by Merle Haggard
Whiskey Willie by Michael Hurley
Pick Up the Tempo by Willie Nelson
CLOSING THEME: Comin' Down by The Meat Puppets

Steve Terrell is proud to report to the monthly Freeform American Roots Radio list

TERRELL'S TUNEUP: THE BIRTH OF NARCOCORRIDO

As published in The Santa Fe New Mexican
January 14 2005

The music glorifies criminal behavior and loose morality. It’s a terrible influence on the youth of the nation. Something must be done to wipe it out.

Sound familiar?

Here in the U.S. Such things have been said about rap, Marilyn Manson, early rock ‘n’ roll, latter-day rock ‘n’ roll, the blues and, back a couple of centuries ago, “fiddle music.”

Down in Mexico for the past few decades, the musical culprit for the downfall of civilization is the narcocorrido, musical stories of drug smugglers popularized by such bands as Los Tigres del Norte, Los Tucanes de Tijuana, Grupo Exterminator and Los Aces.

Just like gangsta rap in this country, the people eat up the narcocorrido (it’s a major part of the Spanish-language record industry on both sides of the Mexican border), though politicians and other upright citizens denounce it and occasionally try to censor it.

(And, naturally, the anti-narcocorrido hysteria emboldens censorship aimed at politically embarrassing music. Just last year, Victor Valencia, the president of the Chihuahua, State Congress spoke up against Los Tigres del Norte’s corrido, “Las Mujeres de Juárez,” -- which wasn’t about drugs, but concerned the murders of scores of young female workers from the maquiladoras. The song, he said, would “contribute to creating an atmosphere of greater terror in our city,” and “discourage investment” in the region.)

Narcocorrido didn’t just spring from the head of some Mexican record producer. As shown in the recent Arhoolie CD The Roots of the Narcocorrido, compiled by James Nicolopulos ( a Spanish professor at the University of Texas), the style comes from a long musical tradition.
On this record, Nicolopulos includes songs going back to the 1880s and recordings going back to the 1920s.

In the case of hardcore gangsta rap music in the U.S., the musical form itself -- the repetitive pounding beats, the scratching, the sampling, the indecipherable slang and the frequent lack of melody -- adds to the fear factor in older censorship advocates.

But even narcocorrido recently has begun to add elements of hip hop and rock, the basic form of the music is very traditional -- polkas and waltzes played by bands employing accordions, guitars, sometimes brass.

And thought the narcocorrido didn’t arise until the 1970s, the lyrical content of such music is based on a type of song long known in Mexico, the corrido or ballad.

(Indeed outlaw ballads have been an essential part of traditional folk music in the English-speaking world as well. As for “glorifying criminals,” who do we love here in America: Jesse James or the dirty little coward who shot Mr. Howard” ? Stagolee or the whimpering Billy DeLyons?)

The first song on The Roots of the Narcocorrido is “”El Corrido de Heraclio Bernal,” a tune dating back to the 19th Century about a Robin Hood-like bandit from Sinoloa, who was betrayed for a reward of 10,000 pesos by one of his own men. This version of the ballad was recorded in 1953 by Dueto Adan & Eva in Mexico City with mariachi horns and violins.

If “Heraclio Bernal” is a typical “social outlaw” celebrated in song and legend, Mariano Resendez represented another type of outlaw hero to inspire Mexican corridos: the smuggler.

But the hero of the tune “Mariano Resendez” -- dating back to the 1890s, this version being recorded in 1948 by Timoteo Cantu & Jesus Maya -- didn’t smuggle contraband from Mexico into the U.S. He and other early smuggler corrido heroes smuggled stolen luxury items from the U.S. into their homeland.

When Prohibition hit the United States, Mexican smugglers reversed course, and started bringing illegal substances -- namely alcohol -- into this mighty land. The phenomenon is documented in songs like “Los Tequileros“ (which lambastes “despicable” Texas Rangers who shoot down brave tequila smugglers) “Corrido de Juan Garcia” (about a liquor smuggler killed in an ambush by the Border Patrol in 1931) and “Corrido de Mier” which mocked sleeping customs agents.

It’s also worth noting that smugglers aren’t the only ones to become the heroes in these songs. Sometimes lawmen get respect in corridos.

Such is the case of “The Ballad of Juan Menses,” a brave cop who was “cut down by the cowardly machine guns of the smugglers” in 1946. This song was recorded in the 1960s in Alice, Texas by Las Hermanas Guerro with Jimmy Morgan;s conjunto.

Then there’s Nieves Hernandez, the man who arrested Mariano Resendez. However Nicolopulos in his liner notes points out that the song “Mariano Resendez” (represented here in a 1960s recording by a band called Los Satelites) was probably commissioned by some of Hernandez’s ancestors to vindicate his memory. In some earlier Resendez ballads Hernandez is “responsible for or at least complicit in the extra judicial execution of the defenseless hero.” But in this song, Hernandez was “a man worthy of respect (who) wasn’t afraid of anything.”

This collection also includes some songs that reference narcotics, cocaine marijuana. Some are tragic and melodramatic like “La Cocaina,” by Pilar Arcos (1927) a string-laden song about a coke-addled senorita who ends up stabbing her unfaithful lover.

Some are comic like the surreal “La Marijuana,” (by Trio Garnica-Ascencio, 1929) which starts out with the image of a pot-smoking frog.

And some corridos are like scenes from Scarface, Traffic or Blow. Such is “Carga Blanca,” a 1949 song by Los Cuatesones concerning a drug-related shootout in San Antonio. (“Three dead and two wounded/were hauled off by the ambulance/but the roll of cash/disappeared completely from the scene.”)

This collection includes several “prisoner lament” type songs in which the captured smuggler regrets his life of crime. But there’s also Francisco Martinez, the hero of a 1949 song sung by Juan Gaytan y Felix Solis, a “good” and “determined smuggler” who says he “fought for my woman” and lived “without fear.”

Martinez is at the end of his life here. But he’s undoubtedly bound for an eternity where he’ll happily plunder the cosmos with Mariano Resendez and Heraclio Bernal. And perhaps it’s an outlaw paradise without borders, where he’ll join up with Jesse James and Stagolee.