Finally, the New Big Enchilada for Your Listening Pleasure

There's something sinister about this midway attraction. Step right up to the Felonious Fun House, where scuzzy carnival fun turns into a journey to the Beyond. And just when think it's over, it's time to take the funhouse slide down into the wild realm of psychedelic Africa.

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Here's the playlist:

(Background Music: Dance of the Hours by Spike Jones)
Girl, You Captivate Me by Question Mark & The Mysterians *
Strange Movie by The Troggs
One Way Ride by Raunch Hands
Duende by Churchwood
Albuquerque Freakout by Holy Wave

(Background Music: Hell's Caroussel by Abormalace)
Ooga Booga Rock by Hipbone Slim & The Knee-Tremblers
Take it Off by Midnight Woolf
Silver Monkey by The Copper Gamins
That's My Girl by The Monks
We Kill Evil by Pocket FishRmen
Keg Party at the Muldoon Farm (Ultimate Mix) by Joe West

(Background Music: The Circus Machine by Ron Perovich)

Psychedelic Africa Set

Okponmo Ni Tsitsi Emo Le by The Psychedelic Aliens
Adieu by Ofege
Allah Wakbarr by Ofo & The Black Company
Babalawo by The Thermometers
Acid Rock by The Funkees

Lots of the music from this set comes from Soundway Records, in particular the albums The World Ends: Afro Rock & Psychedelia in 1970s Nigeria and Nigeria Rock Special: Pyschedelic Afro-Rock & Jazz Funk in 1970s Nigeria. If you liked this set, these albums would be a great place to start exploring more.

* My interview with Question Mark can be heard HERE 

Note: There's some kind of problem with my Mevio Feed beyond my limited comprehension. So those of who are are subscribed, might not get this episode until we figure that out. Meanwhile, I've posted up it up on my Mixcloud page, where you also can find several of my KSFR radio shows.

Play the episode below

Big Enchilada 58: Felonious Fun House by Steve Terrell on Mixcloud

THE SANTA FE OPRY PLAYLIST

Friday, March 22, 2013 
KSFR, Santa Fe, NM 
Webcasting! 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)ksfr.org
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Ride by Wayne Hancock
Banana Pudding by Southern Culture on the Skids
Do Right by Lydia Loveless
Take Me Lake Charles by Shinyribs
Bottle of Wine by Angry Johnny & The Killbilles
Honky Tonk Merry Go-Round by Kelli-Jones Savoy &Emma Young
If You Ain't Lovin (You Ain't Livin') by Faron Young
Motorcycle Man by The Riptones
Honky Tonk Heros by Billy Joe Shaver

Best Liquor Store by The Hickoids
Trouble in Mind by Jon Langford & The Pine Valley Cosmonauts
LSD by T. Tex Edwards & Out on Parole
West Wind by Jayke Orvis & The Broken Band
Flying Saucer Song/A Hard Lesson to Learn by Shooter Jennings
The Savior by The Imperial Rooster
Rainbow Stew by Jason Ringenberg


I Ain't Drunk by Whitey Morgan & The 78s
I Wanna Be Your Mama Agian by Mother Earth
Lou's Got the Flu by Roger Miller
Lucky That Way by Dwight Yoakam
This is How We Do Things in the Country by Slim Cessna's Auto Club
Barstool Mountain by Johnny Paycheck
Should'a Killed My Baby by The Dirty Charley Band
The Blues Chose Me by Country Blues Revue

Satellite of Love by DM Bob & The Deficits
Evenin' Breeze by Dan Hicks & His Hot Licks
20/20 by The Goddamn Gallows
Two Angels by Peter Case
Don't Touch Me by Eleni Mandel
Hold on to the House by Terry Allen
CLOSING THEME: Comin' Down by The Meat Puppets

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

TERRELL'S TUNEUP: Thurston's New Sonic Blast

A version of this was published in The Santa Fe New Mexican 
March. 22, 2013

This is the closest thing you’re going to hear to a new Sonic Youth album in the foreseeable future.

I’m talking about the new self-titled album by a band called Chelsea Light Moving, headed by Sonic Youth singer-guitarist Thurston Moore. The group is named after a New York moving company that was run by composer Philip Glass before he got famous.

Moore and bassist Kim Gordon announced in late 2011 that their marriage was over and that the band, which had been exploring the furthest reaches of feedback screech for 30-some years, would be going on “hiatus” after it finished its tour. Except for an avant-garde project Moore and Gordon did with Yoko Ono that was released last year, we haven’t heard much of a peep from them since.

But earlier this month, Moore and his new cronies came banging in with this album. Had I heard songs like “Burroughs” or “Sleeping Where I Fall” without first knowing anything about the project, I would have just assumed it was some Sonic Youth material I’d never heard before.

In fact, it’s a huge relief to old fans that it sounds nothing like the folky, heavy-on-the-strings, look-ma-no-feedback, airy-fairy Demolished Thoughts, Moore’s most recent solo album.

With the opening song, “Heavenmetal,” I was afraid Moore might be heading back toward that Demolished Thoughts state of mind. There are no harps or violins, just a laid-back acoustic tune with New Agey proclamations like “Be a warrior. Love life.” I guess he’s just trying to align his chakras and be the best Thurston he can be.

Luckily, he and the band come roaring back in the next song, “Sleeping Where I Fall,” which starts off quietly but slowly builds to SY-like intensity.

One of my favorites is the roughly eight-minute tune “Alighted.” It goes through all sorts of changes in tone and tempo, including a fierce brontosaurus-rock interlude right before Moore’s vocals come in (nearly halfway through the song).

This is followed by “Empires of Time,” another excursion into discordant craziness, with Moore declaring “We are the third eye of rock ‘n’ roll!” I’m not sure who the pounding “Groovy & Linda” is about, but it is centered around the line “Don’t shoot — we are your children.” It takes this old hippie back to the days of Kent State.

In “Burroughs,” Moore pays tribute to Naked Lunch author William S. Burroughs, singing, “Ah, Billy, the sweetest drug is free/Will you, Billy, shoot it into me?”

“Mohawk” features Moore reciting poetry instead of singing. Toward the end of the track, he invokes the memory of the late singer of The Germs, an early Los Angeles punk group: “Darby Crash came back from England with a mohawk, though he might have referred to it as a ‘Mohican’/Your laugh stays with me. It’s not the first time.”

The memory of Mr. Crash is further honored in the last song, a high-charged cover of The Germs’ “Communist Eyes.”

Chelsea Light Moving isn’t exactly an album for the ages. Though Moore’s bandmates are all fine musicians, guitarist Keith Wood is no Lee Ranaldo. And if Samara Lubelski has anything resembling Gordon’s snarling aura, it doesn’t come out on the record.

A larger problem is that with Moore handling all the vocal duties, old fans probably will miss the vocal variety of his old group, in which Ranaldo and Gordon also contributed lead vocals.

But it’s an enjoyable romp for those who have followed Moore all these years. If Sonic Youth can’t go home again, this is a tasty, if not completely satisfying, consolation prize.

Sonic nostalgia: Sonic Youth was a wonderful thing. The group sprung out of New York in the early ’80s, heavily influenced by the avant-garde post-punk No Wave scene. It started getting mainstream attention with 1988’s Daydream Nation, rode the Nirvana-era alt-rock scare and braved on, true to its vision for nearly two more decades.

