Olsen: San Antonio's West Side Sound San Antonio’s Sound Side 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. different groups during this period, including Sonny and the The result has been the development of Rhythm Rockers, Sonny and the Montclairs, and Sonny Ace a rich and complex regional musical and the Twisters. Regional hits included covers of the Louis style, of which the West Side Sound has Prima songs “Just a Gigolo” and “Oh, Marie.” Ace’s own become an integral part. compositions included “Take My Love,” “You Tear My Dreams Some of the musicians who helped develop San Antonio’s West Side Sound in its various forms are well known to both Texans and others across the country and around the world. The style was first brought to national prominence with Sunny Ozuna’s 1963 hit, “Talk to Me.” “She’s About A Mover,” the 1965 Top Twenty hit by the Sir Douglas Quintet soon brought additional recognition to the Alamo The Texas Tornados, courtesy of Reprise Records. Photo: Will Van Overbeek City’s music scene.2 Two musicians who were part of that band, Augie Meyers and the late Doug Sahm, went on to build nationally and internationally successful careers. Also It is a rare privilege indeed when a scholar has the opportunity to bring to famous around the world is the ubiquitous Flaco Jiménez, who the public’s attention a musical genre that has been largely unstudied in has five Grammy Awards, and has recorded with such 1 wheneverthe past.The these understanding less-well-known of our genres nation’s are musical recognized heritage and is enhancedexamined, prominent artists as Bob Dylan, the Rolling Stones, and Dwight Yoakam. especially those that have a rich history steeped in multi-ethnic traditions. Sahm, Meyers, and Jiménez, along with Freddy Fendder, once San Antonio’s West Side Sound is just such a genre, having drawn from a again brought the West Side Sound to a global audience during the broad array of regional influences to become a truly distinct musical style. 1990s with their musically eclectic super group, the Texas 3 Outside of South-Central Texas, however, the West Side Sound is a largely Tornados. The late Randy Garibay was a less-well-known but also very influential member of the West Side Sound. His contributions unknown phenomenon. Even within San Antonio itself, there are many who to the evolution of the genre have made him somewhat of a legend would have difficulty defining the West Side Sound. The goal of this article in San Antonio, and his passing in early 2002 has been difficult for is to explain what the West Side Sound is and to examine its origins and musicians and fans throughout the state.4 However, most of the other musicians involved in the development as a unique component of Texas music. development of the West Side Sound are not as well known, but Flaco Jiménez with multiple Grammy Awards. Produced by The Berkeley Electronic Press, 2005 1 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 San Antonio’s Sound Side 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. different groups during this period, including Sonny and the The result has been the development of Rhythm Rockers, Sonny and the Montclairs, and Sonny Ace a rich and complex regional musical and the Twisters. Regional hits included covers of the Louis style, of which the West Side Sound has Prima songs “Just a Gigolo” and “Oh, Marie.” Ace’s own become an integral part. compositions included “Take My Love,” “You Tear My Dreams Some of the musicians who helped develop San Antonio’s West Side Sound in its various forms are well known to both Texans and others across the country and around the world. The style was first brought to national prominence with Sunny Ozuna’s 1963 hit, “Talk to Me.” “She’s About A Mover,” the 1965 Top Twenty hit by the Sir Douglas Quintet soon brought additional recognition to the Alamo The Texas Tornados, courtesy of Reprise Records. Photo: Will Van Overbeek City’s music scene.2 Two musicians who were part of that band, Augie Meyers and the late Doug Sahm, went on to build nationally and internationally successful careers. Also It is a rare privilege indeed when a scholar has the opportunity to bring to famous around the world is the ubiquitous Flaco Jiménez, who the public’s attention a musical genre that has been largely unstudied in has five Grammy Awards, and has recorded with such 1 wheneverthe past.The these understanding less-well-known of our genres nation’s are musical recognized heritage and is enhancedexamined, prominent artists as Bob Dylan, the Rolling Stones, and Dwight Yoakam. especially those that have a rich history steeped in multi-ethnic traditions. Sahm, Meyers, and Jiménez, along with Freddy Fendder, once San Antonio’s West Side Sound is just such a genre, having drawn from a again brought the West Side Sound to a global audience during the broad array of regional influences to become a truly distinct musical style. 1990s with their musically eclectic super group, the Texas 3 Outside of South-Central Texas, however, the West Side Sound is a largely Tornados. The late Randy Garibay was a less-well-known but also very influential member of the West Side Sound. His contributions unknown phenomenon. Even within San Antonio itself, there are many who to the evolution of the genre have made him somewhat of a legend would have difficulty defining the West Side Sound. The goal of this article in San Antonio, and his passing in early 2002 has been difficult for is to explain what the West Side Sound is and to examine its origins and musicians and fans throughout the state.4 However, most of the other musicians involved in the development as a unique component of Texas music. development of the West Side Sound are not as well known, but http://ecommons.txstate.edu/jtmh/vol5/iss1/4 Flaco Jiménez with multiple Grammy Awards. 2

Sound Side West Antonio’s San 28 horn section, piano, and drums.” depended more on the interplay of electric guitar with as the “rhythm and blues band sound became tighter transformed the relationship between the horns and guitar saxophone as a premier In solo instrument. so doing, Walker the role of the electric guitar, a role that would “supersede” the another Texan, T-Bone Walker, was responsible for furthering to underlie the voice and horn sections.” According to Govenar, jazz scene. Both established the guitar “as a rhythm instrument pioneered this interplay between horns and guitars in the state’s Texas musicians Eddie Durham and Charlie Christian Alan Govenar has noted that guitar. Texas music historian and its relationship to the the role of the horn section that end, a key component is (also known as R&B). To pop, and rhythm blues country, conjunto, swamp of rock and roll, blues, At its core are the influences multifaceted musical entity. West Side Sound is a make a gig. of the group were unable to Sahm sat in when members a fifteen-year-old Doug Orchestra, in which Century combo called the Twentieth hit. Later, Barnett had a Shuffle,” became a regional recording, Ebony “The Club. Barnett’sCountry