Doug Sahm Juke Box Music Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Doug Sahm Juke Box Music mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Juke Box Music Country: UK Released: 1989 Style: Country, Rock & Roll MP3 version RAR size: 1654 mb FLAC version RAR size: 1302 mb WMA version RAR size: 1223 mb Rating: 4.9 Votes: 924 Other Formats: ADX APE ASF MIDI AA MP3 WMA Tracklist 1 I Won't Cry 2 Money Over Love 3 Crazy Baby 4 You're Mine Tonight 5 Hey Little Girl (Bonus Track) 6 It Hurts To Love Someone (That Don't Love You) 7 Buzz Buzz Buzz 8 My Dearest Darling 9 She Put The Hurt On Me 10 What's Your Name 11 I Don't Believe 12 Golly Gee (Bonus Track) 13 Chicken And The Bop (Bonus Track) 14 Talk To Me, Talk To Me 15 Goodnight My Love (Pleasant Dreams) Companies, etc. Phonographic Copyright (p) – Antone's Records Copyright (c) – Ace Records Ltd. Credits Baritone Saxophone – Mark Kazanoff Bass – Jack Barber Drums – George Rains Tenor Saxophone – Rocky Morales Trumpet – Charlie McBurney Vocals, Piano, Guitar – Doug Sahm Barcode and Other Identifiers Barcode: 0 29667 12782 0 Other versions Category Artist Title (Format) Label Category Country Year Juke Box Music (LP, ANT 0008 Doug Sahm Antone's Records ANT 0008 US 1989 Album) Juke Box Music (CD, Discovery 74215 Doug Sahm 74215 US 1999 Album) Records Juke Box Music (LP, SALP 1105 Doug Sahm Scranta SALP 1105 Sweden 1989 Album) Juke Box Music (LP, CH 278 Doug Sahm Ace CH 278 Germany 1989 Album) Juke Box Music (CD, ANT0008CD Doug Sahm Antone's Records ANT0008CD US 1989 Album) Related Music albums to Juke Box Music by Doug Sahm Augie Meyers With Doug Sahm - Still Growin Buzz Off! - Buzz Off! Doug Sahm And Band - Doug Sahm And Band Sir Douglas - Way Back When He Was Just Doug Sahm Sir Doug & The Texas Tornados - Texas Rock For Country Rollers Buzz & Traci - Where's My Baby/My Girl-My Guy Sir Douglas Quintet / Doug Sahm And Augie Meyers - Live Love The Mike Pembroke Hot Seven - Chicago Buzz Buzz Aldrin - Buzz Aldrin Doug Sahm - Groover's Paradise.

Copy Link

Recommended publications

Sir Douglas Quintet
Sir Douglas Quintet The Sir Douglas Quintet: Emerging from San Antonio‟s “West Side Sound,” The Sir Douglas Quintet blended rhythm and blues, country, rock, pop, and conjunto to create a unique musical concoction that gained international popularity in the 1960s and 1970s. From 1964 to 1972, the band recorded five albums in California and Texas, and, although its founder, Doug Sahm, released two additional albums under the same group name in the 1980s and 1990s, the Quintet never enjoyed the same domestic success as it had during the late 1960s. A big part of the Sir Douglas Quintet‟s distinctive sound derived from the unique musical environment in which its members were raised in San Antonio. During the 1950s and 1960s, the “moderate racial climate” and ethnically diverse culture of San Antonio—caused in part by the several desegregated military bases and the large Mexican-American population there—allowed for an eclectic cross- pollination of musical styles that reached across racial and class lines. As a result, Sahm and his musical friends helped create what came to be known as the “West Side Sound,” a dynamic blending of blues, rock, pop, country, conjunto, polka, R&B, and other regional and ethnic musical styles into a truly unique musical amalgamation. San Antonio-based artists, such as Augie Meyers, Doug Sahm, Flaco Jiménez, and Sunny Ozuna, would help to propel this sound onto the international stage. Born November 6, 1941, Douglas Wayne Sahm grew up on the predominately-black east side of San Antonio. As a child, he became proficient on a number of musical instruments and even turned down a spot on the Grand Ole Opry (while still in junior high school) in order to finish his education.