Kim Gordon with Sonic Youth
Denver 1994

Like The Beach Boys, who never changed their name to The Beach Men, Sonic Youth remained forever Youth well after the band and most of its fans reached middle age.

I got to see the group four times in four different cities.

I caught them in Denver in 1995 when they were headlining Lollapolooza and working their then-current album, Washing Machine.

Two years later, I was at the Freedom Tibet show in New York, where they played mostly long instrumentals.

The following year, I caught them in Austin at South by Southwest, where they previewed material from A Thousand Leaves. The show was far better than the album. In the next couple of days, I happened to be in two different barbecue joints where Sonic Youth was eating. (I wasn’t stalking, honest.)

But the best Sonic Youth show I ever saw was in Santa Fe in the summer of 1999. In a tent.

It was for SITE Santa Fe’s third international biennial, back in the days when SITE had artsy rockers for fundraisers during that event. (Patti Smith and Laurie Anderson had performed in connection with previous biennial shows.)

The night before, in Austin, someone stole Sonic Youth’s rented Ryder truck full of instruments and equipment, so the band had to rent all of that to perform.

Then Moore got irked when he found out that tickets for the show were $50, which would exclude a lot of fans. The group demanded that kids from Warehouse 21 next door be let in for $1. (That’s what I remember. Some say the kids were let in for free.)

Suddenly the tent was shaking with dozens of sonic teens rocking out, and the band seemed to feed off that injection of energy.

Blog Bonus: 

Here's the song "Burroughs"

 

TERRELL'S SOUND WORLD PLAYLIST

Sunday, March 17, 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Leave the Capitol by The Fall
When Irish Eyes are Smilin' by Frank Patterson
The Gentleman Soldier by The Pogues
Drunken Lazy Bastard by The Mahones
I'll Tell Me Ma by Van Morrison & The Chieftains
The Rocky Road to Dublin by The Young Dubliners
A Bang on the Ear by The Waterboys

Brennan on the Moor by The Clancy Brothers
What's Left of the Flag by Flogging Molly
Captain Kelly's Kitchen by The Dropkick Murpheys
Donegal Express by Shane MacGowan & The Popes
Wild Rover by The Dropkick Murpheys with Shane MacGowan
Molly Malone by Sinead O'Connor
Breaking Through by Blood or Whiskey
Forty Deuce by Black 47

Albuquerque Freakout by Holy Wave
Weedey by Churchwood
I Need Somebody by Manby's Head
Psychologically Overcast by Fishbone
Tommy the Cat by Primus
Good Night for a Heart Attack by Nashville Pussy

Nantucket Girls Song by The Tossers
Baby Let Me Hold Your Hand by Detroit Cobras
Yeah Yeah by Georgie Fame
Rock 'n' Roll by Lou Reed
Blofonyobi Wo Atale by The Psychedelic Aliens
Black Plague Blues by Figures of Light
Rosettes by The Men They Couldn't Hang
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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TERRELL'S TUNEUP: View From the Bottom

A version of this was published in The Santa Fe New Mexican March 15, 2013

I was Googling Terry Allen the other night, looking for a recent interview I’d heard about. The Lubbock-born Santa Fe resident has just released Bottom of the World, his first CD of new material since 1999. At the top of the Google news page was a little web ad that read “Terry Allen’s records www.instantcheckmate.com Did you know Terry Allen’s criminal history is searchable?”

How’s that for outlaw cred? No, I didn’t run Allen’s name through 
the search. I seriously doubt that it has anything on the artist. And even 
if it did, I’m sure it wouldn’t be nearly as interesting as the record of 
his records.

You can’t call Allen a prolific musician — he’s just a henchman of his weird muse, which often commands him to work in other mediums, such as sculpture, painting, theater, and multimedia installation.

The albums he has released since the 1970s are full of poignant stories, hard-eyed observations, sardonic wit, unforgettable characters, and occasionally some righteous rage.

The first thing that Allen fans might notice on the new record is that it seems more somber and quieter than most of his others. There are no raucous roadhouse rockers like you find on earlier records. Here the songs tend to be slow, the melodies are mostly sad, and the lyrics are clear — and they often sting. It’s the kind of album you have to sit 
down and listen to.

Do it. It’s worth it.

Except for Allen’s keyboards, this is basically an acoustic affair with longtime Lubbock crony Lloyd Maines adding some guitar and steel guitar; Richard Bowden, another longtime Allen collaborator, on fiddle; Brian Standefer on cello; and Allen’s son Bukka on accordion and B3 organ. Bukka’s wife, Sally Allen, does harmony vocals on some tunes.

Bottom of the World starts out in familiar territory. The opening track, “Four Corners,” is a new version of an old song that originally appeared on Allen’s 1975 debut album, Juarez (which a wise critic once described as “a breathtaking tour of the underbelly of the Southwest, the barrooms, the whorehouses, the trailer parks, and the highways by hard-bitten and not entirely lovable characters”). It’s a bittersweet memory of a lost love and a wistful way to open the new album. After nearly 40 years, the song (as well as the entire Juarez album) has aged quite well.

“Four Corners” is followed by “Queenie’s Song,” which Allen co-wrote with Guy Clark more than a decade ago. It appeared on Clark’s 2002 album The Dark. This is the story of a crime that took place in Santa Fe. On New Year’s Day in 1999, Allen’s dog Queenie, who had been missing, was found shot to death. “Bet you got a gun for Christmas/That don’t make it right/What in the hell were you thinkin’/With little Queenie in your sights,” Allen sings, the anger still in his voice. It makes me pig-bitin’ mad too. I hope the jerk who shot Allen’s dog is reading this.

But this is only the beginning. Allen’s new songs show he’s still got the knack. “Do They Dream of Hell in Heaven” would tickle the ghosts of Mark Twain and William Blake. “Do they dream of hell in heaven?/Do they regret how hard they’ve tried/Wish now they’d been much more sinful/And repented just a minute before they died?” Here he raises an important theological question: “Is there something strange about heaven they just don’t want you to know?”He ends the song with the image of “the golden gates of forever” closing “tight on all the fun.”

Some of the best songs on this album show earthly situations in which fun doesn’t seem like an option. “Emergency Human Blood Courier” wouldn’t sound out of place in a sequel to Juarez. In an ominous minor-key Mexican-style melody, Allen speaks the lyrics: “Emergency human-blood courier headed south down to Mexico/Where there’s been a whole lot of bleeding, and there’s going to be a whole lot more/Emergency human-blood courier in a vehicle red as nails/Haulin’ blood down to the borderlines/Where all systems seem to have failed.”

The album’s biggest punch in the gut is “The Gift,” a song ripped from the headlines. It was apparently inspired by the suicide of Wall Street swindler Bernie Madoff’s eldest son, who hanged himself in December 2010, on the second anniversary of his father’s arrest. “Ah, oooh, it’s a gift from daddy,” Allen sings. “Everything you see, is daddy’s.” In the last verse he describes the suicide — how Mark Madoff put his young son to bed and then went and hanged himself in the kitchen doorway. “It’s a gift from daddy/He lost all he had, and he gave it to you.”