first the famous Eastwood he also played regularly at Ebony Club,legendary and house band at San Antonio’s Barnett Combo, was the for Doug Sahm and Augie Meyers. Barnett’s band, The Spot Rodarte. Scott and Barnett were certainly a source of inspiration players, including Charlie Alvarado, Rocky Morales, and Frank as mentors for many younger Mexican-American saxophone Garibay contributed to the voicing of the guitar as a rhythm Perhaps more than any other San Antonio musician, Randy Antonio sax players for years. which the unique saxophone solo became a model for San Apart,” and “Darling of Mine.” In its present form, the This orchestration is a key element in the West Side Sound. Clifford Scott is best known for his song “Honky Tonk,” from 8 Scott and Spot Barnett also served Randy Garibay, promo for 7 9 Barbacoa Blues. other country artists. other country big fans of Hank Williams, Lefty Frizzell, Jimmie Rodgers, and 12 years old, were influenced by black music, but they also were Barnett, and his Twentieth Orchestra often included a Century previously noted, the African-American musician, Spot bands were themselves racially and ethnically integrated. As to borrowing from a variety of ethnic genres, many of these racial boundaries to include a broad range of styles. In addition musicians developed an eclectic genre that cut across ethnic and “Progressive Country” music scene of the 1970s. influences after they became involved in Austin’sthese country basically took the lead note in chord, and depending on musician’s point of view, we have a voicing. player The trumpet West Side Sound is the voicing. Barnett says that, “From the to Spot Barnett, the contribution of horns in San Antonio’s guitar never completely replaces the horns, however. According of that interplay between guitar and horns. exemplary The decade. Garibay’s signature song, “Barbacoa Blues,” is for the and solo instrument West Side Sound during the last repertoires. and Meyers often included polkas and boleros in their musical Because of their diverse influences, the West Side Sound 11 Sahm and Meyers, close friends since they were 11 or 12 Sahm and Meyers would more fully express that’s our sound there.” G, and C on top. Now, the chord, we would put D, Bb…Then, on the top of would put [an] E, and a Okay, on the bottom, we a big, round full C chord. instance we wanted to have “Allintervals. right, say for elaborates on the role of the third.” Barnett further whether we put the tenor on lean high or low, is we wanted the chords to how much power, whether Garibay. Jiménez, Ozuna, Sonny Ozuna, and Randy Augie Meyers, Flaco Jiménez, contributions of Doug Sahm, largely through the rock and roll. This happened country, swamp pop, and conjunto, blues, R&B, American influences, such as American, and Anglo- Mexican-American, African- Side Sound absorbed Over the years, the West 13 10 neighborhood was predominantly African-American, so the Meyers all grew up on the East Side of San Antonio. That musicians got along so well musically. Sahm, Rodarte, and at that time [in the 1950s].” everybody leader Spot Barnett. “He was the greatest influence for affection he and others had for fellow African-American band for Doug Sahm, commented on the level of admiration and Sound band, the West Side Horns, and a long-time sax player other and for a broad range of ethnic musical genres. different ethnic groups developed a love and respect for each factor in howan important West Side Sound musicians from Homophily, was defined as similarity between friends, certainly homophily and proximity are most relevant to our discussion. communicative competence, and proximity. Of these six, formative and Clifford period. this early admired Barnett Scott during as well as Anglos, musicians, Morales and other Mexican-American culture, personality, homophily, an adjustment state, factors contributing to successful inter-ethnic relationships: students in the United States suggests that there are six key human relationships. to look briefly at some case studies involving inter-ethnic differences to create this unique musical form, it may be helpful musicians overcame social barriers and cultural contemporary racial equality. For a better understanding of how these overundergoing violent upheaval in the struggle civil rights and at a time when much of the rest of the Deep South was of the West Side Sound is that this music rooted in the 1950s, United Nations band there.’” Benny Easly, black, and myself, Chicano. They said ‘You got a Pineapple, Hawaiian mix, and I had Jitterbug Web, black. I had As Alvarado says, “I had James Kelley, Irish, and I had because it featured musicians from several ethnic backgrounds. and the Jives, has been called the “United Nations Band,” young, white Doug Sahm. Charlie Alvarado’s band, Charlie everybody, he gives it soul.” how he distributes his talent. He gives it to whites, blacks, good Lordhe replied, has control “The over that. He knows Rodarte was asked how it was that Chicanos can play the blues, a passion for what they called “soul music.” When Frank Garibay, Meyers, Sahm, Rodarte, Barnett, and others all shared Barnett and Clifford Scott during this early formative period. Mexican-American musicians, as well as Anglos, admired Proximity in understanding how is also important these Rocky Morales, an original member of the premier West Side Elisabeth Gareis’s case study of five German exchange intriguing about the multi-ethnic origins What is particularly 17 14 16 Morales and other 15 pioneer and bassist extraordinaire Jack Barber: on this subject by the observations West Side Sound Chicano the Ebony Club, and other venues. Perhaps most revealing are identity listening to various acts that played the Eastwood Club, culture” more attainable for these young San Antonio ‘know’ cultures is made rigid.” group. They can overcome this, however “when the desire to people have difficulty identifying themselves within a particular force to them.” According to the idea of “elusive culture,” young as a counter social life and cultural practices rather than serving processes…implicated in the ambivalence and contradictions of “Elusive culture…gestures towards of culture a view as on-going Toronto, Canada, high school, Daniel A. Yon argues that influences. In a study of adolescent adjustment carried out in or choosing not to borrow, from surrounding cultural people define their own sense of identity, by borrowing, in part, “elusive culture.” Elusive culture has to do with how young influences may be related to what some researchers have called the youngsters to hang around the club and watch musicians. friend who shopped at the Meyer’s family store, and he allowed was possible, because the club’s owner, Johnny Phillips, was a American bands at San Antonio’s Club. Eastwood Country This example, as little boys, Sahm and Meyers listened to African- Meyers, were nurtured in a multi-ethnic environment. For Chicano Rodarte, as well as the Anglos Doug Sahm and Augie Antonio. in orchestras as a teenager in the multi-cultural setting of San Charlie and the Jives, formed his sense of self-awareness playing musicians of the West Side Sound. Charlie Alvarado, founder of their own individual identities can be seen among the young relation to the identities and cultures of others. people must be able to explore their personal identities in Thus, the conditions were in place to make this “elusive Another factor in this willingness to exchange musical A number of examples this inter-cultural quest to formulate think it’s that want to know a chosen few more. anything more progressive than what they’re doing…I just stay black on the east side, you know, they don’t play They stay that way. There are a lot of black people that Mexican, or Chicano, whatever you want to call it. Antonio, and they just stay San Antonio. They stay There are some Chicanos that are raised in San 19 Meyers and Sahm developed much of their musical 18 In order to do this, young 20

