Curtis Ensler's Collection
Doug Sahm 11/28/1985
Antone's, Austin, TX
| Media | CDR 3 discs |
| J-Card Comment | Doug Sahm & Wayne Bennett Junior Parker tribute show Antones, Austin, Texas 1985-11-28 3 CD -79m 39s / 59m 18 / 68m.40 Audio CDs in trade>FLAC w.dbPowerAmp>torrent at Dime Jan. 2008 During Disc 2, Doug refers to this being a special show but also adds at end of 205 "We'll be back on December 28th too on Christmas, remember that". Then on Disc 3, after Wayne Bennett sings the Christmas song, he wishes everyone Happy New Year (and in fact says "it's only a few minutes away...!") so I figure that part of this show on 28th (or 31st) Dec has been added as a filler here, following the cut after 304, and starting with 305 Papa Ain't Salty. (Note - 301 definitely seems to follow straight from 211, and so 301-304 must be from the 28 November, which is the date given on various CD trade lists for this set - Not been able to find any other info on these Sahm-Bennett collaborations though, apart from the fact that Wayne Bennett appears on Doug's 'Juke Box Music' album in 1988 !) CD 1 (79m 39s) Doug Sahm 01 Jazz Instrumental intro - West Side Horns 02 The Things That I Used To Do (Guitar Slim (aka Eddie Jones)) 03 This Masquerade (Leon Russell) 04 Next Time You See Me (Don Robey/ William Harvey) 05 Cry Cry Cry (Deadric Malone) 06 Farther On Up The Road (Joe Medwic/ Don Robey) 07 Think It Over (?) (tape cuts) Wayne Bennett 08 Everyday I Have the Blues (Memphis Slim) 09 Wayne talk 10 Share Your Love with Me (Deadric Malone/ Al Bragg) Doug Sahm 11 Found A New Love (?) (arr Spot Barnett ?) 12 Someday (Doug Sahm) 13 Bony Maronie (Larry Williams) 14 The Cowboy Rides Away (Sonny Throckmorton/ Casey Kelly) 15 Groover's Paradise (Doug Sahm) (tape cuts) CD 2 (59m 18) Doug Sahm & Wayne Bennett 201 Linda Lou (Ray Sharpe) 202 talk 203 Drivin' Wheel (Roosevelt Sykes) 204 Slow blues (?) 205 Good Golly Miss Molly (Little Richard) 206 Crazy Face (?) 207 Wasted Days & Wasted Nights (W.Duncan/ F.Fender/ H. P.Meaux) 208 T Bone Shuffle (Aaron Thibeaux "T-Bone" Walker) 209 Sweet Home Chicago (Roosevelt Sykes) 210 Reconsider Baby (Lowell Fulson) 211 Never Let Me Go (Johnny Ace) CD 3 (68m.40) 301 Ain't That Lovin You ? (Deadric Malone) 302 You Can Make If You Try (Jarrett) 303 Blue Moon (Hart/Rodgers) (Instrumental) 304 Turn On Your Lovelight (Deadric Malone / Joe Scott) (tape cuts) 28 or 31st December 1985 (???) Antones, Austin Doug Sahm & Wayne Bennett 305 Papa Ain't Salty (Grover McDaniel / T-Bone Walker) 306 She's About A Mover (Doug Sahm) 307 You're Gonna Miss Me (Roky Erikson) 308 Band intros / Walkin' Back To You (?) 309 Blues Instrumental ??? 310 Please Baby Blues / Goodnight My Love (?) 311 Instrumental ??? 312 Have Yourself a Merry Little Christmas (Hugh Martin) - Wayne Bennett solo (tape cuts) 313 I'll Take Care of You Baby (?) Doug Sahm - vocal & guitar Wayne Bennett - vocal & guitar Arturo "Sauce" Gonzalez - piano/organ Louis Terrazas - bass Ernie Durawa - drums West Side Horns - Rocky Morales - tenor sax Louis Bustos - baritone sax Al Gomez - trumpet Wayne Bennett - http://en.wikipedia.org/wiki/Wayne_Bennett_(blues_guitarist) Wayne Bennett was a guitarist originally known for his jazz-tinged blues guitar work with Bobby "Blue" Bland. He worked with Bland for a long time, and his solo on "Stormy Monday" on Bland's album "Here's The Man" is still considered by many guitarists to be a classic, drawing both from T-Bone Walker and jazz influences. Bennett himself never liked to claim to be a blues player, preferring instead to be as versatile as he could be, and taking pride in being able to quote from a wide variety of popular music, including TV Theme songs. In his earlier years he played a Gibson Byrdland hollow-body, but in later years he was also seen playing a custom Tom Holmes Cadillac solid-body. At one time or another Wayne had also been a member of the house orchestra at the Apollo in New York City, the Regal Theatre in Chicago , the Howard in Washington, D.C., the Uptown Theatre in Philadelphia and the Royal Theatre in Baltimore. Some of Wayne's training included studying guitar with Harry Volpe in N.Y.C. for 2 years. Studying harmony with Nate Griffin in Chicago for one year. Studying harmony with