Monday, February 04, 2008

TERRELL'S SOUND WORLD PLAYLIST

Sunday, February 3, 2008
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Dropkick Me, Jesus by Bobby Bare
Raw Power by Iggy Pop
Faster Pussycat by The Cramps
Naked by Jon Spencer Blues Explosion
Kicked Out by Pussy Galore
Bible, Candle and Skull by Th' Legendary Shack Shakers
Are You For Real by Question Mark & The Mysterians
It's Me by Dinosaur Jr.
My Wife's Best Friend by Kevin Coyne

Wild About You Baby by Hound Dog Taylor
Mixed Bizness by Beck
The Snake by Johnny Rivers
Sweet Little Pussycat by Andre Williams
Kukumunga Boogaloo by King Khan & His Shrines
The Girl Can't Dance by Bunker Hill
Love Train by The Yahoos
My Man is a Mean Man by Sharon Jones & The Dap-Kings

CAMBODIAN ROCK SET
Dengue Fever in Santa FeSeeing Hands by Dengue Fever
I'm All Skinny by Sinn Sisamouth
Rather Die Under the Woman's Sword by Yol Aularong
Rebel Guitars with Strange Dialects (from Radio Phom Penh)
Sober Driver by Dengue Fever
Oops ... He's Mute by Pan Ron
Dance Soul Soul by Liev Tuk & Rom Sue Sue
Oceans of Venus by Dengue Fever

Black Sheep by Dewey Cox
Anay Yo (Otebi) by Cankisou
Let's Get Killed by David Holmes
Field Commander Cohen by Leonard Cohen
Fare Thee Well Sweet Malley by Robin Williamson
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Saturday, February 02, 2008

THE SANTA FE OPRY PLAYLIST

Thanks to Laurell for subbing for me on the SF Opry last night so I could go cover the Barack Obama speech. The speech was at Santa Fe Community College, where KSFR also is located. So when Laurell drove out to do the show, she wasn't able to go into the campus, which was the scene of a huge traffic jam caused by people leaving the Obama event. SHe had to park way out on Richards Avenue. So I appreciate her doing the show even more than usual.

Friday, February 1, 2008
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Substitute Host: Laurell Reynolds


Kris Kristofferson-Don't Let the Bastards Get You Down
Neil young-Lookin' For a Leader
Johnny Cash-Heart of Gold
Jack Blanchard & Misty Morgan-Carolina Sundown Red /High on You
Dan Hicks-I Feel Like Singin'
Santa Fe All Stars-Jockey Full of Bourbon
Wille Nelson-Bubbles in My Beer
Johnny Rodrieguez-Ridin' My Thumb to Mexico
Trailer Bride-Wildness /Porch Song
Billy Bragg & Wilco-Hot Rod Hotel
Neko Case & her Boyfriends-Somebody Led Me Away
Jeannie C Riley-Words, Names, Faces
Buck Owens-Act Naturally
Hank Williams Honky tonk Man
Harry Johnson-It's Nothin' To Me
Holy Modal Rounders-Hot Corn Cold Corn
Flying Burrito Brothers-If You Gotta Go, Go Now
Gene Vincent-Pistol Packin' Mama
Jeannie Sealy-Don't Touch Me
Tammy Wynette-I Don't Wanna Play House
Carl Perkins-The Outside Lookin' In
George Jones-You're Still On My Mind
Johnny Cash-In the Sweet By & By
Patsy Cline-Sweet Dreams
Fred Neil-A Little Bit of Rain
Rosalee Sorrels-I Am a Union Woman
Townes Van Zandt-Our Mother the Mountain
Iris DeMent-Our Town / Sweet Is the Melody
Santa Fe All Stars-Walker
Bob Dylan-All I Really Want to Do
Daniel Johnston-Don't Let the Sun Go Down on Your Grievances
Julia Scaddon & Sarah Anne Tuck-The Prickety Bush

Friday, February 01, 2008

TERRELL'S TUNE-UP: VENUS ON EARTH

A version of this was published in The Santa Fe New Mexican
February 1, 2008


DENGUE ROCKS!
The Southern California pyschedelic/garage/lounge/worldbeat band Dengue Fever, which just released its third album, Venus on Earth, isn’t just a fun band with a unique sound, retro and innovative at the same time.

