Curtis Ensler's Collection
Sir Douglas Quintet 05/31/1985
Rote Fabrik, Zürich, Switzerland
| Media | CDR 1 disc |
| Notes | 5 songs on compilation |
| J-Card Comment | Dylan & Sir Douglas Vol. 2 Doug Sahm & the Sir Douglas Quintet, the Texas Tornados, The Last Real Texas Blues Band, Bob Dylan and friends - a collection of Dylan related performances and collaborations 1972-1998 (The 5 tracks by the Quintet from Zurich 1985 feature Larry Campbell, who was later with Dylan's band from 1997-2004) 1 CD - 79.29 A stewART compilation 2008 CD & FLAC Audio masters>WAV>Edited and balanced with Audacity>FLAC 01 - To Ramona (Dylan) - Texas Tornados - Doug Sahm - vocal & bajo sexto Freddy Fender - vocal & guitar Flaco Jimenez - accordion Augie Meyers - accordion Glenn Worf: - bass Harry Stinson:- drums - with Chris Hillman - mandolin & Mark O'Connor: - fiddle 02 - The Times They Are A-Changin' (Dylan) - Texas Tornados with Doug Sahm, Holly Dunn, Chris Hillman & Herb Pedersen - vocals, with Mark O'Connor - fiddle, Tony Rice & cast. - Vanderbilt University, Nashville, TN, USA September 1993 - American Music Shop TV Show broadcast 03 - (Is Anybody Goin' To) San Antone ? (Dave Kirby/Glen Martin) - Sir Douglas Quintet - Rote Fabrik, Zurich, Switzerland - 31 May 1985 FM Radio broadcast - Doug Sahm - vocal Larry Campbell - steel guitar & fiddle 04 - Columbus Stockade (Woody Guthrie) - Doug Sahm - vocal & bass, Bob Dylan - piano & organ, Dave Bromberg & Augie Meyers - guitars, Charlie Owens - steel guitar George Rains - drums - studio outtake, New York City 12 October 1972 05 - On the Banks of the Old Pontchartrain (Hank Williams/Ramona Vincent) - Doug Sahm - vocal & guitar Bob Dylan - guitar Flaco Jimenez - acccordion Jack Barber - bass George Rains - drums - studio outtake, New York City 10 October 1972 06 - Mr Tambourine Man (Dylan)- Sir Douglas Quintet - Stubbs BBQ, Austin, Texas - 25 October 1998 07 - She's About A Mover (Sahm) - Sir Douglas Quintet 08 - Folsom Prison Blues (Johnny Cash) - Sir Douglas Quintet - Rote Fabrik, Zurich, Switzerland - 31 May 1985 FM Radio broadcast 09 - Please Mr. Sand Man - (Huey Meaux) - Doug Sahm - vocal & piano Bob Dylan - guitar Charlie Owens - steel Dave Bromberg - dobro David Newman - sax Wayne Jackson - trumpet Jack Barber - bass George Rains - drums - studio outtake, New York City 12 October 1972 10 - Orange Blossom Special (Ervin Rouse/Chubby Wise) - Sir Douglas Quintet with Larry Campbell - fiddle - Rote Fabrik, Zurich, Switzerland 31 May 1985 FM Radio broadcast 11 - Kentucky Waltz (Bill Monroe) - Doug Sahm, Jerry Garcia & Friends - Thanksgiving Jam, Armadillo World Headquarters, Austin, Texas - 23 November 1972 - Doug Sahm - vocal & guitar Jerry Garcia - steel guitar Phil Lesh - bass Bill Kreutzmann - drums Leon Russell - piano Mary Egan - fiddle 12 - Maggie's Farm (Dylan) - Bob Dylan & Doug Sahm - BD - vocal & guitar DS - guitar 13 - Just Like Tom Thumb's Blues (Dylan) - Bob Dylan & Doug Sahm - BD - vocal & guitar DS - vocal & guitar 14 - Rainy Day Women # 12 & 35 (Dylan) - Bob Dylan & Doug Sahm - BD - vocal & guitar DS - guitar & b/u vocals - Austin Music Hall Austin, Texas - 5 November 1995 - Bucky Baxter - steel & slide guitar John Jackson - guitar Ian Moore - guitar (*14) Tony Garnier - bass Winston Watson - drums 15 - Mendocino- (Sahm) - Sir Douglas Quintet - Rote Fabrik, Zurich, Switzerland - 31 May 1985 FM Radio broadcast - (Intro from Bob Dylan's Theme Time Radio Hour - Original Airdate, 7 March 2007) 16 To Ramona (Dylan) - The Last Real Texas Blues Band - Lokerse Feesten, Lokeren, Belgium 11 August 1995 - Doug Sahm - vocals / bajo sexto Augie Meyers - accordion / vocals Al Gomez - trumpet Clay Meyers - drums Jack Barber - bass Rocky Morales - saxophone (NOTE - Doug dedicates this to Jerry Garcia, who had died on 9 August) 1 & 2 - Texas Tornados 3 6 7 8 10 15 - Sir Douglas Quintet 4 5 9 12 13 14 - Doug Sahm & Bob Dylan 11 - Doug Sahm, Jerry Garcia & Friends 16 - The Last Real Texas Blues Band NOTES - 12 & 13 - Austin, Texas - 5 November 1995 BobTalk : "Thank you. I wanna bring up one of my really old buddies, Doug Sahm ! .......Everybody knows Doug and we go back a long way...Seems like a long way........ " (before Maggie's Farm). Doug Talk : "Austin, Texas, do we love this dude or what ? He's one of the greatest cats ! I'm telling you man, I gotta say it. ....And tomorrow's my birthday and tomorrow this year will be thirty years this man's been a beautiful friend of mine and I love him. I wish everybody in the world could know him like I do, I love this dude. Thank you, Austin, Texas! Thank you Bob Dylan !" (after Just Like Tom Thumb's Blues). Sir Douglas Quintet - Zurich 1985 - Doug Sahm - guitar, fiddle & vocals Augie Meyers - organ, accordion & vocals Louis Ortega - guitar & vocals Larry Campbell - steel guitar & fiddle Rocky Morales - tenor sax Louis Terrazas - bass Ernie Durawa - drums ? - harmonica Austin 1998 - Doug Sahm - guitar & vocals Augie Meyers - organ, accordion & vocals Shawn Sahm - guitar Clay Meyers - drums Speedy Sparks - bass and with members of The Gourds Sources - 01 02 - American Music Shop TV Show broadcast 03 07 08 10 15 - FM Radio broadcast 11 "Dick's version" Master (reel) 16 Recording by zimmy 21 Review by Christine Consolvo - Austin Music Hall 4 & 5 November 1995 (posted to rec.music.dylan on 11/06/95) What a wonderful weekend I've just had! Not only the great (as usual) shows, but meeting so many new faces...the names and personalities I was already acquainted with. Met quite a few "lurkers" too, and all were found to be delightful. The night life in Austin was too good to be true! (I had a slight problem trying to entertain people on a Saturday night in Springfield!) Fabulous music at every turn. And I've always loved Tex-Mex cuisine! I can't remember having ever packed so much FUN into 48 hours. And the shows...Bob always benefits from "competition" onstage-these nights, of course, in the form of Charlie Sexton, Ian Moore and Doug Sahm. (I had no intentions of enjoying the sets from Ian Moore Band, but found myself paying attention on both nights. Very good.) Each night there were several "highlights". The absolute ultimate, though, had to be Saturday with "It's All Over Now, Baby Blue". Maybe I'm slipping over the edge, (hush) but I found myself feeling in an almost trance-like state. Stunned...awed... hypnotized by that single drop of sweat that hung endlessly from his nose--refusing to give in. I had to occasionally remind myself to take a gasp of air. Completely over the top, this one was. He's gotten to a point where each and every version of each and every song has enough fresh nuance to seem bright, shiny and brand new! I can't imagine how this feat is accomplished. After all, I've heard some of these songs live many times over, yet I'm taken in by "Down In the Flood", "Watchtower", "Tambourine Man", etc. over and over. Then he pulls out the newest version of "Shelter From the Storm" and there is no question in my mind that this small person on the stage is the biggest thing to hit 20th century music. He's a gift from above bestowed on any who take the time to listen. How very lucky we all are to have received this. At the Sunday night show there was an early rush to the stage after the first acoustic song. Partway into the next song he noticed (how could he not?) an older woman, 65 if she was a minute, only six inches taller than the stage and sporting a black leather jacket. I don't know if she was the catalyst of the early rush, but she was really boogeying (in old lady fashion) front and center against the stage. He found this to be adorable (as did we all) and smiled and pointed at her then proceeded to lock eyes with her while playing the guitar with a flair. We thought it could well be that she reminded him of his own mother. He put on quite a show for her which we all benefited from. Before leaving the stage at one point, he smiled down at her again, then wandered back to his spot and fetched a guitar pick, handing it down for a special souvenir of the evening. We were all quite jealous! He was back to wearing a jacket on Sunday-the long one with appliqued velvet leaves (black on black) to which he had added some spiffy silver button covers. The shirt (deep magenta lame) was still worn in the same buccaneer style underneath it, however, cutting a dashing figure as usual. Well, I apologize for these wandering comments, but wanted to post while it was fresh in my mind. Only problem being that my mind is not very fresh! After rubbing shoulders with Doug Sahm at the Continental Club and getting a very late (early?) breakfast at the IHOP, I only had time for a short nap before catching a 6:30 am flight back home then straight to work. Perhaps I'll post more later. Just thought I'd mention it... Christine She's About A Mover - BY DAVE MARSH - Austin Chronicle November 2002 In 1965, I heard a record on the Detroit radio stations that called out to me like "Louie Louie" itself. It had a funky ole beat, a screamingly cheesy organ riff, and a bulldozer vocal that gave me the impression that I was listening to a group with permanent hard-ons (by which I don't necessarily mean just erections). Then I saw them, on Shindig or Hullabaloo, and it was like going from black & white to color TV -- so powerful! I always remember it as being in color, but it couldn't have been, because we didn't have color TV yet. It was supposed to be an English band, but I was pretty sure there weren't any large Mexican organ players anywhere in