29 San Antonio’s West Side Sound Side West Antonio’s San Produced by The Berkeley Electronic Press, 2005 Olsen: San Antonio's West Side Sound 3

Sound Side West Antonio’s San 28 horn section, piano, and drums.” depended more on the interplay of electric guitar with as the “rhythm and blues band sound became tighter transformed the relationship between the horns and guitar saxophone as a premier In solo instrument. so doing, Walker the role of the electric guitar, a role that would “supersede” the another Texan, T-Bone Walker, was responsible for furthering to underlie the voice and horn sections.” According to Govenar, jazz scene. Both established the guitar “as a rhythm instrument pioneered this interplay between horns and guitars in the state’s Texas musicians Eddie Durham and Charlie Christian Alan Govenar has noted that guitar. Texas music historian and its relationship to the the role of the horn section that end, a key component is (also known as R&B). To pop, and rhythm blues country, conjunto, swamp of rock and roll, blues, At its core are the influences multifaceted musical entity. West Side Sound is a make a gig. of the group were unable to Sahm sat in when members a fifteen-year-old Doug Orchestra, in which Century combo called the Twentieth hit. Later, Barnett had a Shuffle,” became a regional recording, Ebony “The Club. Barnett’sCountry first the famous Eastwood he also played regularly at Ebony Club,legendary and house band at San Antonio’s Barnett Combo, was the for Doug Sahm and Augie Meyers. Barnett’s band, The Spot Rodarte. Scott and Barnett were certainly a source of inspiration players, including Charlie Alvarado, Rocky Morales, and Frank as mentors for many younger Mexican-American saxophone Garibay contributed to the voicing of the guitar as a rhythm Perhaps more than any other San Antonio musician, Randy Antonio sax players for years. which the unique saxophone solo became a model for San Apart,” and “Darling of Mine.” In its present form, the This orchestration is a key element in the West Side Sound. Clifford Scott is best known for his song “Honky Tonk,” from 8 Scott and Spot Barnett also served Randy Garibay, promo for 7 9 Barbacoa Blues. other country artists. other country big fans of Hank Williams, Lefty Frizzell, Jimmie Rodgers, and 12 years old, were influenced by black music, but they also were Barnett, and his Twentieth Orchestra often included a Century previously noted, the African-American musician, Spot bands were themselves racially and ethnically integrated. As to borrowing from a variety of ethnic genres, many of these racial boundaries to include a broad range of styles. In addition musicians developed an eclectic genre that cut across ethnic and “Progressive Country” music scene of the 1970s. influences after they became involved in Austin’sthese country basically took the lead note in chord, and depending on musician’s point of view, we have a voicing. player The trumpet West Side Sound is the voicing. Barnett says that, “From the to Spot Barnett, the contribution of horns in San Antonio’s guitar never completely replaces the horns, however. According of that interplay between guitar and horns. exemplary The decade. Garibay’s signature song, “Barbacoa Blues,” is for the and solo instrument West Side Sound during the last repertoires. and Meyers often included polkas and boleros in their musical Because of their diverse influences, the West Side Sound 11 Sahm and Meyers, close friends since they were 11 or 12 Sahm and Meyers would more fully express that’s our sound there.” G, and C on top. Now, the chord, we would put D, Bb…Then, on the top of would put [an] E, and a Okay, on the bottom, we a big, round full C chord. instance we wanted to have “Allintervals. right, say for elaborates on the role of the third.” Barnett further whether we put the tenor on lean high or low, is we wanted the chords to how much power, whether Garibay. Jiménez, Ozuna, Sonny Ozuna, and Randy Augie Meyers, Flaco Jiménez, contributions of Doug Sahm, largely through the rock and roll. This happened country, swamp pop, and conjunto, blues, R&B, American influences, such as American, and Anglo- Mexican-American, African- Side Sound absorbed Over the years, the West 13 10 http://ecommons.txstate.edu/jtmh/vol5/iss1/4 neighborhood was predominantly African-American, so the Meyers all grew up on the East Side of San Antonio. That musicians got along so well musically. Sahm, Rodarte, and at that time [in the 1950s].” everybody leader Spot Barnett. “He was the greatest influence for affection he and others had for fellow African-American band for Doug Sahm, commented on the level of admiration and Sound band, the West Side Horns, and a long-time sax player other and for a broad range of ethnic musical genres. different ethnic groups developed a love and respect for each factor in howan important West Side Sound musicians from Homophily, was defined as similarity between friends, certainly homophily and proximity are most relevant to our discussion. communicative competence, and proximity. Of these six, formative and Clifford period. this early admired Barnett Scott during as well as Anglos, musicians, Morales and other Mexican-American culture, personality, homophily, an adjustment state, factors contributing to successful inter-ethnic relationships: students in the United States suggests that there are six key human relationships. to look briefly at some case studies involving inter-ethnic differences to create this unique musical form, it may be helpful musicians overcame social barriers and cultural contemporary racial equality. For a better understanding of how these overundergoing violent upheaval in the struggle civil rights and at a time when much of the rest of the Deep South was of the West Side Sound is that this music rooted in the 1950s, United Nations band there.’” Benny Easly, black, and myself, Chicano. They said ‘You got a Pineapple, Hawaiian mix, and I had Jitterbug Web, black. I had As Alvarado says, “I had James Kelley, Irish, and I had because it featured musicians from several ethnic backgrounds. and the Jives, has