While “The Gift” might leave you feeling bleak, Allen ends the album with two songs of love and commitment. “Sidekick Anthem” assures a friend that “I’m just a call away.” Then the last track, “Covenant (for Jo Harvey),” is a sweet love song for his wife of five decades. Some of the people he sings about in Bottom of the World have indeed hit bottom. Allen may empathize with them, but he knows he’s got a refuge.

BLOG BONUS:

Here's a song from Bottom of the World



And here's one from Terry's show on Santa Fe's Plaza last summer

Imperial Rooster Has New Album

Espanola's beloved underground country jug-punk band The Imperial Rooster has finished a new album.

I'm not sure when they're releasing it though. Yesterday the band tweeted, "We also might release our new album Cluckaphony this week. We're kinda goofy like that."

I won't argue their goofiness.

But while we're waiting on the album, the Roosters have in recent days released a bunch of videos for the online Couch by Couchwest "festival."

Here's three of those. I hadn't heard these songs before, so I'm assuming they're on the new album.:








You can find all the band's videos HERE.

FREE MUSIC FROM FARMAGEDDON

The Calamity Cubes in Austin

The Farmageddon Records Festival, which is taking place in Montana in late July, is offering a free MP3 sampler featuring the music of bands and singers who are on the schedule.

Among the 21 artists on the sampler are Slim Cessna's Auto Club, The Calamity Cubes, The Ugly Valley Boys, The Goddamn Gallows and Black-Eyed Vermillion.

The download link is HERE. Enjoy.

The Goddamn Gallows in Santa Fe

TERRELL'S SOUND WORLD PLAYLIST

Sunday, March 10, 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Don't Tease Me by Question Mark & The Mysterians
Keels Be Damned by Churchwood
Strychnine by The Sonics
Train Crash by The Molting Vultures
Catastrophe by Mark Sultan
Johnny's Got a Gun by Dead Moon
Falling Off the Face of the Earth by The Electric Mess
American Music by The Blasters

If I Should Fall From the Grace of God by Shane McGowan & The Popes
Communist Eyes by Chelsea Light Moving
Nightingale by The Copper Gamins
Cocaine Blues by Wayne Kramer & The Pink Fairies
I'll Make You Happy by The Ugly Beats
I'm Going to Bring a Watermelon to My Girl Tonight by The Bonzo Dog Band
Martin Scorsese by King Missile

AFRICAN PSYCHEDELIA 

Rough Rider by The Hygrades
Pardon by Orchestre Poly-Rhthmo
Love's a Real Thing by Super Eagles
Adieu by Ofege
Chokoi & Oreje by The Elcados
Sorry Bamba by Possy
Ekassa 31 by Victor Uwaifo



Blue Rain in Africa by Otis Taylor
Shoot the Freak by Lovestruck
The Ballad of Dwight Fry/Sun Arise by Alice Cooper
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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THE SANTA FE OPRY PLAYLIST

Friday, March 8, 2013 
KSFR, Santa Fe, NM 
Webcasting! 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)ksfr.org
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Cajun Stripper by Doug Kershaw
Keep on Truckin' by Hot Tuna
The New World by Texas Sapphires
Coulda Shoulda Woulda by J.P.McDermott & Western Bop
There Stands the Glass by Gal Holiday
Hot Tamale Pete by Bob Skyles & His Sky Rockets
Cool Front by Electric Rag Band
Your Face or Mine by Pure Luck
I Got Texas in My Soul by Tex Williams & His Western Caravan
Then I'll Be Moving On by Mother Earth

Hard-Hearted Hannah by Cliff "Ukulele Ike" Edwards
Nothing at All by The Waco Brothers
I Push Right Over by Robbie Fulks
The White Trash Song by Shooter Jennings with Scott H. Biram
The Beautiful Waitress by Austin Lounge Lizards
Sidekick Anthem by Terry Allen
American Trash by Betty Dylan

Trucks, Tractors and Trains by The Dirt Daubers
Fool's Hall of fame by Johnny Cash
Anchor's the Way by The Calamity Cubes
And In Time by Country Blues Revue
Blah Blah Baby by Zeno Tornado & The Boney Google Brothers
I Like Drinking by The Gourds
The Land Where the Crow Flies Backwards by Roger Knox & The Pine Valley Cosmonauts
Your Heart Turned Left (And I Was on the Right) by Don Rich
TV Party by Asylum Street Spankers
Cathead Biscuits and Gravy by Nancy Apple & Rob McNurlin

Let's Invite Them Over by John Prine & Iris DeMent
Waltz Acroaa Texas by Ernest Tubb
The Winner by Bobby Bare
What Ya Doing in Memphis by Jason Ecklund
Louise by Ramblin' Jack Elliott & Tom Waits
CLOSING THEME: Comin' Down by The Meat Puppets

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

TERRELL'S TUNEUP: Fresh Sounds from Churchwood & Copper Gamins

A version of this was published in The Santa Fe New Mexican 
March 8, 2013

Coming straight from the deep Euphrates — actually Austin, Texas — is the nonslumping sophomore effort by the band known as Churchwood. The CD, called 2, appropriately enough, proves that the group’s self-titled first album was no fluke.

Both albums are steeped in the blues. Churchwood is tight and capable, but nobody is going to confuse the band with the generic Texas Stevie Ray Vaughanabe groups. “Saving the blues from the blahs” is a motto found on Churchwood’s ReverbNation page, but that barely scratches the surface.

Fronted by singer Joe Doerr, whose day job is English professor, Churchwood has a definite literary edge. The first words Doerr sings on the opening track, “Duende,” tip you off to that.

“Coming straight from the deep Euphrates/Orfeo’s gift from the realm of Hades/Don’t look back, baby, take his hand/Gonna lead us all to the promised land,” Doerr shouts over jungle drums and a guitar riff that lands somewhere between Howlin’ Wolf and Nirvana’s “Serve the Servants.”

Don’t think these guys are all that highbrow. For instance, on one verse of “Weedeye,” Doerr declares, “Mushroom tea, razor blade, I’m going down to Mississippi ’cause I gotta get laid.” The refrain of the song is “We don’t have to anything ’cept live ’til we die,” an expression Doerr says he picked up from his dad (whenever his mom told him he had to do something).

Writing about the origins of Churchwood on The Rock Garage website, Doerr says longtime Austin-band veteran guitarist Bill Anderson — with whom he played in a couple of groups in the ’80s — approached him in 2007 about starting a new band. “Bill envisioned taking Captain Beefheart’s Spotlight Kid/Clear Spot as a point of departure and using it as a means of exploring the musical and lyrical interests that he and I have shared for the past 25 years or so: blues, punk, country, psychedelic, and so on.”

(Anderson, by the way, works by day for the Texas Legislative Council, a job this political reporter can relate to. He was also a member of The Meat Purveyors, one of the cool- est country/punk bands ever — something I can relate to even more.)

Fortified by a second guitarist, Billysteve Korpi, and an explosive rhythm section (Adam Kahan on bass and drummer Julien Peterson), Churchwood is an authentic threat.

While blues is the band’s foundation, Churchwood subtly branches out on 2.

On “Aranzazu,” the musicians drop hints of a lilting jam-band vibe. “You Be the Mountain (I’ll Be Mohammad)” is funkified in a swampy kind of way (including some Princely falsetto vocals). “A Message From Firmin Desloge” and “Money Shot Man” feature a guest horn section, giving the former song a soul sheen and the latter an early Boz Scaggs feel.