Nope. Dengue Fever, fronted by Cambodia-born singer Chhom Nimol, represents a sweet, symbolic triumph of freedom over totalitarianism; of rock ’n’ roll over the killing fields; of sex, joy, fast cars, and loud guitars over the forces of gloom and repression. (And I’ll take this opportunity to chide and deride local readers for missing Dengue Fever when it played a poorly attended show at the College of Santa Fe last year.)

Consider the band’s origins. The members got together in 2001, when keyboardist (the group’s Farfisa organist) Ethan Holtzman returned to Long Beach after a trip to Cambodia. There he’d been inspired by hissy old cassette tapes of Cambodian rock from the late ’60s and early ’70s.

A sweet, urgent, sometimes shamelessly cheesy brand of rock flourished in Cambodia during its years of civil war — music greatly influenced by American and British rock and soul of the time but sung in the Khmer language.

You can hear samples of it on the 2005 album Radio Phnom Penh. “This is an album The Clash would have understood,” I said in this column, a couple of years ago, “a spiritual cousin of Sandinista! and even Jimmy Cliff’s The Harder They Come.”

The sad thing is, this music was mercilessly wiped out by the brutal Khmer Rouge, which took over in 1975. These commies were twice as evil as Cold War red-baiters said commies were supposed to be. Cambodian pop stars like Ros Sereysothea, Sinn Sisamouth, Pen Ron, Houy Meas, and Touche Teng disappeared during the Khmer Rouge years and have long been presumed dead. (All these singers have MySpace pages where you can listen to their music; hear more samples of Cambodian rock HERE and HERE.)

Could something like that happen here? Imagine if our country was overtaken by extreme factions of the religious right or, less likely, ultra-PC leftist idiots. Imagine Bob Dylan, Willie Nelson, Sonic Youth, Prince, Harry Connick Jr., Aretha Franklin, “Weird Al” Yankovic, the Drive-By Truckers, New Mexico Music Commissioner Tony Orlando, Britney Spears, and all the rest either executed for subversive thinking and sinful, decadent lifestyles or forced into labor camps.

Imagine all their master tapes destroyed, radio stations taken over by the government, record stores burned, and the computer servers at iTunes beaten into scrap. You’ll take my iPod when you pry it from my cold, dead hand!

Bang!

It can’t happen here. Keep telling yourself that. It can’t happen here.

THAT'S A REAL FARFISA
Back to the present: So Ethan Holtzman got together with his brother, guitarist Zac Holtzman, and other local Southern California musicians to re-create and update the Cambodian rock sound (mixed with other influences like Ethiopian jazz, The Ventures, Funkadelic, and the Swingin’ ’60s Brazilian band Os Mutantes).

Searching for a singer fluent in Khmer, they came upon Dragon House, a nightclub in Long Beach’s Little Phnom Penh where Nimolo, a member of a musical family famous in her native land, had a steady gig. Nimol, who was born about the same time the Khmer Rouge was toppled by the invading Vietnamese, had only moved to the U.S. about a year before.

Dengue Fever made a big splash with its excellent second album, Escape From Dragon House, and in 2005 became the first rock band from the West to play in Cambodia since the rule of the Khmer Rouge. That trip is the subject of Sleepwalking Through the Mekong, a documentary just starting to hit the festival circuit. Spin magazine called it “dancing on Pol Pot’s grave.” Wouldn’t it be cool if the Cambodian kids who heard these crazy sounds went off and started their own rock ’n roll bands?

Venus on Earth continues the magic of Escape From the Dragon House, though the new album is noticeably more mellow. Starting off with the slow, plodding, Farfisa-heavy “Seeing Hands,” the band transports listeners to an international zone of sound. The slow groove continues with a mysterioso tune called “Clipped Wings.”

