Wednesday, July 21, 2010

SETTING THE RECORD STRAIGHT ON BOBBY FULLER

I had a fascinating phone conversation this afternoon with Rick Stone, a friendly guy from El Paso who in the mid '60s was the road manager for The Bobby Fuller 4.

Rick had contacted Kyla Fairchild of No Depression, where I'd cross-posted my recent column on the new Norton Records Bobby Fuller reissue El Paso Rock, Early Recordings Volume 3. I wanted to find out what those might be and clear them up.

First a little background on Rick.

In July 1966 he'd just finished what sounds like a hellish tour with the Bobby Fuller 4. They toured in a hot and crowded truck and, as might be expected, tempers were short and tensions were high.

Bobby and his brother Randy, the band's bassist had gotten into a fistfight at a San Francisco Club called the Chinese Dragon. (Stone stressed it wasn't a serious fight, but something typical for young brothers.)

Bobby had decided to break up the band, Stone said. Guitarist Jim Reese had just received his draft notice. Drummer Dalton Powell was missing his wife and new baby back in El Paso. Bobby was happy about his decision, Stone said. Now he was hoping to get out from under the thumb of Bob Keene and Del-Fi Records, Stone said. "He really wanted to get away from Bob Keene."


As he's told other journalists, Stone was one of the first of Fuller's friends to arrive on the scene after Fuller's mother found Bobby's body in her car. In fact, he's told Spin magazine and others that he had crashed the night before on the couch of Bobby's apartment, just a couple of blocks from Grauman's Chinese Theatre where Bobby's mother Lorraine also was staying.

Stone said when he woke up the morning of July 18, 1966, Lorraine Fuller told him saying that Bobby hadn't come that night. At this point Stone wasn't worried. "Bobby liked women," he said.

In the Spin article, Stone said he'd thought he'd heard Fuller leaving the apartment about 2:30 a.m.

Stone told me went down to the parking lot and didn't see the silver blue Oldsmobile Bobby had been driving.

Stone said he later attended a scheduled meeting at Del-Fi Records. Other members of the band showed up, but not Bobby. On his way back to the Fuller apartment, Stone said he had a horrible feeling. Soon police cars started to pass him. Stone said deep down he knew that something terrible had happened.

The Oldsmobile was there in a lot next to Fuller's apartment building -- not on the street, as I had written.

Bobby was inside, his head in the seat facing the back, Stone said. His face was swollen and distorted from the heat and the gasoline fumes that permeated the car. "About half of his face was black and blue," Stone recalled. The rest was reddish purple.

In Fuller's right hand was a hose, which Stone said looked as if someone had placed it there. Nearby was a gas can.

Stone denied the statement in Del-Fi Records press release I quoted that the gas can "was removed by a policeman (who apparently didn’t consider it vital to the investigation) and thrown into a nearby dumpster." He also said the gas can was on the front floor board, not in the back of the car.

Stone told me something I hadn't heard before. He said the officer there put the can in the car's trunk. But later Fuller's family and friends found not one but two gas cans in the trunk, he said. Neither were empty.

Contrary to what was said in the Del-Fi press release, Stone said he doesn't remember any dried blood on Fuller's face, which he said was too discolored to immediately tell if there was any blood.

But, Stone said, the shoes Fuller was wearing -- which were his mother's house slippers -- had marks as if someone had dragged his body.

As I said in my initial column, all these details are tantalizing, but if Bobby Fuller really was murdered as his friends and family believe, it's unlikely the killer ever will be caught.

So let's remember Bobby Fuller for his music.





UPDATE:

I forgot to mention that Rick pointed out to me that Bobby Fuller's body was found about 250 feet away from the apartment where Janis Joplin would die four years later.

Fuller was found in a then vacant lot next to his apartment at 1776 N Sycamore Ave. in Hollywood. Joplin's apartment was at 7047 Franklin Ave.