Then there’s “Keels Be Damned,” on which the band displays a Threepenny Opera cabaret influence. Gogol Bordello could get away with playing this one.

The song advises against accepting the official version of anything. “I just can’t see what’s mad in asking proof of what we’re told/So I’ll be hangin’ here with minds that cannot be controlled.”

So don't take my word for it. Check Churchwood out yourself.

Also recommended:

▼ Los Niños de Cobre by The Copper Gamins. In reviewing the five-song self-titled debut EP of this hopped-up punk-blues duo from the mountains of Mexico last year, I said that it sounded like it was recorded “in an abandoned gas station.” That basically holds true for this, the Copper Gamins’ first full-length album (17 songs, 55 minutes). And once again the lo-fi music is so loud I’m not sure how that gas station is holding up.

The Gamins — singer/guitarist José Carmen and drummer Claus Lafania — follow a line of blues-bashing twosomes, going back to the Flat Duo Jets through early Black Keys and White Stripes on up through The King Khan & BBQ Show. The lads from Mexico are less slick than any of those bands — far less slick than what the Stripes or Keys eventually evolved into, and unlike KK & BBQ, the Gamins have not yet discovered the magical joys of doo-wop.

For those who heard the EP, there are no huge surprises on Los Niños de Cobre. It has the same basic sound, but in a handful of tracks, the group shows some healthy restlessness by expanding its sound.

For instance, toward the end of “Silver Monkey,” Carmen plays a strange-sounding organ. It’s downright refreshing. But the biggest surprise is “Angelitos Negros,” the title song of the 1948 Mexican movie starring silver-screen lothario Pedro Infante. I hope on the group’s next album the musicians incorporate more sounds from their native land.

Technically this album won’t be available commercially until March 19, but you can hear three cuts at www.reverbnation.com/thecoppergamins .

BLOG BONUS

Got some videos ...



Here's the Copper Gamins in action a cople of years ago



And here's Pedro ...

TERRELL'S SOUND WORLD PLAYLIST

Sunday, March 3, 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
I'm a Man by The Yardbirds
No Particular Place to Go by The Troggs
Happy Now by Lyres
We Kill Evil by Pocket FishRmen
Into the Drink by Mudhoney
Burroughs by Chelsea Light Moving
A Message from Fermin Deslodge by Churchwood
Make Her Cry by The Things

Second Hand Man by The Raunch Hands Bigg Topp
Free and Freaky by The Stooges
Stop It, You're Killing Me by The Hickoids
Silver Monkey by The Copper Gamins
Devil's Rope by Red Hot Rebellion
Seasons in the Sun by Too Much Joy
Hodad Makin' the Scene With a Six Pack by The Silly Surfers

Creep in the Cellar by The Butthole Surfers
The Beat by Elvis Costello & The Atrractions
Miss Phenomenal by King Automatic
Live With Me by The Rolling Stones
Gold on the Shore by Ty Segall
Dumb All Over by Frank Zappa
Fried Neckbones by King Khan & The Shrines
Cosma Shiva by Nina Hagen
Good Cheer by Mission of Burma

Jerry Was a Race Car Driver by Primus
Tower of Song by Nick Cave & The Bad Seeds
Mudflap Girl by Timbuk 3
Mystery of Love by Marianne Faithful
Way Down in the Hole by Compulsive Gamblers
I'm Sick and Tired of Picking Up After You by Tom Waits & Crystal Gayle
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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THE SANTA FE OPRY PLAYLIST

Friday, March 1, 2013 
KSFR, Santa Fe, NM 
Webcasting! 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)ksfr.org
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Oh You Pretty Woman by Milton Brown & His Musical Brownies
Only Daddy That'll Walk the Line by Buck Owens
I Washed My Hands in Muddy Water by George Thorogood & The Destroyers
The Meaning of Love by The Beaumonts
Sugar Baby by Legendary Shack Shakers
There to Stay (Small Town Girl)  by The Electric Rag Band
Sam Hall by Tex Ritter
Under the Stone by Jono Manson
Cowboys are Frequently Secretly Fond of Each Other by Willie Nelson

Keg Party at the Muldoon Farm (Ultimate Mix) by Joe West
Cowboy Boots by Dale Watson
Can't Hardly Stand It by Charlie Feathers
She Do the Taboo by Jason Ecklund
San Antonio Romero by Cathy Faber's Swingin' Country Band
Love Bug by Don Rich
Killed a Chicken Last Night by Scott H. Biram
Boogie Woogie Baby of Mine by Bob Burton
Didn't Leave Nobody But the Baby by Emmylou Harris, Allison Krauss & Gillian Welch

Lookout Mountain by Drive-By Truckers
Meet Me in the Alleyway by Steve Earle
When the War Was On by 3 Mississippistaphas 3
Victim of the Tomb by Red Allen
Tramp on the Street by Carl Story
New Lee Highway Blues by David Bromberg
I'll Take the Blame by Ralph Stanley & Rhonda Vincent

I've Been Fooled by Eleni Mandell
Please Don't Tell Me How the Story Ends by Joan Osborne
My Heart Was the Last One to Know by Kris Kristofferson
Gypsy Songman by Jerry Jeff Walker
Jolie Louise by Daniel Lanois
It's All in the Movies by Merle Haggard
Touching Home by Jerry Lee Lewis
CLOSING THEME: Comin' Down by The Meat Puppets

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Subscribe to The Big Enchilada Podcast! CLICK HERE
Steve Terrell is proud to report to the monthly Steve Terrell is proud to report to the monthly Freeform American Roots Radio list

No Tuneup on the ol' Blog Today

The Terrell's Tuneup I posted in the blog last week got held and didn't appear in Pasatiempo. It's running there this week, so, there's no Tuneup in the blog this week.

Hopefully things will return to "normal" next Friday.

Meanwhile here's some more videos of some of the songs that appeared on mymovie music lists.

Rock on ...

This version of the King Missile classic  has been censored. But you'll probably get the idea.




"Ate a hotdog, it tasted real good / Then I watched a movie from Hollywood ..."



This one's from the heart ...

eMusic February

I've gotten so far behind in this, I've actually got two months worth of eMusic downloads to write about this time. It's a long one, so hang on! (And don't miss the videos at the bottom)

* The Beat Generation: Music & Poetry by Various Artists.  This is a massive collection -- 132 tracks that lasts more than nine hours. (All for less than $6 for eMusic members.)

It looks like a major chunk of the 3-Disc Rhino Records Collection The Beat Generation ended up here.

Like the subtitle says, there's music -- including classics by bop and cool jazz giants like Dizzy Gillespie, Charlie Parker, Charles Mingus, Miles Davis, Thelonius Monk,  Gerry Mulligan and more -- and there's poetry and other readings by the beat elite -- Jack Keruoac, Allen Ginsberg, William Burroughs, Lawrence Ferlinghetti ... And there's combinations of poetry and jazz that the beats were so noted. My favorite of these here being Kenneth Rexroth's "Married Blues," recited over a bluesy number by an unidentified jazz combo.