Then a surprise. In the bouncy “Tiger Phone Card,” Nimol duets in English with Zac Holtzman: “You live in Phnom Penh/You live in New York City.” Later, there’s “Sober Driver,” another English-language duet that is almost as irresistible. Some have complained that Nimol singing in English strips away some of the mystery of Dengue Fever. Maybe it’s a conscious move to attract more listeners. I don’t care, I like it, though I’m not so fond of “Tooth and Nail,” a soft, mushy ballad that Nimol sings in English. But I bet I would have liked it more had David Ralicke played his usual sax instead of flute on it.

One of my favorites is “Oceans of Venus,” an instrumental that has roots in spy-movie soundtracks. Sax/brassman Ralicke, who has played with Ozomatli and Beck, really shines here. And they save one of their best for last, with the cool rocking “Mr. Orange,” which sports a mod à go-go beat and some fuzzy guitar.

Just by being what they are, Dengue Fever represents hope in a brutal world. But in the end, what they are is just a good, fun, imaginative band.

Catch Dengue Fever and other Cambodian rock on Terrell’s Sound World, Sunday night on KSFR-FM 101.1. The show begins at 10 p.m., and the Dengue Fever section starts at 11 p.m. And don’t forget the good old Santa Fe Opry, 10 p.m. Fridays on KSFR (though the lovely Laurell Reynolds is subbing for me this week on the Opry).

Thursday, January 31, 2008

ROUNDHOUSE ROUND-UP: ETHICS -- THINGS ARE BAD ALL OVER

A version of this was published in The Santa Fe New Mexican
January 31, 2008


Although neither the governor nor lawmakers seem to be fired up about ethics legislation this session, according to a national study released this week, there are deep misgivings about ethics in state governments all over the country — by state employees themselves.

The Washington, D.C.-based Ethics Resource Center, “a nonprofit, nonpartisan organization dedicated to the study and promotion of ethical behavior in organizations worldwide,” released its annual National Government Ethics Survey. The results weren’t pretty.

Fifty-seven percent of state workers surveyed reported observing at least one kind of misconduct over the past year. More than 80 percent of those reported seeing multiple instances of misconduct.

Only 7 percent of state workers reported a “strong ethical culture” in their workplaces.
And yes, gentle readers, it’s not just New Mexico.

“There is a strong risk of losing the public trust that is essential for any government to maintain,” ERC President Patricia Harned said in a news release accompanying the report. “Voters must believe that elected officials, political appointees and career government employees act in their best interest. Eroded trust hinders government’s effectiveness.”

The study doesn’t have a state-by-state breakdown, so it’s impossible to see if New Mexico ranks higher or lower than the national average.

The most common form of misconduct reported was conflicts of interest. Nearly one-third of state employees said they’d observed this, though none of the conflicts were specified. This was followed by lying to employees (28 percent) and abusive behavior (26 percent).

“A quarter of state government employees work in environments conducive to misconduct,” the report says. “In environments conducive to misconduct, employees are introduced to situations directly inviting misconduct, and/or they feel pressured to cut corners to do their jobs. Further, employees may feel that work values conflict with personal values.”

“Top management may be unaware of the misconduct problem,” the report said. Twenty-nine percent of state employees who observed misconduct did not report it.

“Because government sets many rules to assure ethical practices in business, it is vital that government set a high standard of its own,” Harned said. “A world where almost one-third of local government workers don’t report ethics violations when they see them does not set a high standard.”

Most disturbing is the finding that 18 percent of state government employees who reported their observations of misconduct have experienced retaliation. More than a third who observed misconduct chose not to report it fearing retaliation from management, while 30 percent didn’t report misconduct because they feared retaliation from co-workers.

State government has a bigger “ethics risk” factor than federal or local governments, the study says. This is because of the high rate of observing misconduct coupled with the low rate of reporting it.

For the study, 3,452 randomly selected state employees were interviewed between June 25 and Aug. 15 last year. Again, we don’t know how many, if any, were from New Mexico.

Memorialize this: In past legislative sessions, I’ve jokingly called for a study on Legislature-mandated studies. Other Roundhouse wags have suggested a task force on task forces.

In that spirit, an Albuquerque Republican lawmaker said Wednesday that later this week she’s introducing a resolution on memorials and resolutions.

Rep. Justine Fox-Young is proposing the House change its rules that would restrict memorials to “an official expression of condolence or acknowledgment of achievement for public officials past or present or those who ‘made extraordinary contributions’ to the state.”

