Bob & Doug: Obviously Quintet Believers

Sir Douglas Quintet, 1965

L-R: Doug Sahm: vocals, guitars, fiddle, arrangements
Augie Meyers: organ
Johnny Perez: drums
Jack Barber: bass
Frank Morin: saxophone, percussion, harmony vocals

Huey Meaux died a week ago today (April 23, to be precise) at the age of 82, the last 15 years of which were spent behind bars. We don't need to immerse ourselves in the specifics of his internment, but I will quote the great prophet, Richard Pryor: "Thank God we have penitentiaries." It's not lost on me that I wrote about the unique Meauxjeaux behind Doug Sahm and the Sir Douglas Quintet a mere thirteen days before Huey's demise. I'm not saying I have superpowers, but let's all root against any sort of Final Destination scenario. That's really gonna cut into my future book sales.

Huey's death actually got me thinking of the lost opportunity that was the original Quintet. Think about this: "She's About A Mover" was cut on January 14, 1965, peaking at #15 in mid-June. Over the course of the next 12 months they appeared on Hullabaloo, Shindig, American Bandstand, and Ready Steady Go! They toured the US and Europe with James Brown, Little Richard (whose guitarist was a flashy southpaw named Jimi Hendrix, both pictured above right), The Rolling Stones, and Beach Boys. Then, in late December, the band was arrested for marijuana possession at the Corpus Christi airport and that was the end of that. When the calendar turned to 1966, Doug Sahm had a band in name only.

Obviously, we know what happened next. Doug relocated to San Francisco in March and the reconstituted SDQ went on to create a killer new legacy. But, the staggering versatility that became the Doug Sahm trademark was present in the original Quintet. You just had to know where to look. And Bob Dylan knew where to look.


KQED Studios, San Francisco
December 3, 1965

For the Sir Douglas Quintet to get a glowing endorsement from Bob Dylan in 1965 was a big fucking deal. Dylan was the inscrutable poet messiah at the absolute peak of his powers and here he is enthusiastically talking up the SDQ, who were charting nationally, but still basically a regional outfit. There's a certain irony in Bob's endorsement happening at KQED Studios because that location is about 5 minutes away from the Avalon Ballroom, where the Quintet mk2 held court from June 1966 to its closing in November 1968.

Here's a cool website focusing on Dylan's press conference. It features an overview of the event, has lots of great pictures, and talks about the various participants, both who they were then and who they became.

"Doug had a hit record ("She's About A Mover") and I had a hit record ("Like A Rolling Stone") at the same time (1965). So, we became buddies back then, and we played the same kind of music."
--Bob Dylan to Douglas Brinkley, Rolling Stone, May 11, 2009

I never fully appreciated this quote until now. Bob Dylan said it two years ago, but he was reflecting on himself in 1965. He saw his music and Doug's music as "the same kind of music." I never looked at it that way before. You think of Bob Dylan in 1965-66 and you figure he's channeling Woody Guthrie, Chuck Berry, The Beatles, Robert Johnson, Van Gogh, Marlon Brando, and Elvis. The heavy hitters. You don't think of him reinventing Doug Sahm songs. But, let the records speak for themselves.

Sir Douglas Quintet - In The Jailhouse Now [buy]
Recorded 1965

The Quintet puts some cowboy funk into the Jimmie Rodgers classic, almost sounding like a proto-Creedence. Rodgers, of course, is one of Dylan's favorite singers and songwriters, having covered "My Blue-Eyed Jane" for the surprisingly good Rodgers tribute album released in 1997.

But, Dylan wasn't just hearing Jimmie's lyrics. He was hearing Doug and the Quintet attack the beat, often with a shaker or tambourine up in the mix. They probably got it from Bo Diddley, but who can't you say that about?

Bob Dylan - From A Buick 6 [buy]
Recorded July 30, 1965

Dylan's lyrics can overwhelm you with their genius, so you may not notice the Sir Douglas fingerprints all over this song. The wiki page for "Buick" references Robert Johnson, Charlie Patton, Big Joe Williams, Sleepy John Estes, The Kinks, and Kokomo Arnold. Only The Kinks is in the ballpark and that's probably accidental. "Buick" sounds like Bob working within the Sahm framework. albeit with seasoned studio pros, not guys in their early 20s figuring out how to be a band. Al Kooper is essentially playing Augie parts on organ and Bob's harmonica takes the place of Doug's guitar.

Sir Douglas Quintet - The Tracker [buy]
Recorded 1965

"I've got a satellite spy and a radar screen
A private CIA and a fleet of submarines
'Cause I'm 'The Tracker.'"