There's also Beat comedy including Lenny Bruce's "Psychopathia Sexualis," and the entire How to Speak Hip album by Del Close and John Brent (plus Close's Do It Yourself Psychoanalysis Kit.) There's a few songs poking fun at the crazy beatniks, such as Perry Como's "Like Young" and Bob McFadden & DOR's song "The Beat Generation." This song, written by Rod McKuen served 20 years later as Richard Hell's inspiration for the punk-rock manifesto "Blank Generation."

And there's several interviews with Beat icons and lengthy news features on the Beatnik phenomenon by journalists like Charles Kuralt and Howard K. Smith.

The best way to listen to this massive, over-stuffed, everything-including-the-kitchen-sink compilation is on shuffle mode. Hearing the inspired music, poetry and writings by these visionary artists juxtaposed with the jokers, the probing, sometimes dismissive interviewers makes me realize the Beats truly were onto something big. The rest of the world seemed torn between wanting to jump in and join the fun or belittle it as something foreign and vaguely threatening. Yes, the Beats were onto something. But most, including the Beats themselves never really figured out what it was.

(And in case you hadn't guessed, this mad collection was the inspiration for my recent Big Enchilada podcast Bargain Basement Beatniks. Dig it!)

* Live at Max's Kansas City by The Troggs. Back in the latter days of the British Invasion, The Troggs were the most overtly primitive of the hitmakers. "Wild Thing" and "I Can't Control Myself" couldn't really be called "garage" music. It was more like something-living-under-the-garage rock.

Troggs frontman Reg Presley died Feb. 4.

This record, originally released in 1981, was recored at the famed New York punk cradle in the late '70s or early '80s. The Stooges unquestionably were influenced by The Troggs, but here The Troggs sound like they've been influenced by The Stooges.

And that's not a bad thing. They sound supercharged. You can hear echoes of Iggy on the cover of The Stones' "Satisfaction" and even on covers of Chuck Berry classics like "No Particular Place to Go" and "Memphis."

Yes, Reg and pals playing the obligatory "Wild Thing" and "Love is All Around," but more exciting are lesser-known songs like "Strange Movie" (a Reg original) and "Gonna Make You."

This makes my heart sing.

* Feel It by The Raunch Hands Bigg Top. Back in 2007, it had been 14 years or so since The Raunch Hands had recorded a studio album (Fuck Me Stupid, 1993) Their guitarist Mike Mariconda was working with another band in Austin when, he decided to call his old Raunch mates, singer Michael Chandler and drummer Mike Edison to help out.

The result was this fine stripped down rock 'n' soul screamer. It's slightly slicker than The Raunch Hands of yore -- but only slightly. There was plenty of filth and fury on this album, starting with the opening cut "Sophisticated Screw."

There's a crunching cover of an Andre Williams song that keeps crossing my path in recent months, "Mojo Hannah," but my favorite is the crazed  "One Way Ride," which has a refrain where Chandler slyly quotes a Bessie Smith song, "Moan all you moaners!"

* The Very Best of Slim Gaillard & Slam Stewart. I'm a newcomer to Slim Gaillard. Back a few months ago when I was raving about Harry "The Hipster" Gibson, a friend pointed me the way to Slim, who I realize shared a spiritual kinship with the jive-talking Hipster.

Jive talk? Gaillard invented his own damned language! Seriously. He called it "vout" His performances were so wild, Jack Keruoac even wrote about him in On the Road.

'... one night we suddenly went mad together again; we went to see Slim Gaillard in a little Frisco nightclub. Slim Gaillard is a tall, thin Negro with big sad eyes who's always saying 'Right-orooni' and 'How 'bout a little bourbon-arooni.' In Frisco great eager crowds of young semi-intellectuals sat at his feet and listened to him on the piano, guitar and bongo drums. When he gets warmed up he takes off his undershirt and really goes. He does and says anything that comes into his head. ..."

The material in this generous collection (54 tracks) was recorded a couple of decades before On the Road, when Gaillard  was playing with pianist Slam Stewart as Slim & Slam. It's got the duo's first hit, "The Flat Foot Floogie," as well as novelty hits like "Groove Juice Special," "Dopey Joe," "African Jive," the insane "Laughin' in Rhythm," and perhaps their best known song, "Chinatown, My Chinatown."

I'm no stuffy audiophile, but even my old ears can tell that the sound quality is pretty bad on some cuts. In particular, the pretty ballad "Champagne Lullaby" apparently was recorded off a scratchy old 78 with little, if anything done to mitigate the defects.

But for the most part this album is right-orooni.

* Mr. Supernatural by King Khan & The Shrines.  This was a happy discovery. It's an early (2004) Shrines album, one I didn't have before. None of the songs here even appear on the compilation The Supreme Genius of King Khan & The Shrines, so it was all new to me.

For the unitiated, Arish Khan is a Canadian who immigrated to Germany several years ago. The Shrines is a Berlin-based soul band complete with funky horn section (and for live performances, a lovely cheerleader.)

The thing that has amazed me about this band from the first time I ever heard them is how much Khan messes around, how much energy he puts into dirty jokes and silly costumes, and other fucking around. And yet this band is extremely tight and energetic. As I saw for myself at the Pitchfork Festival in Chicago a few years ago, thsi band is a powerhouse.

My favorite songs here are "Frogman," an urgent workout showcasing organist Freddy Rococo, and "I Gomez," a fast-paced chugger which at one point seems to borrow the refrain from Steppenwolf's "Sookie Sookie."

* Phosgene Nightmares by The Black Angels. The Angels are my favorite young band of psychedelic commandos from Texas.  This is a six-song EP, a B-sides collection released especially for Record Store Day in April 2011, just a few months after their 2010 album Phosphene Dream. 

The first thing I noticed about this this album is that it's more laid back than their other albums -- which tend to be full-fledged sonic excursions. Some tracks here basically are acoustic numbers. You even can hear country music echoes in "At Night," while "Choose to Choose" might be a channeled Buddy Holly song.

But on "Entance (Rain Dance Version)" you definitely can tell it's the Black Angels kicking open your doors of perception.

Heads up: The Angels are scheduled to release a new full-length album, Indigo Meadow in April.

* Lady from Shanghai by Pere Ubu. Ubu mastermind David Thomas and crew, this time around, are apparently obsessed with dance music.

I’m not kidding.

“Smash the hegemony of dance. Stand still. The dancer is puppet to the dance. It’s past time somebody put an end to this abomination. Lady From Shanghai is an album of dance music fixed.” Cryptic as it is, this quotation from Ubu’s website just about says it all.

Just about. But I said more a few weeks back in Terrell's Tuneup. Read that HERE.

*  Introducing Seasick Steve. I guess you could call bluesman Steven Wold a late bloomer. The ex-hobo, ex-session musician and now ex-pat (living in Norway)was in his 60s released his first album Cheap in 2004.

This compilation is a modest compilation of five of his early recordings. There's a couple of tracks from Cheap with his old trio Level Devil, including the title song, which could fit in with most any punk-trash-blues project coming out of Voodoo Rhythm Records.

Also here are a couple from his second album Dog House Blues including the John Lee Hooker-influenced title song. And there's the title song from a 2007 EP It's All Good, featuring Seasick talking and singing over a repeated lick similar to the main hook on Jimi Hendrix's "Voodoo Chile.."

This is a decent introduction -- it's all good, you might say -- but I wish eMusic would offer some of those early works in their entirety.