The two singers didn't know each other, Stone said. But he pointed out that they were born about four months apart in southeast Texas and both left Texas the same year to move to California the same year.

There's a part on the corner of Franklin and Sycamore. Stone says there's no marker indicating that two famous rockers died in the area. Seems there ought to be.

Sunday, July 18, 2010

TERRELL'S SOUND WORLD PLAYLIST

Sunday, July 18, 2010
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

101.1 FM
email me during the show! terrell@ksfr.org

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
CIA Man by The Fugs
Video Violence by Lou Reed
Live Like A Dog by The Kill Spectors
The Molasses by The Scrams
Haitian Voodoo Baby by The X-Rays
Licking the Frog by Manby's Head
What's Wrong With You? by The Lyres
Girl Gunslinger by Barrence Whitfield & The Savages

Garbage Head by Roscoe's Gang
You Got the Love by The Cynics
What A Way To Die by Nikki Corvette & The Hell On Heels
Almost a God by Movie Star Junkies
Nervous by Willie Dixon And Memphis Slim
Sock it to Me by Mitch Ryder & The Detroit Wheels
Don't Tease Me by ? & The Mysterians
There But For The Grace of God Go I by The Gories
Hot Aftershave Bop by The Fall
Bang Your Thing at the Ball by Bob Log III

Good Time Kids by Xoe Fitzgerald
Demon Stomp by The Things
The Spy Who Couldn't Get Any Action by The Ray Corvair Trio
Big Blond Baby by King Salami & the Cumberland 3
Kill the Messenger by The Bellrays
They Call Me Big Mama by Big Mama Thornton
Jolie's Nightmare by Chuck E. Weiss
My Mammy by Al Jolson

Ride In My 322 by Spyder Turner
The Bitch Done Quit Me by King Ivory
Toug Frog to Swallow by Little Freddie King
Roll That Woman by Paul "Wine" Jones
Lennox Avenue Boogie by Poison Gardner & His All-Stars
Ruby's Arms by Tom Waits
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Friday, July 16, 2010

THE SANTA FE OPRY PLAYLIST

Friday, July 16, 2010
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell


101.1 FM
email me during the show! terrell@ksfr.org

OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Billy the Kid by Ry Cooder
Billy the Kid by John Hartford
Ice Water by Glenn Barber
'Cause I'm Crazy by Kell Robertson

KELL ROBERTSON
Interview

Naked Girls by Stephen W. Terrell
Maria Elena by Kell Robertson
Kell Live
My Baby Ate Every Taco in Town
I'll Walk Around Heaven With You
Mary Lou (Good Time Gal)

Uh-Huh-Honey by Autry Inman
You Don't Have To Do It by Reverend Beat-Man & The Un-Believers
It Ain't Nobody's Biz'ness What I Do by The Hoosier Hot Shots
Hog-Tied Over You by Tennessee Ernie Ford & Ella May Morse
Little Dog Blues by Mel Price
Oil Tanker Train by Merle Haggard
Don't You Think This Outlaw Bit's Done Got Out Of Hand by Waylon Jennings
Oak Tree Hangin' by Gary Gorence

Lackie's Men by Delaney Davidson
John Hardy by The Sixtyniners
Xoe's Favorite Honkey Tonk by Xoe Fitzgerald
Moonshiner's Life by Hank III
Bring 'em Home by Tao Seeger
Weary Blues From Waitin' by Big Sandy & His Fly-Rite Boys
Red Velvet by The Kirby Sisters
CLOSING THEME: Comin' Down by The Meat Puppets

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

Hurricane Warning for Santa Fe

Al Hurricane that is.

The Godfather of New Mexico music and his son Al Hurricane, Jr., will perform 7:30 pm, Saturday, August 7 Santa Fe Community Convention Center at a benefit dance for the Santa Fe Fiesta Council.

Al the Elder released his first album in 1967. Hurricane has released 29 more albums with his latest in 2007.