[Show full text]
San Antonio's West Side Sound
Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures.
[Show full text]
My Guitar Is a Camera
My Guitar Is a Camera John and Robin Dickson Series in Texas Music Sponsored by the Center for Texas Music History Texas State University–San Marcos Gary Hartman, General Editor Casey_pages.indd 1 7/10/17 10:23 AM Contents Foreword ix Steve Miller Acknowledgments xi Introduction xiii Tom Reynolds From Hendrix to Now: Watt, His Camera, and His Odyssey xv Herman Bennett, with Watt M. Casey Jr. 1. Witnesses: The Music, the Wizard, and Me 1 Mark Seal 2. At Home and on the Road: 1970–1975 11 3. Got Them Texas Blues: Early Days at Antone’s 31 4. Rolling Thunder: Dylan, Guitar Gods, and Joni 54 5. Willie, Sir Douglas, and the Austin Music Creation Myth 60 Joe Nick Patoski 6. Cosmic Cowboys and Heavenly Hippies: The Armadillo and Elsewhere 68 7. The Boss in Texas and the USA 96 8. And What Has Happened Since 104 Photographer and Contributors 123 Index 125 Casey_pages.indd 7 7/10/17 10:23 AM Casey_pages.indd 10 7/10/17 10:23 AM Jimi Hendrix poster. Courtesy Paul Gongaware and Concerts West. Casey_pages.indd 14 7/10/17 10:24 AM From Hendrix to Now Watt, His Camera, and His Odyssey HERMAN BENNETT, WITH WATT M. CASEY JR. Watt Casey’s journey as a photographer can be In the summer of 1970, Watt arrived in Aus- traced back to an event on May 10, 1970, at San tin with the intention of getting a degree from Antonio’s Hemisphere Arena: the Cry of Love the University of Texas. Having heard about a Tour.
[Show full text]
1308 DOUG SAHM.Cdr
International PO Box 935, Byron Bay Tel: 61 2 6687 4441 NSW, 2481 Australia Fax: 61 2 6687 4445 Tel: (02) 6687 4441 Web:http://www.aiminternational.com Fax: (02) 6687 4445 E-Mail:[email protected] TRADING GROUP Pty Ltd ABN 78 093 907 914 AVAILABLE NOW AS DOUG SAHM TEX In The Beginning HIS CLASSIC 60’s TEXAS RECORDINGS The broad scope of Texas music is well known, but not many people embody all it’s variety as Doug Sahm does. Born in Texas in 1942 he was a child prodigy on the fiddle and lap steel guitar at the age of five. Known as “Little Doug”, he performed country music on stage and on radio with the likes of Faron Young, Webb Pierce, Hank Thompson, Goldie Hill and many others. On the tiny Sarg label of Luling, Texas, he released “A Real American Joe” b\w “Rollin’, Rollin” at the age of twelve. This particular CD reflects Doug’s late ‘50s and early ‘60s output on the Texas Labels of Harlem, 1. Crazy Daisy - Doug Sahm & The Pharaos - Harlem Records 1958 Cobra & Renner Records. The Alamo City was home to many R&B acts back then as well as the 2. I Can’t Believe You Want To Leave Me - only place in Texas where doo-wop caught on. The Doug Sahm & The Pharaos - Harlem Records - A side/ 1st single. Sunglows recorded “Peanuts” there, huge hit in the 3. Why, Why, Why (Doug Sahm) - early ‘60s, which Doug covers here. “Peanuts” also Doug Sahm & the Markays - Harlem Records 1960 - A side/ 2nd single was a million seller for Herb Alpert & the Tijuana 4.