Plus

* Conjure Man by Kid Congo & The Pink Monkeybirds. This is a new single by Kid Congo Powers (formerly of The Cramps, The Gun Club and Nick Cave's Bad Seeds) It's a slow, smokey, minor-key psychedelic tune that wouldn't sound out of place on a The Black Angels record. The "flip side" (yes, there are two songs), "Lose Your Mind" has a Bo Diddley beat behind Kid Congo's growled vocals. This set is here to whet our appetites before the release of the new Monkeybirds album Haunted Head, expected in the near future.

* tUnE-yArDs as Yoko by tUnE-yArDs. This is a two song collection. I picked it up for "We're All Water," which is is my favorite Yoko Ono song of all times. I still prefer the original, on the John & Yoko album Somewhere in New York, on which Yoko is backed up by the rough and rowdy Elephant's Memory.

But I am a new fan of  tUnE-yArDs, which features a gal named Merrill Garbus creating crazy sounds from percussion and vocal tape loops.

The flip side here is a Yoko song, "Warrior Woman" remixed by tUnE-yArDs. According to Pitchfork, this project is part of a series of singles Ono is currating to benefit the Rockaway Waterfront Alliance, which was set up to aide victims of Hurricane Sandy. Proffitrs from the vinyl versions and 100 percent of the download income from these records go to the Alliance.

Check out this video of a live version of "We're All Water" with a cameo by Yoko herself.



* "Strip Polka" by The Andrews Sisters. Believe it or not, this is one of two songs my late mother taught me as a kid. Actually she just taught me the first verse of this saga of Queenie, the cutie of the burlesque show. I always joked this is what led me to write my song "Naked Girls."

A couple of weeks before Mom died, I played her a YouTube of "Strip Polka" on my iPhone, in the nursing home. She wasn't completely conscious, but she smiled. The nurses thought I was crazy. But it meant something to us

TERRELL'S SOUND WORLD PLAYLIST

Sunday, Feb. 24 , 2013 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Repo Man by Iggy Pop
Mojo Hannah by Raunch Hands Bigg Topp
Duende by Churchwood
I Gomez by King Khan & The Shrines
It'll Chew You Up and Spit You Out by Concrete Blonde
Shotgun by Junior Walker & The All Stars
Baby Please Don't Go by Them
Thunderball by Tom Jones

Rockin' Bones by Flat Duo Jets
Oh Well Well by The Copper Gamins
We Must Have Blood by The Dwarves
Jailbait by Flamin' Groovies
Lose Your Mind by Kid Congo Powers & The Pink Monkeybirds
Dopey Joe by Slim Gaillard & Slam Stewart
You Don't Know by The Fleshtones
Birdfeed by The Cramps
Hombre Secreto by The Plugz

Wild Thing by The Monsters
Strange Movie by The Troggs
Want More by J.C. Brooks & The Uptown Sound
Hold On by Alabama Shakes
I'm Your Pusher by Curtis Mayfield
Feuksley Ma'am, The Hearing by Pere Ubu
New Age by The Velvet Underground

Beloved Movie Star by Stan Ridgway
8-Ball by Seasick Steve & The Level Devils
Touch of Evil by Tom Russell
I'm Your Man by Nick Cave
We're All Water by tUnE-yArDs
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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THE SANTA FE OPRY PLAYLIST

Friday, Feb. 22, 2013 
KSFR, Santa Fe, NM 
Webcasting! 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)ksfr.org
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Tobacco Road by Southern Culture on the Slids
The Race is On by Don Rich
Love That Man by Big Sandy & The Fly-Rite Boys
Mighty Lonesome Man by James Hand
All American Girl by Angry Johnny & The Killbillies
The Rubber Room by Porter Wagoner
Demon in My Head by Joe Buck Yourself
Toby Keith by The Beaumonts
White Shotguns by Hank Penny

I Drink to Remember by Dale Watson
Alen Baby by DM Bob & The Deficits
Flannery Said by The Moaners
South of Nashville by Honky Tonk Hustlas
Sweet Lucy by Shorty Ashford
I'm Movin' On by Charlie Feathers
Rockability by Country Blues Revue
Growling at the Moon by Lone Wolf OMB
Pickin', Frownin', Yellin' by Electric Rag Band
Brand New Model by Anthony Leon & The Chain
Good for Nothin' But Each Other by Amanda Cevallos

Honey Don't by Eugene Chadbourne
Emergency Human Blood Courier by Terry Allen
Lookout Mountain Girl by David Bromberg
I've Gotta Lotta Living to Do by Cornell Hurd featuring the Sexsational Blackie White
I've Got a Tangled Mind by Hank Snow
My Life's Been Taken by Gurf Morlix
Bones to Pick by Black Eyed Vermillion
Death Don't Have No Mercy by Hot Tuna

Dust on Mother's Bible by Buck Owens
Heaven by Elliot Rogers
Someone in Heaven by Rev. Horton Heat
Nickel in the Vase by Amanda Pearcy
Peace in the Valley by Johnny Cash
CLOSING THEME: Comin' Down by The Meat Puppets

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TERRELL'S TUNEUP: Movie Music

UPDATE: Actually a version of this was NOT published in The Santa Fe New Mexican on Feb. 22, 2013.  
Nobody has explained to me why it wasn't. Maybe it'll appear there next week. I don't know.

In honor of the Academy Awards, Sunday, here’s a couple of lists I’ve compiled pertaining to music and the movies.

My Favorite Songs about Movies

1) “Celluloid Heroes” by The Kinks. The ghosts of Mickey Rooney, Bela Lugosi, Marilyn Monroe and other stars rise from the sidewalks of Hollywood Boulevard, while Rudolf Valentino merely looks up ladies’ dresses in this Kinks classic. It’s obvious Ray Davies loves the glitter and glamor, but the song ends on a cautionary note: “And those who are successful, stay always on your guard / Success walks hand-in-hand with failure along Hollywood Boulevard."

2) “Touch of Evil” by Tom Russell. In this haunting song, Russell invokes the 1958 Orson Wells noir classic of the same name. The narrator, thrown out of his home by a longtime lover, identifies with Wells’ character, the drunken, obese and corrupt Hank Quinlan. He’s sinking into alcoholic despair in a border town whorehouse and like Quinlan, nobody will read his fortune. His future’s all used up.

3) “New Age” by Velvet Underground. This is a love song about a tryst between a wide-eyed fan and a a “fat blond actress” (Shelley Winters?) who’s “over the hill … and looking for love.”

4) “Beloved Movie Star” by Stan Ridgway. This song about a sad, aging actress was inspired Gloria Swanson in Sunset Boulevard, (1950). There are two versions on the album Holiday in Dirt — the “Billy Wilder Mix” and the “C.B. DeMille” mix. Both are beauties.

5) “It’s All in the Movies” by Merle Haggard. A slow, sad Hag tune from 1975 in which the singer declares happily-ever-afters to be a cruel Tinseltown illusion.

6) “Burn, Hollywood, Burn” by Public Enemy. Aided by Ice Cube and Big Daddy Kane, the prophets of rage take on racial stereotypes in the movies and drive Miss Daisey into the ocean.