been called the “United Nations Band,” young, white Doug Sahm. Charlie Alvarado’s band, Charlie everybody, he gives it soul.” how he distributes his talent. He gives it to whites, blacks, good Lordhe replied, has control “The over that. He knows Rodarte was asked how it was that Chicanos can play the blues, a passion for what they called “soul music.” When Frank Garibay, Meyers, Sahm, Rodarte, Barnett, and others all shared Barnett and Clifford Scott during this early formative period. Mexican-American musicians, as well as Anglos, admired Proximity in understanding how is also important these Rocky Morales, an original member of the premier West Side Elisabeth Gareis’s case study of five German exchange intriguing about the multi-ethnic origins What is particularly 17 14 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 16 Morales and other 15 pioneer and bassist extraordinaire Jack Barber: on this subject by the observations West Side Sound Chicano the Ebony Club, and other venues. Perhaps most revealing are identity listening to various acts that played the Eastwood Club, culture” more attainable for these young San Antonio ‘know’ cultures is made rigid.” group. They can overcome this, however “when the desire to people have difficulty identifying themselves within a particular force to them.” According to the idea of “elusive culture,” young as a counter social life and cultural practices rather than serving processes…implicated in the ambivalence and contradictions of “Elusive culture…gestures towards of culture a view as on-going Toronto, Canada, high school, Daniel A. Yon argues that influences. In a study of adolescent adjustment carried out in or choosing not to borrow, from surrounding cultural people define their own sense of identity, by borrowing, in part, “elusive culture.” Elusive culture has to do with how young influences may be related to what some researchers have called the youngsters to hang around the club and watch musicians. friend who shopped at the Meyer’s family store, and he allowed was possible, because the club’s owner, Johnny Phillips, was a American bands at San Antonio’s Club. Eastwood Country This example, as little boys, Sahm and Meyers listened to African- Meyers, were nurtured in a multi-ethnic environment. For Chicano Rodarte, as well as the Anglos Doug Sahm and Augie Antonio. in orchestras as a teenager in the multi-cultural setting of San Charlie and the Jives, formed his sense of self-awareness playing musicians of the West Side Sound. Charlie Alvarado, founder of their own individual identities can be seen among the young relation to the identities and cultures of others. people must be able to explore their personal identities in Thus, the conditions were in place to make this “elusive Another factor in this willingness to exchange musical A number of examples this inter-cultural quest to formulate think it’s that want to know a chosen few more. anything more progressive than what they’re doing…I just stay black on the east side, you know, they don’t play They stay that way. There are a lot of black people that Mexican, or Chicano, whatever you want to call it. Antonio, and they just stay San Antonio. They stay There are some Chicanos that are raised in San 19 Meyers and Sahm developed much of their musical 18 In order to do this, young 20

29 4 Sound Side West Antonio’s San

Sound Side West Antonio’s San 30 put aside their cultural differences at a very youngput aside their cultural differences age. at a very majority of the musicians West Side Sound decided to actively political. With regards of Shi-Xu, to the assertions the Hernandez in the 1970s and Randy Garibay in the 1990s, were situation at hand, however. Only two of the musicians, Joe half. classes and ethnic groups in Texas for over and a a century he argues that a “dialectic of conflict” has existed between social historian Manuel Peña might agree with this assessment, since Advancement of Colored People (NAACP), characterized San the local branch of National Association for the Burns,climate tempered a leader of their opposition.” Harry racial segregation and inequality, but the moderate racial that, “Blacks asserts Goldberg in San further Antonio opposed but it did not elicit violence or impassioned defenses.” that “Segregation was woven into the fabric of San Antonio life, segregationist customs. other way when individual African Americans challenged city, but, according to Spot Barnett, the police often looked during the 1950s. Indeed segregation did exist was not a major factor in their lives in San Antonio bigotry figure out.” See, God puts the puzzle there, and then he leaves it to us figure it out scientifically; how to, you know, how to look at it. God gave it out. He gave us twelve different sounds and let us write in prejudices, and add in prejudices, but that’s not how You might take the same notes to play everything…we American Spot Barnett responded by saying “music is music. Anglos or Chicanos had the right to play blues, African- musicians, Peña’s thesis also can be challenged. When asked if cultural situation of San Antonio as experienced by these young environment of San Antonio. Because of the unusual ethno- cities. compared to other southern when “‘heaven on earth’ San Antonio as characterized Advancement of Colored People (NAACP), a leader of the local branch National forAssociation the Burns, Harry ethnic musical traditions is the unique racial and cultural Sound musicians to blend together such a diverse array of practice of domination, exclusion, or prejudice.” intercultural encounters, where power is defined as textual communication,” because it allows for “power saturation of the “mainstream pedagogy of intercultural contact and own culture to explore others. internal desire of the musicians to go beyond their on the part musicians. As Jack Barber suggests, there also existed an All of the musicians interviewed for this article stated that for this article All of the musicians interviewed factor in the ability of Another important West Side Intercultural studies researcher Shi-Xu does not agree with 22 These assessments are marginally applicable to the 24 25 Historian Robert A. Goldberg asserts de facto 21 Texas music 23 in the southern cities.” Antonio as “‘heaven on earth’ when compared to other lovers had access to a number of T.V. and radio programs in San music some that transmitted from outside of the state. Country radio stations to listen to, including had a number of country music. San Antonio during the 1950s and 1960s was country of the new supervision Texas Quality Group Network. Dallas, KPRC in Houston, and WOAI, merged under the the state’s four largest stations, WBAP in Fort Worth, WFAA in station joined the first national radio network, NBC. In 1934, upgraded from 500 to 5,000 watts in 1925, and, 1928, the went on the air in 1922. Founded by G.A.C. Holff, the station radio stations by the 1950s. The city’s leading station, WOAI, of music could be shared. There were dozens of San Antonio venues and outlets around the city