Her resolution would restrict resolutions to proposed state constitutional amendments, ratifying amendments to the U.S. Constitution, petitioning Congress under Congressional rules, “expressing the approval of the Legislature where legislative approval is required by statute or (the state constitution)” or adopting new or repealing or amending rules of the House.

As used now, there are memorials and resolutions for every which thing. There are memorials or joint memorials declaring it Cowboy Day, Farm Workers Day, Stealth Fighter Day, FFA & 4H Day, New Mexico Mesa Day, School Nutrition Day and UNM vs. NMSU Football Rivalry Week. There are memorials calling for new studies and task forces.

Perhaps coincidentally, Fox-Young showed her resolution to reporters on the same day that Gov. Bill Richardson told reporters at a news conference, “I’m sick of studies! I’m sick of task forces!” (He was discussing his health care legislation.)

“I really hate memorials,” Fox-Young said. “I never introduce them.”

Someone is bound to suggest a task force to study her resolution.

Monday, January 28, 2008

TERRELL'S SOUND WORLD PLAYLIST

Sunday, January 27, 2008
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

Now Simulcasting 90.7 FM, and our new, stronger signal, 101.1 FM
email me during the show! terrell@ksfr.org

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Chatterbox by The New York Dolls
No Feelings by The Sex Pistols
Get Over You by The Undertones
Period by Mission of Burma
Teenage Head by The Flamin' Groovies
Caught in a Dream by Alice Cooper
Bigger Hole to Fill by The Hives
Do You Know What I Idi Amin by Chuck E. Weiss with Tom Waits
Twinkle Toes by The Neanderthals

Girls For Single Men by Sausage
Ride Away by The Fall
Brand New Special and Unique by Stan Ridgway
Gimme Dat Harp, Boy by Captain Beefheart
She's Not There by The Zombies
Love Me With Your Mind by The Shams
Sportin' Life Blues by Champion Jack Dupree

Tiger Phone Card by Dengue Fever
Chet Boghassa by Tinariwen
Professor Jay from Delhi by Anandji Shah & Katyanji Shah
Frankie and Johnny by Kazik Staszewski
Hit the Road Jack by Cat
I Would Never Wanna Be Young Again by Gogol Bordello
Sezegerely Soul Stew by 3 Mustaphas 3
Aijo by Varttina

Hello Sunshine by Bettye LaVette with Hank Ballard
Jon E. Edwards is in Love by Jon E. Edwards & The Internationals
Boilin' Water by Tony Bowens & The Soul Choppers
Search For Delicious by Panda Bear
Unsolved Mysteries by Animal Collective
Long Way Home by Tom Waits
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Saturday, January 26, 2008

THE SANTA FE OPRY PLAYLIST

Friday, January 25, 2008
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell


Now Simulcasting 90.7 FM, and our new, stronger signal, 101.1 FM
email me during the show! terrell@ksfr.org


OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Cowboy in Flames by The Waco Brothers
Georgia on a Fast Train by Billy Joe Shaver
Man Overboard by Libby Bosworth & Toni Price
Farewell Jack by Donna Jean & The Tricksters
Lisa's Birthday by Drive-By Truckers
The Great Medical Menagerist by Harmonica Frank Floyd
Scoodle Um Skoo by Papa Charlie Jackson
Let's Duet by John C. Reilly & Angela Correa
Rancho Grande by Carolina Cotton

I Paint a Design by Michael Hurley
If She Wasn't on Blocks by The New Duncan Imperials
You Don't Know Me by Say Zuzu
I'm Not a Communist by Grandpa Jones
Big Swamp Land by Johnny Paycheck
St. Petersberg Jail by Ronny Elliott
Who Do You Love by Ronnie Hawkins & The Band
Pistol Pete and The Ringo Kid by Acie Cargill
That's the Way Love Goes by The Harmony Sisters

Rotweiller Blues by Warren Zevon
The Collector by The Everly Brothers
Kingdom of Cold by Hundred Year Flood
El Presidente by Goshen
Old Friends by Roger Miller, Willie Nelson & Ray Price
I'm Feelin' Sorry by Jerry Lee Lewis
Dirty Business by New Riders of the Purple Sage

You Must Unload by Larry Groce
The Train Carrying Jimmie Rodgers Home by Iris DeMent
Wave by Calexico
Beautiful Mistake by Grey DeLisle
Say It's Not You by George Jones with Keith Richards
CLOSING THEME: Comin' Down by The Meat Puppets

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

Friday, January 25, 2008

TERRELL'S TUNE-UP: OH DONNA!