7) “Martin Scorsese” by King Missile. Here’s a crazy ode to one of the great directors. It’s profane, violent and ultimately endearing. Front man John S. Hall shouts the entire lyrics: “If I ever meet him I’m gonna grab his fucking neck and just shake him /And say `thank you thank you for makin’ such great fucking movies …’ ” And so on.

8) “Tiffany Anastasia Lowe” by June Carter Cash. On this song, Cash warns her granddaughter, an aspiring actress, not to get involved with a certain director. She cracks up while trying to sing, “Now Quentin Tarantino’s women sometimes gets stuck with a hypodermic needle/ They dance a lot and lose a lot of blood …”

9) “Cheepnis” by Frank Zappa. This is Zappa’s loving homage to cheesy low-budget monster movies of the 1950s.

10) “Act Naturally” (versions by Buck Owens, The Beatles and — in late ’80s remake — Buck Owens with Ringo Starr) Dang, I wish they had put Buck in the movies, maybe a country-fried version of A Hard Day’s Night co-starring Ringo as a big Hollywood producer

My Favorite Soundtrack Albums

1) Repo Man. With a snarling title song by Iggy Pop, this various-artists soundtrack included some classic Los Angeles punk bands like The Circle Jerks, Fear, and The Suicidal Tendencies. But the best songs were The Plugz’ Spanish version of “Secret Agent Man” (retitled “Hombre Secreto”) and Black Flag’s immortal “TV Party Tonight.”

2) O Brother Where Art Thou. The Coen Brothers’ 2000 reconstruction of The Odyssey in a Depression-era Deep South setting is one of my favorite films. And one of the key elements was the music. Highlights are Ralph Stanley’s powerful a capela “O Death,” the sexsational “Didn’t Leave Nobody But the Baby” by Gillian Welch, Alison Krauss and Emmylou Harris and the classic old record “Big Rock Candy Mountain” by Harry McClintock.

3) Superfly. With “Freddy’s Dead,” “I’m Your Pusher” and the title song, Curtis Mayfield’s soundtrack hands down is the best of the 1970s Blaxploitation movie soundtracks.

4) Wild at Heart. I enjoy most of the soundtrack albums for David Lynch movies, but this is the best. It’s got a long Bizarro World blues, “Up in Flames” by Koko Taylor, two reverb-heavy, dreamlike Chris Isaak songs, (including his hit “Wicked Game”), high testosterone ’60s garage rock from Them, some speed metal from Power Mad, the original “Be Bop a Lula” by Gene Vincent and two Elvis songs sung by Nicolas Cage.

5) The Harder They Come. Who could imagine back in 1973 that a Jamaican action flick about a gun-toting anti-hero would the vehicle that made reggae a household word in the U.S.? Jimmy Cliff, who had the starring role, sang several of the songs, including “Many Rivers to Cross” and the title song. But even better are some of songs by lesser-known artists —“Rivers of Babylon” by The Melodians, “Johnny Too Bad” by The Slickers and “Pressure Drop” by Toots & The Maytals.

6) Oceans 11. An Irish composer named David Holmes is responsible for this snazzy collection. In addition to Holme’s jazzy, spacey tracks, there’s a tasty re-mix of Elvis Presley’s “A Little Less Conversation.”

7) Purple Rain I tried to avoid concert movies in this list, and even though technically Purple Rain had a plot, it actually was, basically, a concert movie. But what music! There were so many Prince classics here — “Let’s Go Crazy,” “When Doves Cry,” “I Would Die 4 U,” … And Prince gets extra points for his “Darling Nikki,” which helped inspire Tipper Gore’s crusade against “porn rock.”

8) One from the Heart. Tom Waits and country-pop crooner Crystal Gayle were indeed one of the oddest of odd couples ever. But they created magic for this 1982 Francis Ford Coppola musical. The duet on “Picking Up After You” is hilarious, while Gayle’s stunning “Old Boyfriends” is a thousand times more intense than any of her radio hits.

9) Walk Hard: The Dewey Cox Story: Comic actor John C. Reilly is good at parodying various styles of music from rockabilly to disco. But it took a true mad genius to pull off a satire of Brian Wilson’s Smile era with his psychedelic baroque “Royal Jelly.”

10) Crossroads. Ry Cooder was responsible for a variety of rootsy soundtracks in the 80s. This one’s a bluesy doozy. The movie is seeped in the Robert Johnson legend and Mississippi blues culture. Cooder captures the spirit. Especially impressive is his spooky version of J.B. Lenoir’s “Down in Mississippi.”

Blog Bonus: Some video treats




Santa Fe's own Eliza Gilkyson songs background on this Russell classic



Iggy's song comes in about 2 minutes, 20 seconds in.

Lux Redux -- My Recent Lux Tribute is Online

By popular demand (well, one guy asked for it) my recent tribute to the late great Lux Interior on Terrell's Sound World is now online on my Mixcloud page.

But you can listen to it right here:

Terrell's Sound World 2-10-13 Lux Interior Tribute by Steve Terrell on Mixcloud

Stay sick, pendejos!

Dig, Daddio, The Big Enchilada Goes Beatnik

Pull my daisy, bite my crank, there's beatniks in my garage! Here's a garage-punk celebration of the Beat Generation and cultural icons like Jack Kerouac, Allen Ginsberg, Neil Cassidy and Maynard G. Krebs. Dig, daddio!

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Here's the playlist:

(Background Music: Rockin' Bongos by Chaino)
Not My World by Vicious Beatniks
Ain't a Ghost by Night Beats
The Third One Sucks by The Mighties 
Pittore by Le Carogne
Blank Generation by Richard Hell & The Voidoids
The Beat Generation by Bob McFadden & Dor

(Background Music: Kookie's Mad Pad by Edd "Kookie" Byrnes
Bongo Beatniks by Stan Ridgway
The Bag I'm In by Ty Segall Band
Dinah Wants Religion by The Fabs
Blackeyed Woman by The Dee Jays
Dyn-O-Mite by Ape City R&B *
Lose Your Mind by Kid Congo & The Pink Monkey Birds
Golden Dawn by Goat
Psychopathia Sexualis by Lenny Bruce

(Background Music: Bongo Ride by Jon Rauhouse)
Beatnik Babe by The 99ers
Mondo Bongo by The Electric Mess
Take Me Away by Willis Earl Beal
Melanie's Melody by The Black Angels
Lupine Dominus by Thee Oh Sees
Pull My Daisy by The David Amram Quartet

* I forgot to back-announce this Ape City R&B song on the show, but it's there!