CLICK HERE and scroll down to find my 1998 profile of Al, Sr.

Tickets are $15 per person or $25 per couple and can be purchased at the Lensic Peforming Arts Box Offfice, by phone at (505) 988-1234 or online.

XOE LANDS AT TINY's



The lovely Xoe Fitzgerald, Santa Fe's Favorite time-traveling transvestite is having his/her CD release party Friday at Tiny's.

In case you haven't heard this legend, Xoe is allegedly the offspring of David Bowie's Man Who fell to Earth and some hippie girl from Madrid, N.M.

This glam-rock, honky-tonk spectacular starts at 8:30 p.m. Admission is free and the first 50 who show up get a Xoe bumpersticker.

Joe West is allegedly involved with this. He's has been working on this concept for a few years. By some weird coincidence, Thursday is Joe's birthday. But I doubt that he shows. He's never has been seen at the same time and place with Xoe.

THE BEAT-MAN WAY

REV. BEAT-MAN SHOW 7-15-10

Once again, Reverend Beat-Man and his pal Delaney Davidson amazed and delighted in Santa Fe rocking a hopped-up crowd at Little Wing.

Instead of doing an opening-act/star-time arrangement, Beat-Man and Davidson played together both doubling on guitar and drums and trading off on lead vocals.

Like last year's show at Corazon, the set leaned heavy on Beat-Man's Surreal Folk Blues Gospel Trash (Volumes 1 and 2) and Get On Your Knees. as well as Davidson's Self-Decapitation. A lion's share of the songs deal with God, the Devil, Hell and salvation

DELANEY DAVIDSON While not as charismatic as the reverend, Davidson is a remarkable performer. The New Zealand native uses tape loops to subtly and almost seamlessly create a multi-layered sound. He'll be singing a part then all of a sudden you hear harmonies and wonder for a few seconds "how's he doing that?" And even though I'd thought that Nirvana had taken the song "Where Did You Sleep Last Night" to its ultimate level, Davidson's interpretation of "In the Pines" (a very close cousin of "Sleep") shows the song still has strange corridors to explore.

Beat-Man and Davidson are playing in Denver tonight, then on to Austin, New Orleans, Memphis and Nashville next week.

Is Nashville ready for Rev. Beat-Man?

REV. BEAT-MAN SHOW 7-15-10

More snapshots from the Santa Fe show are HERE.

Thursday, July 15, 2010

TERRELL'S TUNE-UP: GUNS, GUITARS & KELL

A version of this was published in The Santa Fe New Mexican
July 16, 2010


With all due respect to Funky Donnie Fritts, Ramblin’ Jack Elliott, and all those other icons of guitars, grit, and dusty glory that Kris Kristofferson names in the introduction to “The Pilgrim: Chapter 33,” Santa Fe’s Kell Robertson should have been on that list, somewhere near the top.

He’s a poet. He’s a picker. He’s a prophet. You know the rest. Robertson, who is somewhere in the vicinity of 80 years old, just released his latest album, ’Cause I’m Crazy, his first in nearly seven years.

Like his previous CDs, Crazy is a lo-fi, warts-and-all effort, deftly underproduced by Robertson’s cohort Mike Good, a musician who records under the name Blonde Boy Grunt. Kell cusses and fusses and clears his throat. It’s clearly not ready for modern country radio or any other civilized medium (I’ve been playing it on my show and have no intention of stopping).

Living the life: I interviewed the singer for a short profile in No Depression magazine in 2004. (For that story I also went to one of his local gigs where he intimidated some patrons of a now-defunct hippie café by growling, “I’m gonna take all your organic sandwiches and throw ’em in the woods and make you eat bologna/Because I’m evil,” as the climax to a blues song he performed.)