A version of this was published in The Santa Fe New Mexican
January 25, 2008


Donna Jean & the Tricksters is a decent but not a great album. It won’t be on anyone’s top 10 at the end of the year — except maybe Relix magazine’s. To be honest, I probably won’t play it all that much on my radio shows. It’s above-average Grateful Dead-influenced jam-band fare with a hearty blues edge.

But I’m glad this record is around — it’s like getting a handwritten letter from an old friend. It’s good to hear from Donna Jean Godchaux-MacKay, whose voice graced the albums of the Grateful Dead for most of the 1970s.
Donna Jean
Ever since she and her late husband, keyboardist Keith Godchaux, were asked to leave the Dead in 1979, Donna Jean basically has been missing in action. She’s done an occasional solo record, and every now and then you hear about her singing a couple of songs at a show with Bob Weir’s Ratdog or some other Dead offshoot. But largely she’s unjustly been forgotten, except by scholarly Deadheads — or by fans with long memories.

Donna Jean was a striking figure when she was in the band. She was the hippie earth-mama goddess surrounded by a bunch of hairy weirded beardos. She looked sweet with her flowing brown locks, and she provided the band with a little female energy. But she was a belter — not as over-the-top as Janis Joplin or as searing as Grace Slick, but she infused the cosmic California sound of the Grateful Dead with some down-to-earth Southern soul.

Had she never even been with the Dead, Donna Jean still would have a respectable musical résumé. She’s an Alabama girl who cut her musical teeth as a teenager at Muscle Shoals studios. Singing with a female group called Southern Comfort, Donna Jean provided background vocals on some true American classics — including “When a Man Loves a Woman” by Percy Sledge and “Suspicious Minds” by Elvis Presley.

The story of how the Godchaux couple got to be in the Grateful Dead is a testament to Donna Jean’s audacity — as well to the less-formal, human-scale nature of rock in the pre-corporate days.

In a 1998 radio interview in Philadelphia, Donna Jean told Dead chronicler David Gans how she and Keith approached the group about joining — neither of them knew anyone in the Dead. (She had moved from Muscle Shoals, Alabama, to the Bay area, where she hooked up with Keith.) They made their move at a Jerry Garcia/Merle Saunders concert at the Keystone Korner club in San Francisco. Actually Donna Jean made the move. She approached Garcia during a break.

“I said, ‘My husband and I have something we need to talk to you about,’” she told Gans. “Jerry said, ‘OK, well, come on backstage.’ And Keith and I were too scared. We didn’t know what to do, and we didn’t go backstage. This is when they took a break.

“A few minutes later, Garcia came out in the audience and sat down next to us. And at that angle, Keith couldn’t see Jerry; he was on the other side of him. And I said, ‘Um, Keith, I think Garcia’s hinting that he wants to talk to us. He’s sitting right next to you.’ Keith just put his head down on the table, and he turned around to Garcia and he goes, ‘You’ll have to talk to my wife. I can’t talk to you right now.’

“So I said, ‘Jerry, now —.’ Gosh, if I had known that everybody doesthis to him, I would have never had the nerve. And I said, ‘Uh, Keith is — I just know he’s your new piano player. ... So, we’re gonna need your telephone number so that we can call you.’ ... So Jerry gave us his home phone number!”

The couple didn’t know it then, but the Dead’s original keyboardist, Ron “Pigpen” McKernan, was dying, and the band was auditioning replacements. In a matter of days, Keith Godchaux was in the band. Donna Jean didn’t officially join until later. But her voice started popping up on Dead albums like Europe ’72 and on side projects like Weir’s first solo album, Ace.