through which different types local residents to interact more freely, there were numerous poly-cultural environment of the city. ethnic musical genre, the West Side Sound, which reflected the young San Antonio musicians developed a unique, multi- explore other cultures in a more moderate racial climate, these and ethnic boundaries. Because of this relative freedom to contemporaries elsewhere in the South to interact across racial people probably had more than their opportunities development of San Antonio during the 1950s, city’s young more quickly than most other southern cities. public school districts had integrated by the fall of 1955, far to desegregateruling all public schools, many of San Antonio’s resisted the Supreme Court’s 1954 point, it should be noted that, while most Texas communities ground for racial peace and cooperation.” chip “away at the community consensus and prepare the leading role played religious by certain leaders, who worked to bases in and around Sandesegregated Antonio; and the military to obscure color lines in the city; existence of several large (approximately 40% of the overall population), which helped the city; existence of a large Mexican-American population African Americans were relegated primarily to the east side of population); minimal contact between whites and blacks, since relatively small size of the black community (7% overall racial climate” in San Antonio during the 1950s and 1960s: Perhaps the most popular musical genre in San Antonio In addition to a “moderate racial climate,” which allowed As can be seen both in the intercultural studies and historical There were several factors that contributed to this “moderate 26 Brown vs. Board of Education 27 In regard to the last 28 29 conjunto band called Las Caminantes, whose accordionist was was the case in 1956, when Jorge Sareli featured a weekly as incubators for promoting young served Texas musicians. Such Sareli and other popular local figures. These shows sometimes United States featured numerous programs hosted by Jorge KCOR-TV 41 debuted. forms of Latin music. In 1955, the Spanish-language station had a number of T.V. and radio stations that broadcast different appearances by the beloved star of radio and movies. promoted the event,newspapers which was to include several broadcast nationally on NBC. Coliseum. Rogers’s arrival on June 18th was scheduled to be by Roy Rogers and his horse, Trigger, to San Antonio’s Freeman in the Alamo City. One of the most publicized events was a visit a young Elvis Presley. Reeves, George Jones, Johnny Cash, and Young, Kitty Wells, Slim Whitman, Jim acts, such as Webbcountry Pierce, Faron New Mexico. The Hayride featured top Louisiana, that broadcast as far west as “hillbilly” station in Shreveport, aired on KWKH, a 50,000 watt broadcast from outside of the state. It programs, the “Louisiana Hayride,” was billed as the “First King of Cowboys.” such as Charley Tompkins, who was Dance” and featured local musicians, broadcasts of “Red River Dave’s Barn Channel 4 carried Saturday night KTSA 550 at 12:30 P.M. WOAI-TV swing band could be heard Fridays on own Adolph Hofner and his honky tonk “Hillbilly Hit Parade.” San Antonio’s 630 featured the daily program, that aired each day at 12:30 P.M. KMAC addition to a “Western Swing” program could be heard from 8 to 11 P.M., in show called the “Cowboy Jamboree” that Antonio. KONO 860 AM had a daily shook hands with the small fry.” eight magnificently trained palominos and stories, performed Rogers did arrive, the grin, and a frontier costume award contest. grinnin” contest, which awarded a prize to the kid with best Celebrations included square dances in downtown streets, a “b’ar first “Davy Crockett Week” beginning on August 17th. release of the film “Davy Crockett,” San Antonio sponsored its The large Mexican-American pop-ulation of San Antonio also music fans The summer of 1955 was a special time for country One of San Antonio’s best-loved Light 31 35 This first Latin-owned station in the reported that “Roy sang, danced, told h a noi Light The San Antonio 33 Also, in 1955, to mark Disney’s 30 34 courtesy of the courtesy 1953 Advertisement for Nat King Cole, and other 32 When 1952 Advertisement of the for B. King, courtesy San Antonio Register. band would appear for seven days at the National Theater. great attractions of Fiesta week and informed readers that the 1956 promoted a group called Los Michoacanos as one of the San Antonio. An ad from the newspaper mariachi bands from Mexico and elsewhere also toured through shows from Mexico. that included other performers a young Flaco Jiménez. artists, such as Antonio Badu,artists, headlined language films, and famous Mexican The Alameda Theatre featured Spanish- Auditorium Circle. downtown at what once was Municipal Auditorium located September 1955 to play at the circuit, came to San Antonio in popular in the Spanish-language music Famosa Conjunto, who were quite frequented the city. Okie Jones y su Fiesta Club on Pleasanton. and played at local venues, such as the Sundaysperformed on KIWW radio was another conjunto group that Allegre, led by Armando Almendarez, corner of St. Mary’s and Commerce. San Antonio at the Aztec Theatre on the actor appeared for the film’s premiere in young Ricardovery Montalban, the released promote their films. After MGM from Mexico and Hollywood to Mexican-American touring acts also Sombrero La Prensa San Antonio Register. in 1953, starring a 38 Artists also came Artists 36 37 San Antonio in February, 40 Several 41 39

31 San Antonio’s West Side Sound Side West Antonio’s San Produced by The Berkeley Electronic Press, 2005 Olsen: San Antonio's West Side Sound 5

Sound Side West Antonio’s San 30 put aside their cultural differences at a very youngput aside their cultural differences age. at a very majority of the musicians West Side Sound decided to actively political. With regards of Shi-Xu, to the assertions the Hernandez in the 1970s and Randy Garibay in the 1990s, were situation at hand, however. Only two of the musicians, Joe half. classes and ethnic groups in Texas for over and a a century he argues that a “dialectic of conflict” has existed between social historian Manuel Peña might agree with this assessment, since Advancement of Colored People (NAACP), characterized San the local branch of National Association for the Burns,climate tempered a leader of their opposition.” Harry racial segregation and inequality, but the moderate racial that, “Blacks asserts Goldberg in San further Antonio opposed but it did not elicit violence or impassioned defenses.” that “Segregation was woven into the fabric of San Antonio life, segregationist customs. other way when individual African Americans challenged city, but, according to Spot Barnett, the police often looked during the 1950s. Indeed segregation did exist was not a major factor in their lives in San Antonio bigotry figure out.” See, God puts the puzzle there, and then he leaves it to us figure it out scientifically; how to, you know, how to look at it. God gave it