Junior Mance in Chicago for two years, and studying harmony and ear training with Tony Hanson in Cleveland for one year. Photos & story - http://blog.360.yahoo.com/blog-1sbT8ZkwaavDQV1s8kVIeKQ4y38-?cq=1 West Side Horns - http://www.dialtonerecords.com/html_pages/wsidebio.htm Antone's, Austin - http://www.antones.net/ Interview with Clifford Antone in 2000 - http://kgsr.com/Interviews/Index_antone.aspx Q: The Antone's label has received a couple of Grammy nominations over the years. And one went to your friend, the late legendary Texas rocker, Doug Sahm. The two discs that Doug recorded for Antone's were pure blues. How did you get a guy who is noted for playing so many styles to focus on the blues for his Antone's releases? A: Well, where do you start with Doug Sahm? You know, I don't think I ever met a musician so versatile. I don't believe I ever met a musician who could play so many styles of music correctly as Doug Sahm. So it was a chore. But, you know, I never met anyone that so many people around the world considered their best friend. All over the world, everyone thinks Doug's their best friend. And so did I. And we did have a very great friendship. And we loved the Louisiana swamp pop and the Guitar Slim blues. And so we had talked about it. And I told him exactly what I wanted to do. We had a show at the club when Doug was living in Canada. He -- a lot of people didn't know he even existed anymore in those years. And so we did a show with all the San Antonio guys. And Randy Garibay came. And they did that song "What's Your Name" together. And that was so powerful that I knew -- right at that song, I knew, we had to record this. So I got Doug Sahm outside on the front porch and we talked about it. And we agreed to do it and how to do it. And it wasn't going to be any, y'know, farfisas or anything. It was going to be straight ahead rhythm & blues and Louisiana swamp pop. And he stuck with it. And George Rains helped me a lot producing it. And it just was a great thing. The song we picked -- I picked for this album is "She Put the Hurt on Me." George Rains really picked that song. And he listened to it at the store. And I said, that's great. And Doug said he could do it. And we did it. Doug wasn't sure he could do it. But George and I knew he could do it. And he -- it's such an unusual thing. I mean, most people haven't, haven't heard Otis Redding do it. But, you know, so it's an obscure cut. And he just nailed it. And it's such a dance tune and stuff, that it's a lot of joy and people enjoy it a lot. So that's the one I picked, but every song on the album is beautiful. Juke Box Music is just one of the best Texas recordings ever, I believe. Q: You talk about the fact that so many of the artists that you would be booking today, if you could, are gone. There's a gentleman who's gone who I know was one of your all-time favorites, who was pure blues. And that was Eddie Taylor. Again, not a household name, unfortunately. Who was Eddie Taylor? A: Well, Eddie Taylor was one of the most important musicians in the history of music. He was so great. He did so many things in Chicago. But the main thing was on VeeJay Records. He brought Jimmy Reed to be in his band in Chicago. And that's how Jimmy Reed got to be known at VeeJay. And then they started recording Jimmy Reed and it hit. So Eddie became in Jimmy Reed's band. You know, and that's how it worked. But he was the most loyal person I ever met. And he just loved me so much. He was the one person on earth you knew you could count on was Eddie Taylor. I think him and maybe Wayne Bennett in Bobby Bland's orchestra were the two most listened to and copied guitar players ever. Eddie Taylor on the Jimmy Reed stuff. And you know, people are thinking it was Jimmy Reed. But that was Eddie Taylor. And on John Lee Hooker's VeeJay recordings, that's Eddie Taylor. And then Wayne Bennett on the great Bobby Bland records. I think those were the -- probably the two guitar players most copied. And a lot of people didn't know who they were copying. And so his contribution was so great. But maybe in 100 years they'll recognize him. |
| Trades Allowed | Yes |
Owned by Curtis Ensler
· Last Updated May 23, 2023
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