This was an incredibly fertile and creative period for the Dead. Two of my favorite Dead albums — From the Mars Hotel and Blues for Allah — came out of the “Keith and Donna” era. Donna Jean’s contribution was mainly her background vocals, especially on the studio albums.

But if you think it was an all-American hippie fairy tale to walk up to Jerry Garcia in a nightclub one day and become a member of the Grateful Dead by the end of the week, think again. As the Me Decade drew to a close, the dream was becoming a nightmare.
Donna with the Dead
In his 2002 book, A Long Strange Trip: The Inside History of the Grateful Dead, former Dead publicist Dennis McNally describes the end of the Godchaux era. Keith was basically was a junkie. Donna Jean, as she admitted to McNally, was a raging alcoholic. It sounds as if she was second only to Keith Moon as a destroyer of hotel rooms, and she once even put her husband’s arm in a sling. Finally, in 1979, it came to an end. The couple was asked to leave the Dead, but according to Donna Jean, she and Keith had decided to leave before that.

Within a year, Keith would be killed in a car wreck. Donna Jean would find religion, remarry (to David MacKay, formerly of the San Francisco band the Tazmanian Devils), and drift so far out of the limelight that some younger Deadheads barely know who she is.

Now, nearly 30 years after leaving the Dead, Donna Jean’s brown hair has turned to silver. Her voice has mellowed; it’s more restrained than in the old days.

She sings lead on just a handful of songs on the new album. The best of these is a gospelish workout called “No Better Way,” with overtones of Eat a Peach-era Allman Brothers.

But, like her work with the Dead, Elvis, and Percy Sledge, her background vocals are a delight, her work on the upbeat country-rocker “A Prisoner Says His Piece,” being a standout. Audio appearances can be deceiving, but she sounds happy.

All I know is that it’s good to hear from Donna Jean.

Thursday, January 24, 2008

ROUNDHOUSE ROUND-UP: A TOOTHLESS CAMPAIGN CONTRIBUTION BILL?

A version of this was published in The Santa Fe New Mexican
January 24, 2008


Ethics-reform advocates were disappointed last week when Gov. Bill Richardson gave the issue about 20 seconds in his State of the State address. They were even more disappointed with the only bill to emerge so far, one that deals with limits on campaign contributions.

“We’re not supporting that bill as it stands,” said Steven Allen, director of Common Cause New Mexico, a watchdog group that for several years has been pushing for ethics and political reforms.

He was referring to Senate Bill 264, sponsored by Senate Majority Leader Michael Sanchez, D-Belen — a bill Allen called weak and toothless.

Richardson told reporters Wednesday that he’d like to see a stronger bill, one closer to what his Ethics Task Force has recommended.

SB 264, in its current form, calls for a limit of $2,300 on contributions from an individual to any candidate for state office. Actually the limit would be $4,600 — $2,300 for the primary election, $2,300 for the general.

That’s the same as the federal limits for candidates for president or Congress. There’s a mechanism in the bill to adjust the maximum contribution amount by linking it to the Consumer Price Index.

Allen and other reformers aren’t quibbling with the amount of the limit in the bill.

But Allen said the bill covers only individual contributions to candidates. “It should cover contributions from corporations, unions and (political) parties as well.” he said, noting this would be more in line with the Ethics Task Force recommendation.

In New Mexico politics, it’s often the corporations and unions that provide the lion’s share of money.

For instance, in Richardson’s 2006 re-election effort (at $13.3 million, the most expensive campaign in state history), only two of Richardson’s top 10 contributors were individuals (racetrack owner Paul Blanchard, who gave $120,000, and Univision chief executive Jerry Perenchio, who gave $102,443). Of the other donors, four were companies (Cap II Properties, Gulfstream Lomas, Controlled Recovery and Forest City Covington, each of which gave $100,000 or more); three were labor organizations (Federation of Teachers; American Federation of State, County and Municipal Employees; and Laborers International Union of North America, each of which gave $100,000); and one political action committee, Richardson’s own Moving America Forward — which received contributions from individuals, corporations and unions. The campaign reported $487,000 from that PAC.

But changes apparently are afoot for the contribution bill.