out. He gave us twelve different sounds and let us write in prejudices, and add in prejudices, but that’s not how You might take the same notes to play everything…we American Spot Barnett responded by saying “music is music. Anglos or Chicanos had the right to play blues, African- musicians, Peña’s thesis also can be challenged. When asked if cultural situation of San Antonio as experienced by these young environment of San Antonio. Because of the unusual ethno- cities. compared to other southern when “‘heaven on earth’ San Antonio as characterized Advancement of Colored People (NAACP), a leader of the local branch National forAssociation the Burns, Harry ethnic musical traditions is the unique racial and cultural Sound musicians to blend together such a diverse array of practice of domination, exclusion, or prejudice.” intercultural encounters, where power is defined as textual communication,” because it allows for “power saturation of the “mainstream pedagogy of intercultural contact and own culture to explore others. internal desire of the musicians to go beyond their on the part musicians. As Jack Barber suggests, there also existed an All of the musicians interviewed for this article stated that for this article All of the musicians interviewed factor in the ability of Another important West Side Intercultural studies researcher Shi-Xu does not agree with 22 These assessments are marginally applicable to the 24 25 Historian Robert A. Goldberg asserts de facto 21 Texas music 23 in the southern cities.” Antonio as “‘heaven on earth’ when compared to other lovers had access to a number of T.V. and radio programs in San music some that transmitted from outside of the state. Country radio stations to listen to, including had a number of country music. San Antonio during the 1950s and 1960s was country of the new supervision Texas Quality Group Network. Dallas, KPRC in Houston, and WOAI, merged under the the state’s four largest stations, WBAP in Fort Worth, WFAA in station joined the first national radio network, NBC. In 1934, upgraded from 500 to 5,000 watts in 1925, and, 1928, the went on the air in 1922. Founded by G.A.C. Holff, the station radio stations by the 1950s. The city’s leading station, WOAI, of music could be shared. There were dozens of San Antonio venues and outlets around the city through which different types local residents to interact more freely, there were numerous poly-cultural environment of the city. ethnic musical genre, the West Side Sound, which reflected the young San Antonio musicians developed a unique, multi- explore other cultures in a more moderate racial climate, these and ethnic boundaries. Because of this relative freedom to contemporaries elsewhere in the South to interact across racial people probably had more than their opportunities development of San Antonio during the 1950s, city’s young more quickly than most other southern cities. public school districts had integrated by the fall of 1955, far to desegregateruling all public schools, many of San Antonio’s resisted the Supreme Court’s 1954 point, it should be noted that, while most Texas communities ground for racial peace and cooperation.” chip “away at the community consensus and prepare the leading role played religious by certain leaders, who worked to bases in and around Sandesegregated Antonio; and the military to obscure color lines in the city; existence of several large (approximately 40% of the overall population), which helped the city; existence of a large Mexican-American population African Americans were relegated primarily to the east side of population); minimal contact between whites and blacks, since relatively small size of the black community (7% overall racial climate” in San Antonio during the 1950s and 1960s: Perhaps the most popular musical genre in San Antonio In addition to a “moderate racial climate,” which allowed As can be seen both in the intercultural studies and historical There were several factors that contributed to this “moderate 26 Brown vs. Board of Education 27 In regard to the last 28 29 http://ecommons.txstate.edu/jtmh/vol5/iss1/4 conjunto band called Las Caminantes, whose accordionist was was the case in 1956, when Jorge Sareli featured a weekly as incubators for promoting young served Texas musicians. Such Sareli and other popular local figures. These shows sometimes United States featured numerous programs hosted by Jorge KCOR-TV 41 debuted. forms of Latin music. In 1955, the Spanish-language station had a number of T.V. and radio stations that broadcast different appearances by the beloved star of radio and movies. promoted the event,newspapers which was to include several broadcast nationally on NBC. Coliseum. Rogers’s arrival on June 18th was scheduled to be by Roy Rogers and his horse, Trigger, to San Antonio’s Freeman in the Alamo City. One of the most publicized events was a visit a young Elvis Presley. Reeves, George Jones, Johnny Cash, and Young, Kitty Wells, Slim Whitman, Jim acts, such as Webbcountry Pierce, Faron New Mexico. The Hayride featured top Louisiana, that broadcast as far west as “hillbilly” station in Shreveport, aired on KWKH, a 50,000 watt broadcast from outside of the state. It programs, the “Louisiana Hayride,” was billed as the “First King of Cowboys.” such as Charley Tompkins, who was Dance” and featured local musicians, broadcasts of “Red River Dave’s Barn Channel 4 carried Saturday night KTSA 550 at 12:30 P.M. WOAI-TV swing band could be heard Fridays on own Adolph Hofner and his honky tonk “Hillbilly Hit Parade.” San Antonio’s 630 featured the daily program, that aired each day at 12:30 P.M. KMAC addition to a “Western Swing” program could be heard from 8 to 11 P.M., in show called the “Cowboy Jamboree” that Antonio. KONO 860 AM had a daily shook hands with the small fry.” eight magnificently trained palominos and stories, performed Rogers did arrive, the grin, and a frontier costume award contest. grinnin” contest, which awarded a prize to the kid with best Celebrations included square dances in downtown streets, a “b’ar first “Davy Crockett Week” beginning on August 17th. release of the film “Davy Crockett,” San Antonio sponsored its The large Mexican-American pop-ulation of San Antonio also music fans The summer of 1955 was a special time for country One of San Antonio’s best-loved Light 31 35 This first Latin-owned station in the reported that “Roy sang, danced, told h a noi Light The San Antonio 33 Also, in 1955, to mark Disney’s Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 30 34 courtesy of the courtesy 1953 Advertisement for Nat King Cole, and other 32 When 1952 Advertisement of the for B. King, courtesy San Antonio Register. band would appear for seven days at the National Theater. great attractions of Fiesta week and informed readers that the 1956 promoted a group called Los Michoacanos as one of the San Antonio. An ad from the newspaper mariachi bands from Mexico and elsewhere also toured through shows from Mexico. that included other performers a young Flaco Jiménez. artists, such as Antonio Badu,artists, headlined language films, and famous Mexican The Alameda Theatre featured Spanish- Auditorium Circle. downtown at what once was Municipal Auditorium located September 1955 to play at the circuit, came to San Antonio in popular in the Spanish-language music Famosa Conjunto, who were quite frequented the city. Okie Jones y su Fiesta Club on Pleasanton. and played at local venues, such as the Sundaysperformed on KIWW radio was another conjunto group that Allegre, led by Armando Almendarez, corner of St. Mary’s and Commerce. San Antonio at the Aztec Theatre on the actor appeared for the film’s premiere in young Ricardovery Montalban, the released promote their films. After MGM from Mexico and Hollywood to Mexican-American touring acts also Sombrero La Prensa San Antonio Register. in 1953, starring a 38 Artists also came Artists 36 37 San Antonio in February, 40 Several 41 39