[Show full text]
Biography: Doug Sahm
BIOGRAPHY: DOUG SAHM THE ORIGINAL COSMIC COWBOY Doug Sahm was a wildly creative artist best known for his pop-rock music, but for a time in the 1970s in Austin, he became the role model for a group of Outlaw country artists that included Willie Nelson. “Doug was the organizer of what blew up into the Austin music scene,” said Joe Nick Patoski, who directed a 2015 documentary on Sahm. “ . Doug made Willie possible in so many ways.” Born on November 6, 1941, in San Antonio, Texas, Sahm was performing country music on the radio by age five and playing fiddle, steel guitar, and mandolin by age eight. By his teens, he had performed on stages as “Little Doug” with country “Willie wanted that rock & roll crowd, and Doug legends Hank Thompson, Hank Williams, and had them,” recalled Speedy Sparks, who played Faron Young. Still, his musical tastes stretched to in the Sir Douglas Quintet. “Willie would come include blues and rock & roll. out and watch Doug and figure out what Sahm left country behind for rock in the 1950s, Doug was doing.” and after high school he built a regional career Both Sahm and Nelson signed to record albums as a performing and recording artist. In 1964, he for New York producer Jerry Wexler. The raw, helped found the Sir Douglas Quintet, and he country-flavored Doug Sahm and Band was wrote their 1965 smash hit, “She’s About a Mover.” released in January 1973, but it failed to gain A year later, the group moved to San Francisco, attention.
[Show full text]
Sir Doug & the Texas Tornados
Sir Doug & The Texas Tornados Texas Rock For Country Rollers mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Texas Rock For Country Rollers Country: UK Released: 1997 Style: Country Rock, Classic Rock, Psychedelic Rock, Country MP3 version RAR size: 1987 mb FLAC version RAR size: 1105 mb WMA version RAR size: 1173 mb Rating: 4.8 Votes: 227 Other Formats: FLAC DXD AHX VQF MP2 FLAC APE Tracklist Hide Credits I Love The Way You Love (The Way I Love You) 1 5:17 Written-By – Atwood Allen Cowboy Peyton Place 2 3:35 Written-By – Doug Sahm Give Back The Key To My Heart 3 2:51 Written-By – Doug Sahm Wolverton Mountain 4 2:30 Written-By – Claude King , Merle Kilgore Texas Ranger Man 5 3:24 Written-By – Doug Sahm Float Away 6 2:38 Written-By – Doug Sahm I'm Missing You 7 3:02 Written-By – Doug Sahm Gene Thomas Medley: Sometimes/Cryin' Inside 8 2:41 Written-By – Gene Thomasson Country Groove 9 2:21 Written-By – Doug Sahm You Can't Hide A Redneck (Under That Hippy Hair) 10 3:55 Written-By – Doug Sahm Companies, etc. Recorded At – Sugar Hill Studios Phonographic Copyright (p) – MCA Records Copyright (c) – Demon Records Ltd. Licensed From – MCA Records Published By – Crazy Cajun Music Published By – Menace Music Ltd. Published By – Shapiro Bernstein & Co. Ltd. Published By – Grand Prize Credits A&R [Director] – Uncle Mickey Moody Acoustic Guitar – Uncle Mickey Moody Arranged By – Doug Sahm Art Direction – Tom Wilkes Bass – Jack Barber Coordinator [Talent Co-ordinator] – Jim Groenewegen Crew [Executive Crew] – Augie Meyers, J.T.Groenewegen, Lucky Tomblin Crew [Road Crew] – Billy Bob, Speedy Sparks Drums – George Rains Engineer – Uncle Mickey Moody Fiddle – Doug Sahm Guitar – Doug Sahm Harp – Harry Hess Liner Notes – Ed Ward Liner Notes [Last Four Paragraphs] – Val Jennings Management [Agent] – Jim Groenewegen Organ [Hammond] – Augie Meyers Organ [Vox] – Augie Meyers Photography By – Tom Wilkes Photography By [Juke Box Picture] – Burton Wilson Piano – Augie Meyers, Doug Sahm Producer – Huey P.