A variation on the "Mover" beat, "The Tracker" features one of Doug's greatest vocals, and Augie makes sweet organ love from 1:13-1:44. Even Doug is taken to exclaim its greatness. Speaking of Bo Diddley, this song doesn't seem like it's filled with "I'm A Man"-esque braggadocio because most of the lyrics are garbled. But, if what The Tracker says above is true, dude's pretty badass.

Bob Dylan - Obviously 5 Believers [buy]
Recorded March 10, 1966

Sir Douglas Quintet - She Digs My Love [buy]
Recorded 1965-66

I think these two are of a piece, in that they're both blues songs with a rock 'n' roll beat in the "I Got A Woman" tradition. "Obviously 5" is special for several reasons, but mainly Robbie Robertson's searing guitar leads over Kenny Buttrey's swinging drum fills. Blonde On Blonde is epic songwriting at its finest, but it must be nice to look over and see that your guitar player is Robbie Robertson. That's all I'm saying.

"She Digs My Love" is one the Quintet's real hidden gems and the secret weapon is a funky bassline, possibly by Jack Barber, but this song was recorded about the time Barber was replaced by future Byrd, John York. Doug opens the song with a cool guitar riff and just enough feedback that I'm entertaining the notion that even brief exposure to Jimi Hendrix rubbed off. An interesting difference between the Dylan and Sahm songs is that Robbie's guitar is effectively replaced by Frank Morin's horn parts. From an arrangment standpoint, it's telling that both bandleaders were smart enough to play to the strengths of their personnel.

The Bob and Doug Mutual Admiration Society aside, let's throw a little more love Doug's way. Dylan has enough people (like me) telling him how great he is, the same can't be said for Sahm.

Sir Douglas Quintet - Please Just Say So [buy]
Recorded 1965

I love "She's About A Mover" as much as the next guy, but "Please Just Say So" slays me in a special way. It reminds me of a Ray Price country ballad, but instead of fiddle and pedal steel, the song is carried by Augie's Vox, Doug's vox (yeah, I went there), and a walking bassline (again, either Barber or York). Also, great harmony vocals from Morin.

On a personal note, I think this song needs to be covered by The Gourds. Actually, that's not quite right. The Gourds need to be the backing band and they need to bring Amy Boone from The Damnations out of hiatus to sing lead and play piano. I realize this request is oh so 2001, but it's a one-off, and my Austin homiez will pick up what I'm putting down. We need to make this happen. Let's do it for Doug.

Sir Douglas Quintet - In The Pines [buy]

Let's leave on a high note, with one greatest murder ballads ever. Augie is appropriately haunting throughout, but Doug's singing makes this song. I think we can all agree that Doug Sahm was one of the most soulful white boys ever and he gets Biblical up in this piece. And for those of you keeping score at home, TEN of my favorite singers have stuck the landing on this bad boy: Lead Belly, Bill Monroe, Jimmy Martin, Carter Stanley, and Ralph Stanley, Ira Louvin, Charlie Louvin, Doug Sahm, Mark Lanegan, and Kurt Cobain.

The Stanley Brothers probably cut this a few times for King, but check out this video from the early '60s which highlights Carter's great singing and heavy right thumb.

Download full playlist as zip file (7 songs, 19:00, 30 MB)

FURTHER READING ON BOB & DOUG

Bringing It All Back Home, May 9, 2009

Doug Sahm & Bob Dylan: Amigos de Musica, May 15, 2009

Just Like Doug Sahm's Blues, May 21, 2009

Superchunk Presents Bad Kitty Cinema

courtesy of Pitchfork: TV

Superchunk's videos are uniformly excellent, but this new "Crossed Wires" vid might be the funniest one of the bunch. Laura Ballance's cat is having himself a full-on Sammy Hagar Weekend. In fact, you might say the kitty is a felonious monster. HOL-LA!

CHECK IT

Superchunk's badass video page

Crowding Up Your Visual Field - Superchunk's DVD featuring videos, commentary from the band and directors, a documentary, interviews, live footage, and I think there's an easter egg where Jon Wurster is an instructor for an aerobics class. OK, I made up that last one.

Superchunk: It Is My Life, It Is My Voice - My celebration of last year's Chunky reunion.