31

6 San Antonio’s West Side Sound Side West Antonio’s San

Sound Side West Antonio’s San 32 rock and roll to the and gaveWest birth Side Sound by 1950s. the late coming from a variety of musical blended with and cultural traditions that and Anglo influences Black, it was this hybridization of Chicano, In the end, were always welcome.” places wherethe few people, no matter what color they were, Eastwood was one of 1954. Phillips once pointed out that “The Eastwood Club was thoroughly integrated from its inception in synthesize their eclectic musical influences. further The a chance to work with nationally prominentartists acts and to touring acts that played the Eastwood. This gave these younger Randy Garibay to back up Bobby Bland, Bo Diddley, and other called on Doug Sahm, Rocky Morales, Frank Rodarte, and Orchestra was on vacation, mingled freely. Sometimes, Phillips regular, and Clifford Scott, who sat in when Lionel Hampton’s play.” Here locally influential musicians, such as Barnett, a music, as well as giving well-known a place to black performers in helping young up-and-comers to practice their instrumental Peterson club, owned points out, “The by Johnnie Phillips, was the town of St. Hedwig. As Texas music historian Karla Club, far out on Nebraskawas the Eastwood Country Street in as the main seedbed for emerging served West Side Sound by the middle of 1950s. Spot Barnett’s Twentieth Orchestra as its house band Century touring acts of the day and, as previously mentioned, featured Boulevard) hosted some of the most popular African-American Ebony Club on Nebraska Street (now Martin Luther King, Jr., Express News the emergence of rock and roll in the mid-1950s. at 210 West Market, and at the Municipal Auditorium. Club on Austin Highway,Country Auditorium at the Library appearedwith many prominent R&B artists, at the Seven Oaks African-American customers. establishment for the enjoyment of Anglo, Hispanic, and Louis Armstrong, Dizzy Gillespie, and the Ink Spots, to his number of jazz giants, such as Louis Jordan, Nat “King” Cole, club owners to allow integrated audiences. He brought a great jazz musician in his own right, was one of the first local Keyhole Club at the intersection of Iowa and Pine. a Albert, especially prevalent. In 1944, Don opened the original Albert influence on the local music scene. Jazz and R&B were Americans, seemed to have strong a disproportionately 1950s is that one of the city’s smallest ethnic groups, African As important as these differentAs important venues were, the club that The final factor that solidified the early West Side Sound was During the 1940s and 1950s, these great jazz players, along One of the remarkable things about San Antonio during the columnist Jim Beal, Jr., Alamo wrote that, “The 44 42 San Antonio 43 The compared to earlier styles: difference in the musicians’ approach to rock and roll as the West Side Sound, Charlie Alvarado, commented on the genrethe new of rock and roll. One of the elder statesmen blended their blues, jazz, country, and conjunto influences with conscious of the transformation they were undergoing, as they continued to matureyoung artists musically, they were “Two Hearts in Love.” that recorded regional hits, such as “Crazy, Crazy Daisy” and Meyers. Sahm had a band called Doug Sahm and the Markays formed a group called The Goldens, which featured Augie Charlie and the Jives.Alvarado started Denny Esmond soon formed Mando and the Chili Peppers. In 1958, Charlie Armandarez broke ranks with San Antonio Allegre in 1956 and rock and rollaccommodate the new market. Armando embrace rock and roll and began reforming their bands to but several early West Side Sound musicians did quickly the genre had a name.” City’s love about 15 seconds after affair with rock music started the desegregated military bases around the city.the desegregated military musicians also played in the officer’s clubs and NCO on venues were integrated by the late 1950s. Many of these up the majority of these night clubs’ clientele, all of these Vegas on Dolarosa Street. Although Mexican Americans made Commerce Street, the Cabaret on Houston Street, and the Las polka repertoire. Vegas. Even Flaco Jiménez began to mix rock and roll into his bandleader of the Del Kings and later moved the group to Las These artists and others played at such clubs as the FiestaThese artists on instead of just having my head down in the notes. way. I was involved with the crowd while I was playing within the changes. And it was just in a way different that, then your improvisation comes in. You just stay And you go from there. Once you know how to play and the fifth depending on what key you arefourth, in. progressions. Of course blues is just the first, and the chordalready the instrumentation knew everything. When rock and roll came along, you to get the right notes and eyes pealed on the charts [before]. It was more like a job to me. I had have my The big difference was that it more like a job 45 46 This may be a bit of an overstatement, In 1959, Frank Rodarte became the 47 While these 48 hit with “She’s About A Mover.” Douglas Quintet had its first big mid-1960s. A year later, the Sir so-called “British Invasion” of the other groups who were of the part the success of Beatles and to capitalize on of an effort part sounding name and appearance as band and give it a British- Meaux, suggested they form the producer and promoter, Huey Douglas Quintet. Houston Meyers teamed up to form the Sir South Texas. Hernandez’s band had originated as Little Joe and Temple, Texas, frequented the Alamo City during his tours of himself, Joe Hernandez, of Little Joe y La Familia, based in influenced during the 1970s. Although not from San Antonio Antonio itself, the West Side Sound became chiefly Latin- before they converged again musically in the 1990s. Within San Side Sound took the genre directions in a number of new international level. In the meantime, these pioneers of West West Side Sound had success again at the national or like a conjunto-styled accordion. Augie Meyers intentionally works to make his Vox organ sound while the snare follows In on the second and