Sanchez couldn’t be reached for comment Wednesday, but Stuart Bluestone of the state Attorney General’s Office confirmed the majority leader had told him he had made some changes to SB 264 and wanted Bluestone to go over them.

“I haven’t seen (the changes) yet, so I don’t know what they are,” said Bluestone, who served on the Ethics Task Force for two years.

But if the bill doesn’t change in the Senate, House Speaker Ben Luján, D-Nambé, said Wednesday that he’s considering introducing a bill of his own that would include PACs and the other contributors.

Public finance of campaigns: So far nobody has introduced any bills to expand public financing of campaigns. Some were worried the Richardson administration had become lukewarm to the idea — even though in the final days of his presidential bid, as he campaigned in Iowa and New Hampshire, the governor almost always called for public financing, saying that might have given him a better shot to compete with U.S. Sens. Hillary Rodham Clinton of New York and Barack Obama of Illinois, each of whom dwarfed Richardson in campaign spending.

But Richardson on Wednesday told reporters he’s still behind the idea. He said to expect him to issue a message by today that would allow a public-financing bill to be considered in the current session. Some kind of bill should be released shortly thereafter.

The state currently makes public funds available to state judiciary and Public Regulation Commission candidates who agree to campaign spending limits.

Ethics report card: After the legislative session ends next month, New Mexico Common Cause will publish a report card scoring lawmakers on how they vote on ethics bills, Allen said. He said the report card will include committee votes as well as floor votes, which is appropriate because many bills die in committee.

The report card could become fodder for political campaigns in a year in which all legislators are up for re-election.

Just one problem though. In recent years only a fraction of senators or House members face any opponents when they run for re-election.

In 2004, the last time state senators were elected, 25 of the 42 seats had only one candidate running in the general election.

In 2006, when all House members were up for re-election, only 29 out of 70 House seats were contested in the general election.

Vote on your own time: The state Personnel Office last week distributed a memo reminding state workers they do not get time off to participate in the Feb. 5 Democratic presidential caucus.

Unlike the state primaries and general elections, which are operated and paid for by the state and thus covered by the state election code, the presidential caucus is completely the responsibility of the Democratic Party.

Arcie Baca, the local head of AFSCME, at first was concerned about this policy. But, after thinking about it, he said, there might be privacy issues if employees got time off to caucus. “Everyone would know you’re a Democrat,” he said.

“I just wish the Republicans would have (their caucus) at the same time,” Baca said. The state GOP chose not to have a caucus Feb. 5 and will instead vote for Republican presidential candidates in the June primary.

Monday, January 21, 2008

TERRELL'S SOUND WORLD PLAYLIST

Sunday, January 20, 2008
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

Now Simulcasting 90.7 FM, and our new, stronger signal, 101.1 FM
email me during the show! terrell@ksfr.org

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
We Are Normal and We Want Our Freedom by Bonzo Dog Band
Night Train to Spokane by Gas Huffer
Puzzlin' Evidence by The Talking Heads
Thunderball by Davie Allan & The Arrows
Showgirl by Jon Spencer Blues Explosion
The Hump by Heavy Trash
Bad Kids by The Black Lips
The Crusher by The Cramps
Happy Happy Christians by The Click Kids

The Cutester Patrol by The Grandmothers
They Don't Want Me by Wall of Voodoo
Insult Song by The Fall
Legend of Hillbilly John by Half Japanese
Changing Colors by The Bell-Rays
I'm Through With White Girls by The Dirt Bombs
Push Up Man by The Fleshtones
New Spark by Johnny Powers & The A-Bones

Mr. Big Stuff by Jean Knight
Say It Loud, I'm Black and Proud by The Dynamites featuring Charles Walker
Nutbush City Limits by Ike & Tina Turner
I'm a Millionaire by Lee Fields
Across 110th Street by Bobby Womack
Raw Spitt by Swamp Dogg
The Collection Song by Sharon Jones & The Dap-Kings
Funky Like Don King by Jon E. Edwards

Bro by Panda Bear
What Have My Chickens Done Now by The Residents
Yard by The Birthday Party
Murder's Crossed My Mind by Desdemona Finch
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Sunday, January 20, 2008

eMUSIC JANUARY


* Jukebox Explosion by The Jon Spencer Blues Explosion. I've missed Spencer in all his get-down gonzo glory. Heavy Trash, Spencer's latest rockabilly duo with Matt Verta-Ray is kind of fun, but it's just a light snack compared with the all-you-can-eat, Hound Dog Taylor-on-angel-dust banquet that was the Blues Explosion.