Charles Bradley - Lovin' You Baby

"When Charles (Bradley) came to that (first) rehearsal and Gabe (Roth) introduced us to each other 8 or 9 years ago, I think that it was a really small group, it was like a 4-piece group. And I think we all kinda got the chills when Charles grabbed the mic and started singing. It's pretty chilling the first time you hear him sing, it's unbelievable. We had never heard anything close to that in-person. We'd listened to all these records from the '60s, and all these soul records and such, but to actually hear a voice like that in-person is really moving. It inspired us as musicians to play to our best ability just to back this guy up, because what a phenomenal singer. It was chilling from the first time and it's still chilling. It's crazy, the way he sings, it's outta control."
--Tom Brenneck, CB's producer/guitarist (same guy from Budos Band, Dap-Kings, and Winehouse ... not too shabby)

Love and Conversation: She's About a Mover

Huey Meaux loved to say that he came up with the idea for the Sir Douglas Quintet while holed up in a San Antonio motel armed with nothing but Beatles records, Thunderbird wine, and underage Mexican hookers. His drunkpiphany was that The Beatles were basically playing a variation on the Cajun two-step, with a similar accent on the beat. Meaux called Doug Sahm, then 22 and still a relative unknown, cajoling him, "Bring your guitar and come over, Doug. I'm drunk, but I've got that beat. And that's how we got off into 'She's About a Mover.'" (Houston Press, Feb 22 1996)

Sir Douglas Quintet - She's About A Mover
Released early 1965

Augie Meyers considers "Mover" to be, not Cajun in origin, but polka music with a rock 'n' roll beat. That makes sense given the Czech, German, and Polish influence on Texas music. "Mover" also has the obvious vocal homage to Ray Charles' "What I'd Say." But really, these reference points overcomplicate a simple connection.

On November 23, 1964, The Beatles released the "I Feel Fine" single b/w "She's A Woman," and both songs later appeared on Side Two of Beatles '65, released in the US a few weeks later (December 15). "She's About A Mover" was recorded in January 1965. So, at some point between Thanksgiving and Christmas 1964, Meaux heard "She's A Woman" and he and Doug turned that formula into Crazy Cajun magic.


Live At Budokan Arena, Tokyo, Japan
June 30-July 2, 1966

We take it for granted now that Paul McCartney is one of the most inventive bassists ever, but "Woman" was the first Beatles song to feature the funky, angular basslines that later became the McCartney calling card. The road to "Rain," "Something," and Sgt. Peppers begins here.

I like this video because you get the Lennon/McCartney chemistry, Lennon/Harrison slashing guitars, and George gets off a sweet, James Burton-esque guitar solo from 1:57-2:12. Meanwhile, Ringo locks down the beat with his usual understated awesomeness.

Barbara Lynn - You Can't Buy My Love
Released late 1965

Barbara Lynn was Doug Sahm before Doug Sahm. OK, she was a black woman who played guitar left-handed, so there's that difference. But, like Doug she was a Huey Meaux protege. In 1962, her recording of "You'll Lose A Good Thing" was a crossover pop smash for Philly's Jamie Records, her first release on the label. Its success allowed Meaux to move his base of operations from Beaumont to Houston.

"You Can't Buy My Love" was her final Jamie release, and though it brilliantly nods to both SDQ and The Beatles, it went nowhere. Lynn was actually recording for Meaux's Tribe label at the time of "Love's" release, a relationship explored in brilliant detail at the "B" side, Red Kelly's badasssss jam.

George Baker Selection - Little Green Bag
Released 1969

How can you hear this song and not think of Reservoir Dogs? (Watch opening credit sequence). A brilliant use of obscure music. Removing the song from its Tarantino-an context, it's easy to see it as part of the "She's A Woman" / "She's About A Mover" continuum. Tangentially speaking, the fact that "Little Green Bag" was released in '69 is worth noting. Is 1969 the greatest year of music of all-time? Might be worth investigating in book form.

Gourds - Shake The Chandelier
Released 2006

I've previously discussed the connection between Doug Sahm and The Gourds and "Chandelier" was the band's 2006 homage to Sir Doug. The Gourds are unique in their ability to pay tribute to multiple Doug Sahms, both the rock star and the Texas-Louisiana regional jukebox.

Merle Haggard, Phil Baugh, and the Pickers Came Today

Phil Baugh - Late 1950s

Merle Haggard is certainly one of America's greatest singers and songwriters, but the secret weapon throughout his career has been an army of guitar badasses. Roy Nichols, James Burton, Glen Campbell, Roy Buchanan, Eldon Shamblin, Ronnie Reno, Bobby Wayne, Redd Volkaert, Ralph Mooney, Norman Hamlet, let alone Merle himself. It's a veritable roll call of gunslingers.

One picker who deserves a little more love is Phil Baugh. He was a native Californian (Olivehurst, CA) and lifelong sideman with two hits to his name: "Country Guitar" (video below) and "One Man Band," both 1964. His guitar heroics on those recordings led to a handful of Haggard sessions in 1965-66, and Baugh's ferociously playful guitar helped usher Hag into the country mainstream.