Play it here:

THE SANTA FE OPRY PLAYLIST

Friday, Feb. 15, 2013 
KSFR, Santa Fe, NM 
Webcasting! 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)ksfr.org
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
After All These Years by Mose McCormack
Firewater Seeks Its Own Level by Butch Hancock
A Whole Lot More by Holly Golightly & The Brokeoffs
My Name is Jorge by The Gourds
Let's Invite Them Over by Southern Culture on the Skids
Come Back When You're Younger by Old Dogs (featuring Jerry Reed)
The Other Shoe by Waylon Jennings & The Old 97s
All Men are Liars by Nick Lowe
High-Priced Chick by Yuichi & The Hilltone Boys

Country Bumpkin by Cal Smith
Chevy Beretta by Johnny Corndawg
Brain Damage by Austin Lounge Lizards
Gone Gone Gone by Carl Perkins
Newton From Idaho by Retta & The Smart Fellas
Pearly Lee by Billy Lee Riley
Murder in My Heart for the Judge by Moby Grape
Pepper Hot Baby by Bloodshot Bill
Days of 49 by Bob Dylan

Do They Dream of Hell in Heaven by Terry Allen
I Washed My Hands in Muddy Water by Buck Owens
The Window Up Above by Don Rich
I'm Ragged But I'm Right by George Jones
Thanks to Tequila by Dale Watson
I Truly Understand That You Love Another Man by Carolina Chocolate Drops
Dancing in the Ashes by Robbie Fulks
She's My Neighbor by Zeno Tornado & The Boney Google Brothers
Life Sentence Blues by Rachel Brooke
Hard Traveling by Simon Stokes

Pete the Best Coon Dog in the State of Tennessee by Jimmy Martin
$30 Room by Dave Alvin
State Trooper by Christina Herr & Wild Frontier
La La Land by Gary Heffern
Bread for the Body by Kris Kristofferson
CLOSING THEME: Comin' Down by The Meat Puppets



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BONUS: Here's Heff's video for "La La Land"

TERRELL'S TUNEUP: Thank you, Buck. Thank you, Don

A version of this was published in The Santa Fe New Mexican 
Feb. 15, 2013

All fans of real country music — the kind current Nashville hat Blake Shelton would call “grandpa’s music” — should drop whatever you’re doing right now and go get your hands on two new releases from Omnivore Records: Honky Tonk Man by Buck Owens and Don Rich Sings George Jones.

That’s right, new albums by Buck Owens and his longtime sidekick and ace picker Don Rich. Of course, these aren’t actually “new.” Owens died in 2006, while Rich was killed in a motorcycle accident in 1974. All the music here was recorded in the 1970s. But these aren’t re-releases. They’ve never been released before.

Owens’ album is a compilation of tunes Buck and his Buckaroos recorded for Hee Haw. As for the Jones covers record, which was recorded in 1970, this was intended to be Rich’s first solo album.

Owens, born Alvis Edgar Owens in Sherman, Texas, and Rich, real name Donald Ulrich, first teamed up in Rich’s home state of Washington in the 1950s. But, after Owens, then Rich relocated to California, the two would become the architects of what would become known as The Bakersfield Sound. This twangy honky-tonk music was a hip hillbilly back-to-basics alternative to the slicker “countrypolitan” productions coming out of Nashville in those days (which, in retrospect, was 10 times better at its worst than the slicker sounds coming out of Music City today — but that’s another story).

With Owens handling lead vocals and Rich backing him up on lead guitar and fiddle and those classic high harmonies — best heard on the choruses of “Together Again” and “Crying Time” — The Buckaroos became arguably the best-known country band in the ’60s. (Credit where it’s due: Steel guitar monster Tom Brumbley, a Buckaroo for most of the ’60s, also was largely responsible for the group’s success. Unfortunately he had bailed on The Buckaroos before the music on these new releases were recorded.)

The new Buck compilation features songs recorded between 1972 and 1975. The CD liner notes explain that on Owens’ musical performances on Hee Haw, the instrumental backing would be recorded in advance. “… Buck would sing live while the Buckaroos pretended to be playing their instruments,” the liner notes say. “The purpose for this process was to guarantee a balanced sound, and to keep from having to stop tape every time somebody in the band hit a wrong note.”

Wait a minute … I can’t imagine a bunch of musical aces like The Buckaroos hitting enough “wrong notes” to cause any serious concerns. This is why I preferred the music on Owens’ old syndicated show The Buck Owens Ranch, shot live — at least in the early years — at WKY studios in Oklahoma City. Those rare times someone did muff a note or a lyric, you’d see band members grinning and rolling their eyes.

But, back to Hee Haw, when the band recorded those songs, Owens would record what’s known in the biz as a “reference” vocal. (“It’s a lot harder to mix a track with no vocals,” Buckaroos keyboard player Jim Shaw explains in the liner notes. This allows the band members to know exactly where to put in the instrumental fills, Shaw says.

The subtitle of Honky Tonk Man is “Buck Sings Country Classics.” And indeed, the 18 songs selected for the album represent an incisive overview of country music between the late 1920s (there’s a righteously rollicking version of Jimmie Rodgers’ “In the Jailhouse Now”) up to the mid ’70s (Johnny Russell’s working-class barroom ode “Red Neck, White Socks and Blue Ribbon Beer”) and lots of great stuff in between.

There’s “Swinging Doors,” originally done by fellow Bakersfield bad-ass Merle Haggard (he and Buck shared an ex wife), an early Waylon Jennings hit (“Only Daddy That’ll Walk the Line”), some tunes that virtually every saloon band in the ’70s did — Faron Young’s “Live Fast, Love Hard, Die Young” and Charlie Pride’s “Is Anybody Going to San Antone” among them — songs made famous by Bob Wills, Hank Snow, Webb Pierce, Ray Price and three Hank Williams classics.

My personal favorites in the batch are Owens’ versions of “Oklahoma Hills,” co-written by Woody Guthrie and his cousin Jack Guthrie who had a hit with it in 1945 and “I Washed My Hands in Muddy Water” originally recorded by Stonewall Jackson though it’s been performed by Elvis, Lonnie Mack, Charlie Rich, George Thorogood and others. (I’ve always been partial to the rock ‘n’ roll version by Johnny Rivers.)

As for the Rich album, this project is something Owens encouraged Rich to do. He’d just built his own recording studio in Bakersfield and he was eager to try it out. And apparently Owens was a huge George Jones fan, which shouldn’t be that much of a surprise. The reasons Rich’s album was shelved for 40 years have been forgotten. I’m just happy it resurfaced. Rich’s voice wasn’t as, us, rich or powerful as Jones’ was during his prime, but it did its job.

Rich, with Owen’s son Buddy Allen on harmony vocals and the Buckaroos as his band, does a fine job on many of Possum’s best-known work — “The Window Up Above,” “She Thinks I Still Care,” “White Lightning,” “Walk Through This World With Me,” and “The Race Is On.”

There’s no radically different arrangements or startling revelations here. Just enthusiastic covers by a talented admirer. Besides the obvious selections, Rich threw in some relative Jones obscurities like the Harlan Howard-penned “Your Heart Turned Left (And I Was on the Right)" and “Too Much Water,” which Jones co-wrote with Sonny James.

Apparently Rich only cut 10 songs here, which wasn’t unusual for an album during the LP era but is pretty skimpy for a CD. However, this release is filled out by four Jones songs performed by Owens. (These all are Hee Haw reference recordings.)

Two of these are songs Rich also did (“The Race is On” and “Too Much Water”) but the other two are wonderful lesser-known songs “Four 0 Thirty Three” and “Root Beer,” a non-alcoholic take-off on “White Lightning.”

You have to wonder whether there’s more great music lurking in the mysterious Buck Owens vaults. I hope Buck and Don are looking down from Hillbilly Heaven smiling as old fans hear these fresh-sounding tracks from so many decades gone by.

BLOG BONUS:

Enjoy some videos. First here's Buck with Don and the classic Buckaroos lineup.



Here's one of those rare Rich vocal solos on The Buck Owens Ranch


Here's Jones singing Buck

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