Robertson was born in Kansas, and, according to him, his stepfather kicked him out of the house at age 13, launching his years of rambling. He has worked as an usher in a movie theater, a fruit picker, a dishwasher, a soldier during the Korean War, a DJ at country and jazz stations, a bartender, and — this is the only one I have trouble believing — an insurance salesman. Robertson said that he considered a career in law enforcement and even took some classes at a police academy in California.

But poetry and music are his passions. Seeing a Hank Williams show in Louisiana was a turning point in his life, he said. But Robertson is far better known in poetry circles than he is in the music world. He published a mimeograph poetry magazine called Desperado in the ’60s and has issued 17 books of poetry. The liner notes of his previous album, When You Come Down Off the Mountain, contained a quote from Lawrence Ferlinghetti: “I would say Kell Robertson is one fine cowboy-poet, worth a dozen New Yorker poetasters. Let them listen and hear the voice of the real America out there.”

Robertson landed in Santa Fe sometime around the turn of the century and has been here since.
’Cause he’s crazy: The new album starts out with some classic outlaw bravado. In the title track, Robertson sings about being compelled to go into a tavern, even though “every time I go in there, they throw me out.” (It’s ’cause he’s crazy, and he’s in love.)

The next song, “Guns, Guitars, and Women,” celebrates a long life of trouble: “First man I killed was down in Dallas/I was only 21.” Later in the album there’s “Down the Bar From Me,” which is about some of his fellow saloon denizens. “There’s one old lady showin’ her bullet scar,” he sings, a hint of lust in his voice.

“Migrant Farm Worker” sounds like a modern Woodie Guthrie song. It’s about the toil and trouble of field workers with their “overalls trimmed in manure.” The chorus speaks not only to a feeling of anonymity but also a fear of being trapped in some bad karmic Möbius strip: “Who will remember me when I am gone/Who will remember me then/When they bury me ’neath that cottonwood tree/Will I have to start over again?”

Robertson offers his take on religion on a few songs. “Singin’ for Jesus” is about a street preacher. “I’m screamin at them sinners to come back to Jesus ... but he’s gonna pay me back some day. ... I’m down on skid row selling salvation ... but you know, boys, salvation is free.”

In “Jesus Christ Is Dead,” Robertson sings: “They nailed him to a tree/And the only way he can live again is inside you and me.” “Great Big Donut,” a song he says was inspired while sitting on the can watching the spiders on the wall, is a shaggy-dog parable about God trying to save the world by sending us a mysterious rolling pastry.

With “Lookin’ For Somebody to Kill,” you know you’re in for trouble from the first line, “I lost my heart in a barroom in Juárez.” Indeed, he’s looking for someone to kill, but when you learn who his victim is in the last verse, you may be shocked.

Actually this song seems to be the third part of a trilogy of songs about drug addicts. “Maria Elena” is about a doomed woman: “The powder they gave you is mixed up with death/You’re finding it harder to catch up with your breath.” The next song, “Junkie Eyes,” is about an encounter with a strung-out prostitute: “Lord, lord, them junkie eyes/Everytime you see them something dies/Something may be crawlin’ around inside/what’s left are them ravin’ junkie eyes.”

There are a couple of new versions of songs from previous albums — “Madonna on the Billboard” and “Mary Lou” (the tale of a “good-time gal”). The new versions don’t add that much to the old takes, and I’m not quite sure why they’re here. But both are fine songs, and they do fit in with the others.

The official conclusion of ’Cause I’m Crazy is “As You Still Got a Song.” Robertson sings again about getting kicked out of bars, but like the refrain says, “As long as you’ve still got a song, everything is all right.”

I’m glad Kell’s still got these great songs.

Kell on the radio: Kell Robertson plays live on The Santa Fe Opry tonight. The show starts at 10 p.m on KSFR-FM 101.1

WACKY WEDNESDAY: Albums Named for Unappetizing Food

O.K., I'll admit this is a pretty dumb idea.  It came to me yesterday after I ran into my friend Dan during my afternoon walk along the ...