Merle Haggard - If I Had Left It Up To You

Merle Haggard - I'm Gonna Break Every Heart I Can

Both songs recorded April 27, 1965

Merle Haggard - vocals, guitar
Phil Baugh - guitar
Roy Nichols - guitar
Tommy Collins - guitar
Ralph Mooney - pedal steel
George French - piano
Bob Morris - bass
Helen "Peaches" Price - drums

Haggard's first session as a Capitol artist featured Baugh and Nichols sharing lead guitar duties. I think Roy is more prominent on "If I Had Left It Up To You," but "I'm Gonna Break Every Heart I Can" is a stripped-down, Baugh-led rocker. Nichols works elegantly against the beat, as much blues as it is country, but Baugh holds his own with a series of explosive leads that blur the line between Bakersfield country and rock 'n' roll. "Break Every Heart" was a modest hit on the country charts (peaking at #42), but I think it's a cool, two-minute demonstration of Hag's versatility and Baugh's chops, a combo that would yield legendary results on their next collaboration.

Merle Haggard - Swinging Doors

Recorded December 1, 1965

Merle Haggard - vocals, guitar
Phil Baugh - lead guitar
Ralph Mooney - pedal steel
Billy Mize - guitar, harmony vocal
Lewis Ley - guitar
George French - piano
Bob Morris - bass
Helen "Peaches" Price - drums
Bonnie Owens - harmony vocal

"Swinging Doors" is the tipping point in the Merle Haggard catalog. Released on February 28, 1966, it was Merle's first Top 5 hit, and established him as a force on the charts for the next two decades. It's one of those songs that seems like it wasn't written so much as handed down on stone tablets. It's a testament to its durability that 45 years after its release it's still a jukebox fixture (duh) and honky tonk staple. The depth of this song's awesomeness requires a checklist:

• The :16 second Ralph Mooney/Phil Baugh guitar duel intro is the greatest intro in country music history. Moon unleashes a pitch-perfect seven seconds that's a clinic on how to kickoff a country song, followed by a nasty bending Baugh lead that anticipates both the Clarence White/Gene Parsons B-Bender, as well as his own multi-pedal rack that allowed him to achieve a steel sound on electric guitar.
  
  
• A honky tonk song about home, where home is a honky tonk. That's so meta I think I just passed it in the space-time continuum.
  
  
• I understand why people say George Jones is the greatest country singer ever, but my vote goes to Merle. He can sing anything and when he and Bonnie Owens sing together, pure magic often follows.
  
  
• Peaches Price + Jerry Ward = a swinging pocket. JW especially is bringing extra bacon fat.
  
  
• George French's subtle piano intro at :52 and his understated playing from that point forward.
  
  
• Baugh 1:03-1:18 + Mooney 1:19-1:27 + Baugh 1:27-1:36 + Moon 1:38-2:08 = pure gold
  
  
• The Baugh/Moon outro 2:22-2:50 = additional gold.
  

Merle Haggard - The Girl Turned Ripe

Recorded December 1, 1965

Merle Haggard - vocals, guitar
Phil Baugh - lead guitar
Ralph Mooney - pedal steel
Billy Mize - guitar, harmony vocal
Lewis Ley - guitar
George French - piano
Bob Morris - bass
Helen "Peaches" Price - drums
Bonnie Owens - harmony vocal

The overlooked song of the Haggard/Baugh and Mooney/Baugh collaborations and the B-side to the "Swinging Doors" single. The pedal steel/electric guitar interplay picks up where "Swinging Doors" left off, Moon offering his usual brilliant countermelodies, while Baugh's aggressive leads jump out of the speaker. In a micro sense, Phil Baugh was to Merle Haggard as Junior Barnard was to Bob Wills.

Phil Baugh deserves further exploration, but in the meantime here's video evidence of his greatness:



Not only an exhibition of Baugh's ridiculous guitar skills, but an impersonation medley that influenced both Haggard and Bill Kirchen. Baugh was actually long associated with the Telecaster, but here he's rockin' the Joe Maphis double-neck Mosrite (whose home base was Bakersfield, CA).



I love this video because the common image of Glen Campbell is either as the vanilla sellout of the '60s and '70s or his unfortunate run-in with a certain mugshot. But make no mistake, at his young and hungry best, Campbell was a legit multi-instrumentalist with a voice to die for. And how about Baugh's flirtation with fuzztone! I can see him getting fired up by Stones and Kinks songs, but that's probably wishful thinking on my part, to quote den father Wynn Stewart. This mid-'60s snapshot captures a pair of California country heavyweights at their peak singing the theme song of regional hero, Cousin Herb Henson.