By Jan Reid
Doug Sahm was once a singer, songwriter, and guitarist of mythical variety and attractiveness. the 1st American musician to capitalize at the Sixties British invasion, Sahm vaulted to foreign status best a faux-British band known as the Sir Douglas Quintet, whose hits incorporated "She's a few Mover," "The Rains Came," and "Mendocino." He made the canopy of Rolling Stone journal in 1968 and 1971 and played with the thankful useless, Dr. John, Willie Nelson, Boz Scaggs, and Bob Dylan.Texas twister is the 1st biography of this nationwide track legend. Jan Reid lines the total arc of Sahm's exceptionally flexible musical profession, in addition to the manic power that drove his occasionally turbulent own existence and loves. Reid follows Sahm from his adolescence in San Antonio as a prodigy metal guitar participant via his breakout good fortune with the Sir Douglas Quintet and his circulation to California, the place, with a creative tackle blues, rock, state, and jazz, he grew to become a celebrity in San Francisco and invented the "cosmic cowboy" trend. Reid additionally chronicles Sahm's later go back to Texas and to chart good fortune with the Grammy Award-winning Texas Tornados, a rowdy "conjunto rock and roll band" that he modeled at the Beatles and which integrated Sir Douglas alum Augie Meyers and Tejano icons Freddy Fender and Flaco Jimenez.With his extraordinary expertise and a occupation that bridged 5 a long time, Doug Sahm was once a rock and roll innovator whose impression can in simple terms be matched between his fellow Texas musicians by way of blood brother Holly, Roy Orbison, Janis Joplin, and Stevie Ray Vaughan. Texas twister vividly captures the strength and depth of this musician whose existence burned out too quickly, yet whose song maintains to rock.
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Extra info for Texas Tornado: The Times and Music of Doug Sahm (Brad and Michele Moore Roots Music Series)
He 25 Doug as the hometown soul singer and band leader. Photo courtesy of Shawn Sahm. tex a s t o r n a d o was one of the first in their crowd of musicians who started growing his hair down over his ears, and if anybody objected, well, what of it? During those months Doug abruptly grew out of his vocal conceits and turned in his most confident singing in “Mr. ” But then Doug’s Houston label dropped him, and he turned to pestering the top record producer in Texas, Huey P. ” At first the San Antonio youth got nowhere.
But despite their popularity, on radio station playlists and in record stores the Quintet hits were fast becoming golden oldies. Huey Meaux tried to fool disk jockeys by licensing Quintet recordings of “It’s a Man Down There” under the pseudonym Him and “Wine Wine Wine” as the Devons. S. ” The title was prophetic. Meaux could not effectively manage the band, the recordings, and the promotion from his base in Houston. In January 1967 they played in Golden Gate Park with the Grateful Dead, Big 44 Summers of Love Brother, and the Jefferson Airplane at the celebrated Gathering of the Tribes for a Human Be-In.
The persistent rumor that trailed him after he developed his trademark look was that he wore his hair that way because he had gotten an ear sliced off in a knife fight, and he carried his pickled ear from gig to gig in a glass jar as a morbid reminder how easily trouble could come his way. Doug and Augie were very close friends, but their relationship always contained elements of pulling rank and jealous competition. Doug chided him as the king of tall tales and was always saying, “Don’t let that ponytail fool you.