The JSBE seemed to be everywhere in the mid 90s. (They once opened for The Breeders at a Sweeney Center show here in Santa Fe.) The trio has released a couple of albums early this century, but none since 2004.

This is a collection of old singles that before now had been available only on 7-inch vinyl, which means only serious collectors had ever heard this stuff before. Fans won't be disappointed. All 18 tracks are joyful and noisy with Spencer howling like a soulman caught in a subway wreck.


* The Missing Link by Harmonica Frank Floyd. The first time I ever heard of Haronica Frank was in Greil Marcus' epic Mystery Train, in which he was the subject of the first chapter. Floyd was an archetypal American ramblin' trickster, picker and grinner, traveling the South in medicine shows and street corner concerts. He also was a true rock 'n' pioneer, recording for Sun Records in the early '50s -- even before Elvis.

This was recorded live (in Memphis schools) and in the studio in 1979, a couple of years after Mystery Train was published and a few years before his death. He sounds like a geezer here, (he was in his early 70s) almost like a cross between Hasil Adkins and Doc Watson. Frank and Hasil could have had a lot of fun together on "Shoop-a-Boop-a-Doodler."

The between-song patter is nearly as much fun. You learn Frank loves all kinds of music -- except that granda opera. He just hates it. And don't miss the wild bird calls in the track called "Without My Teeth."

* Hello by Half Japanese. This is a band, led by geek savaant jad Fair that I've been slowly discovering (over the past 15 years or so). This is a 2001 release featuring a good tight band with The Sadies' Dallas Good on guitar.

It's not quite as loosey goosey joyful as Sing No Evil, the last Half Japanese album I downloaded from eMusic (which I just realized is no longer available on eMusic!). But it's worthwhile. And "Mississippi," an electric organ and drum-driven dragstrip instrumental, is such a blast it's a wonder that Quintin Tarantino's never used it in a soundtrack.



* A Glint of The Kindling and Songs of Love and Parting by Robin Williamson . Some sheer Pagan joy by Williamson, who was half of The Incredible String Band. Glint was recorded with The Merry Band, which included harpist Sylvia Woods, while Parting was a solo album. Some of these tunes will take you back to the time when Druids roamed the Earth, a pastoral time when people expected their political leaders to be poets and singers. (Them was the days!) This is British folk-style music, yet little of this material sounds musty or academic.

Perhaps for nostalgic reasons, I just downloaded the original albums here, skipping, at least for now, the spoken word Five Bardic Mysteries bundled with the former or Selected Writings 1980-83 tacked onto the latter album. Both these albums made up a cassette tape my friend Parris made me, a tape that turned out to be one of my most played in the 1980s.

*Blues Masters Vol. 6 by Champion Jack Dupree. You might notice I'm posting this fairly late in the month. I've been so busy this past few weeks -- Christmas, my campaign-trail travels, the start of the Legislature -- that I haven't been downloading much from eMusic and in fact came within hours of losing 17 tracks. (As I've explained before, you have to download all your monthly allotment before your account refreshes, or you lose what you've got left over) Usually I get my 90 downloads within a couple of weeks.

So I was looking at new stuff available in eMusic's blues question and came across this. Bingo! Just a few nights ago I heard BC play a Champion Jack tune on KSFR's Blue Monday and liked it so much I thought I should check to see if eMusic had any good Dupree material. Double bingo! This abum has exactly 17 tracks.

New Orleans-born Champion Jack (1909-1992) was an ex-boxer who punched the keyboard like a sparring partner. His percussive barrelhouse style is unique but pure New Orleans. This album is full of standards -- "Sportin' Life," "CC Rider," "In the Evening," "Rock Me, Mama," "Tomorrow Night." But sometimes, such as his solo on "Careless Love," he makes an old song sound like something completely new.

TERRELL'S SOUND WORLD PLAYLIST

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