[Show full text]
Home with the Armadillo
Mellard: Home with the Armadillo Home with the Armadillo: Public Memory and Performance in the 1970s Austin Music Scene Jason Dean Mellard 8 Produced by The Berkeley Electronic Press, 2010 1 Greezy Wheels performing at the Armadillo World Headquarters. Photo courtesy of the South Austin Popular Culture Center. Journal of Texas Music History, Vol. 10 [2010], Iss. 1, Art. 3 “I wanna go home with the Armadillo Good country music from Amarillo and Abilene The friendliest people and the prettiest women You’ve ever seen.” These lyrics from Gary P. Nunn’s “London Homesick Blues” adorn the wall above the exit from the Austin Bergstrom International Airport baggage claim. For years, they also played as the theme to the award-winning PBS series Austin City Limits. In short, they have served in more than one instance as an advertisement for the city’s sense of self, the face that Austin, Texas, presents to visitors and national audiences. The quoted words refer, if obliquely, to a moment in 9 the 1970s when the city first began fashioning itself as a key American site of musical production, one invested with a combination of talent and tradition and tolerance that would make of it the self-proclaimed “Live Music Capital of the World.”1 In many ways, the venue of the Armadillo World Headquarters served as ground zero for these developments, and it is often remembered as a primary site for the decade’s supposed melding of Anglo-Texan traditions and countercultural lifestyles.2 This strand of public memory reveres the Armadillo as a place in which
[Show full text]
To Lend a Helping Hand Bob Dylan 1972
TO LEND A HELPING HAND BOB DYLAN 1972 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , RELEASES , TAPES & BOOKS . © 2001 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. To Lend A Helping Hand — Bob Dylan 1972 page 1 CONTENTS: 1 INTRODUCTION................................................................................................................ 2 2 THE YEAR AT A GLANCE .............................................................................................. 2 3 CALENDAR ......................................................................................................................... 2 4 RECORDINGS .................................................................................................................... 3 5 SONGS 1972 ......................................................................................................................... 4 6 SOURCES ............................................................................................................................. 4 7 SUGGESTED READINGS ................................................................................................. 4 7.1 GENERAL BACKGROUND ................................................................................................. 4 7.2 ARTICLE COMPILATIONS ................................................................................................. 4 To Lend A Helping Hand —
[Show full text]
Music, Movement, Performance, and Power in the Conjunto Dancehalls of the Texas—Mexico Borderlands
Amor en Aztlán: Music, Movement, Performance, and Power in the Conjunto Dancehalls of the Texas—Mexico Borderlands by Wayne Alejandro Wolbert A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ethnic Studies in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Laura E. Pérez, Chair Professor David Montejano Professor Paola Bacchetta Summer 2019 © Wayne Alejandro Wolbert 2019 Abstract Amor en Aztlán: Music, Movement, Performance, and Power in the Conjunto Dancehalls of the Texas—Mexico Borderlands by Wayne Alejandro Wolbert Doctor of Philosophy in Ethnic Studies University of California, Berkeley Professor Laura E. Pérez, Chair This dissertation examines the Texas Mexican musical genre known as conjunto and its concomitant social world. In this work I situate conjunto within a broader context of Mexican American cultural production, Texas Mexican popular music, and the shared histories of the U.S.- Mexico borderlands. As a social history, the dissertation traces the development of the genre and its practitioners across the twentieth century to the present. I examine interactions of power; expressions of identity; and constructions of race, class, and gender through movement (dance), performance (instrumentation and playing), and place (the dancehall or nite club) within and around San Antonio and South Texas. I argue that conjunto is an embodiment of Xicanx thought and knowledge, an everyday act of resistance and reaffirmation. 1 Dedicación
[Show full text]
Talk to Me: the History of San Antonio's West Side Sound
“Talk to Me” The History of San Antonio’s West Side Sound1 Alex La Rotta 8 The Twisters (background) playing behind the Royal Jesters, ca 1958. Courtesy Ramn Hernández. Contrary to its name, the “West Side Sound” did not actually originate on the West Side of San Antonio. Nor, for that matter, is it a singular “sound” that can be easily defined or categorized. In fact, the term “West Side Sound” was not widely used until San Antonio musician Doug Sahm applied it to his band, the West Side Horns, on his 1983 album, The West Side Sound Rolls Again. Since then, journalists, music fans, and even Sahm himself 9 have retrofitted the term to describe a particular style that emerged from San Antonio and the greater South Texas region beginning in the 1950s and continuing into the early twenty-first century.2 So what, then, is the West Side Sound? To quote historian Allen Olsen, the West Side Sound is “a remarkable amalgamation of different ethnic musical influences found in and around San Antonio and South-Central Texas. It includes blues, conjunto, country, rhythm and blues, polka, swamp pop, rock and roll, and other seemingly disparate styles.”3 To others, the West Side Sound is more of a feeling than a specific musical genre. In the words of Texas Tornados drummer Ernie Durawa, “It’s just that San Antonio thing…nowhere else in the world has it.”4 Both descriptions of the West Side Sound are accurate, but they really only tell part of the story of this remarkable musical hybrid.