the UK. What mattered more was that the lead singer had hair so long he made Brian Jones seem crewcut. In the way only the greatest records can, every time you hear it, "She's About a Mover" still sounds like the best rock & roll ever made, still sounds fresh, still sounds like a mountain you've gotta climb just to get wherever the people who made it live. Going over old Bob Dylan interviews, I realize he always cited Sir Douglas Quintet as the best of the new rock & roll groups. He was right. So was my 15-year-old self. But mainly, so were Doug and Augie. I bow to no one in my love for Buddy Holly, ? & the Mysterians, and Sam the Sham & the Pharaohs. But this is the greatest of 'em all. She's About A Mover - by Gregory Curtis Doug Sahm's brand of music is fun, funky, fundamental—Next time you leave home pack Texas Tornado next to your boots Doug Sahm learned to play in San Antonio where the music has a]ways been a blend of various styles-country, rhythm and blues, Latin, even cajun-a blend refined in country roadhouses or wood frame bars that serve only beer, or at the kind of high school prom where guys with slick hair have rented blue and black brocade tuxes, or in "nite" clubs with fast reputations, places with the kind of ambience that draws Doug to write sticky, maudlin goodbad songs like "She's Huggin' You But She's Lookin' At Me." It was a good thing, too, for he was going to need something to fall back on. "Mover"'s producer, a Houston record company owner named Huey Meaux who over the years has recorded some of the best Texas and Louisiana musical talent, tried to mold Doug's band after the English groups whose songs were just then starting to dominate the rock and roll airways. He tagged the band The Sir Douglas Quintet, had them let their hair grow (Meaux thinks they were the first American band to adopt long hair), and sure enough they rode "Mover"'s success to a national television appearance on Hullabaloo, a U.S. tour with James Brown, and a European tour on a bill with The Rolling Stones and The Beach Boys. Heady stuff. In just six months Doug had gone from a San Antonio barroom musician to a rock and roll star. Texas Monthly - April 2004 - Top 10 of the "100 Best Texas Songs" by Jeff McCord and John Morthland 1 - Sir Douglas Quintet "She's About a Mover "If anything, the song sounds more audacious now than it did when it first shot to number thirteen on the national charts in 1965, at the height of the British Invasion. First, you've got that two-step rhythm—always common in regional Tex-Mex, country, and Cajun-zydeco but not in rock and roll, not then or now. Then you've got those maniacal dit-dit-dit-dits from organ jockey Augie Meyers; he claims he owned the first Vox in the nation, which supposedly provided the English vibe, but the way he used it mainly served to make a direct connection with Tex-Mex accordion. Finally, there's Doug Sahm's great, and always underappreciated, rock vocals—hard and fast, with a Little Richard-like intensity, but also still melodic—and his delightfully cockeyed lyrics and title. Which make more sense, actually, if you know that the song was originally called "She's a Body Mover," an offhand comment Sahm had made about a girl dirty-dancing at one of his shows. But what's most amazing is that a giddier and less-worldly rock audience back then actually bought manager-producer Huey P. Meaux's hype that this racially mixed group (white and brown) was the newest sensation from England. That ruse lasted only until the heavily accented musicians first opened their mouths in public for any purpose except singing—yet the song endures. And the reason is that sound. You could say that it couldn't possibly have come from nowhar else but Texas, but even that's a little vague; "She's About a Mover" couldn't possibly have come from nowhar else but San Antone. Bob Dylan interview 1965 - At the San Francisco Press Conference broadcast live on on KQED-TV Dec. 3, 1965, a reporter asks, "Are there any young folksingers that you recommend we hear?" and Dylan replies, "I'm glad you asked that...Oh yeah, there's the Sir Douglas Quintet. I think are probably the best that are going to have a chance to reach the commercial airwaves. They already have with a couple of songs." New York sessions - October 1972 - Dylan played on the "Doug Sahm and Band" sessions in New York's Atlantic Studios with famed producer Jerry Wexler. He plays guitar, organ, harmonica and sings on several songs including "Is Anybody Goin' to San Antone," "Faded Love," Willie's "Me and Paul," and Dylan's own "Wallflower," which Dylan's son Jakob will later name his band for. |
| Trades Allowed | Yes |
Owned by Curtis Ensler
· Last Updated May 23, 2023
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