[Show full text]
Willie Nelson and the Austin Music Scene
SPECIAL LESSON 11 SOCIAL STUDIES TEKS 4 - 2, 19, 21 TEXAS ALMANAC TEACHERS GUIDE 7 - 2, 11, 19, 21 8 - 2, 26 Willie Nelson and the Birth STAAR 4, 7 - Writing - 1, 2, 3 of the Austin Music Scene 4, 7, 8 - Reading - 1, 2, 3 • From the Texas Almanac 2012–2013 8 - Social Studies - 1, 2 INSTRUCTIONAL SUGGESTIONS 1. RESEARCH PRESENTATION: Read the article “Willie Nelson and the Birth of the Austin Music Scene” on pages 34–39 of the Texas Almanac 2012–2013. Research a modern “Texas Country” artist and one of the artists in the article, such as Willie Nelson, Ray Wylie Hubbard, Jerry Jeff Walker, Gary P. Nunn, Marcia Ball, etc. Create a presentation (speech, poster, PowerPoint) that illustrates the two artists’ sounds, styles, and content, and compares the two. 2. ACROSTIC: Using the article on pages 34–39 and the following two Student Activity Sheets, answer the questions on one sheet and place the answers in the blank spaces on the second sheet. The letters in the boxes will spell the title of the longest run- ning music series on television. 3. SONGS OF THE GREATS: Find a song by one of the artists mentioned in the article and listen to the sound and the lyrics. Then, based on what you have seen and heard, create an album cover that would accurately portray the image of this artist. Willie Nelson during his first performance at the Armadillo World Headquarters in Austin in 1972. Photo by Burton Wilson; used with his permission. SL11 Copyright © 2014 by TEXAS ALMANAC & Texas State Historical Association; www.TexasAlmanac.com.
[Show full text]
Destination Anywhere an Insider’S Tour of Hometown Music Scenes, Past and Present
by RichaRd SkanSe Destination anywhere An insider’s tour of hometown music scenes, past and present. Austin tLive Musicex Capital Aof the sWorLd deStination anywheRe auStin, texaS continued it’s A Lot to Live up to, that Texas-sized boast about being the “Live Music Capital of the world.” Austin adopted it as their official slogan in 1991, with no voting or formal competition for the title involved, of course, apart from the city council members who did have the modesty to rule out the slightly more inflated “Live Music Capital of the Universe.” As such, it’s a claim to fame as open for debate as any truck stop’s self-proclaimed “world’s Best Coffee” or w“ orld Famous Chicken-Fried Steak.” The appropriate response to any such pronouncements should always be a certain degree of skepticism: “Prove it.” The key word in this case is “live.” For district. And when visitors arrive at Austin- the better part of the last 40 years, the best Bergstrom International Airport, they’re in Texas—and a good many notables from immediately greeted by Texas music, be it beyond—have all found themselves drawn piped through the terminal sound system or to the center of the state and used the capital live onstage, right in the concourse, as part city’s many stages to launch, or even re-launch, of the “Music in the Air” concert series. their music careers. Austin is where Abbott, does all of that merit the “Live Music Texas native willie Nelson reinvented himself Capital of the world” title? Clearly, it as an “outlaw,” spearheading the progressive doesn’t hurt.
[Show full text]