fourth. addition, strikes resoundinglyThe bass drum on the first and third beats also evidence of a Mexican-American polka styling in the song. out “Oh yeah, what I say!” at the end of several verses. There is that seems to be influenced by Ray Charles, Doug Sahm yells “She’s About a Mover,” a song corrido, and bolero styles. In like those used in mariachi, of major thirds,intervals much horns, which are spaced in slow R&B number that utilizes early 1960s. The former song is a of the West Side Sound of the a Mover” representative are very Bandstand Dick Clark’s earned the band an appearance on and the Sunglows, had a national hit with “Talk to Me,” which the 1960s. In 1963, Sunny Ozuna’s San Antonio group, Sunny West Side Sound by the late 1950s. traditions that blended with rock and roll to the and gave birth Anglo influences coming from a variety of musical and cultural Several years passed before the musicians who created the “Talk to Me” and “She’s About The West Side Sound exploded onto the national stage during In the end, it was this hybridization of Chicano, Black, and . 49 In 1964, Sahm and American 50 51 Sunny of Freddie Ozuna, courtesy records. police officers abusing the [Mexican] people, too.” people by the white establishment. And sometimes even brown brutality, about abuse of the citizens…Abuse of the brown Jail in San Antonio. with his Jalapeñoperformance Blues Band at the Bexar County producer Jeremy Marre filmed Rodarte during a 1978 time, but Rodarte movie active. remained Documentary very such as Charlie and the Jives, actually broke up during this influences throughout the 1970s. Most of the founding bands, continued to draw heavily from African-American musical overt political messages. and jazz into their repertoire, which also included songs with “hippie” look and began to mix polkas, corridos, rock and roll, in their suits and middle-class caught up in the burgeoning Chicano movement. They traded mostly pop music. By the early 1970s, however, the group was the Latinaires in 1959, wearing tailor-made suits and playing prisoners] getting a kick out of it, because he’s requesting all humorous. “See, the song is called ‘Last Meal,’ and they’re [the that the song is not political but, instead, intended to be of prison life. Rodarte refutesbrutality that claim. He insists narrator mistakenly reports that the song is a comment on playing an upbeat blues shuffle called “Last Meal,” and the Frank Rodarte was one West Side Sound pioneer that 56 In the film, Rodarte and his band are 52 According to the band’s keyboard downtown Market Square. Antonio at such venues as the frequently appeared in San Hernandez and the group growing Chicano movement. hippie counter-culture with the that reflected their blending of the cultural and political statement abandonment of the suits was a player, Sauce Gonzalez, the Dallas and Houston. Americans in Texas cities, such as police mistreatment of Mexican At times, he spoke openly about of the most politically-oriented. Joe Hernandez was one certainly impact on the West Side Sound, in the city like abuse of police that were happening at the time writing more about the things address social issues. “He was to use his musical career to political activism and willingness commented on Hernandez’s Antonio native Frank Rodarte orquesta Of those musicians who had an image in favor of a more 55 54 53 San

33 San Antonio’s West Side Sound Side West Antonio’s San Produced by The Berkeley Electronic Press, 2005 Olsen: San Antonio's West Side Sound 7

Sound Side West Antonio’s San 32 rock and roll to the and gaveWest birth Side Sound by 1950s. the late coming from a variety of musical blended with and cultural traditions that and Anglo influences Black, it was this hybridization of Chicano, In the end, were always welcome.” places wherethe few people, no matter what color they were, Eastwood was one of 1954. Phillips once pointed out that “The Eastwood Club was thoroughly integrated from its inception in synthesize their eclectic musical influences. further The a chance to work with nationally prominentartists acts and to touring acts that played the Eastwood. This gave these younger Randy Garibay to back up Bobby Bland, Bo Diddley, and other called on Doug Sahm, Rocky Morales, Frank Rodarte, and Orchestra was on vacation, mingled freely. Sometimes, Phillips regular, and Clifford Scott, who sat in when Lionel Hampton’s play.” Here locally influential musicians, such as Barnett, a music, as well as giving well-known a place to black performers in helping young up-and-comers to practice their instrumental Peterson club, owned points out, “The by Johnnie Phillips, was the town of St. Hedwig. As Texas music historian Karla Club, far out on Nebraskawas the Eastwood Country Street in as the main seedbed for emerging served West Side Sound by the middle of 1950s. Spot Barnett’s Twentieth Orchestra as its house band Century touring acts of the day and, as previously mentioned, featured Boulevard) hosted some of the most popular African-American Ebony Club on Nebraska Street (now Martin Luther King, Jr., Express News the emergence of rock and roll in the mid-1950s. at 210 West Market, and at the Municipal Auditorium. Club on Austin Highway,Country Auditorium at the Library appearedwith many prominent R&B artists, at the Seven Oaks African-American customers. establishment for the enjoyment of Anglo, Hispanic, and Louis Armstrong, Dizzy Gillespie, and the Ink Spots, to his number of jazz giants, such as Louis Jordan, Nat “King” Cole, club owners to allow integrated audiences. He brought a great jazz musician in his own right, was one of the first local Keyhole Club at the intersection of Iowa and Pine. a Albert, especially prevalent. In 1944, Don opened the original Albert influence on the local music scene. Jazz and R&B were Americans, seemed to have strong a disproportionately 1950s is that one of the city’s smallest ethnic groups, African As important as these differentAs important venues were, the club that The final factor that solidified the early West Side Sound was During the 1940s and 1950s, these great jazz players, along One of the remarkable things about San Antonio during the columnist Jim Beal, Jr., Alamo wrote that, “The 44 42 San Antonio 43 The compared to earlier styles: difference in the musicians’ approach to rock and roll as the West Side Sound, Charlie Alvarado, commented on the genrethe new of rock and roll. One of the elder statesmen blended their blues, jazz, country, and conjunto influences with conscious of the transformation they were undergoing, as they continued to matureyoung artists musically, they were “Two Hearts in Love.” that recorded regional hits, such as “Crazy, Crazy Daisy” and Meyers. Sahm had a band called Doug Sahm and the Markays formed a group called The Goldens, which featured Augie Charlie and the Jives.Alvarado started Denny Esmond soon formed Mando and the Chili Peppers. In 1958, Charlie Armandarez broke ranks with San Antonio Allegre in 1956 and rock and rollaccommodate the new market. Armando embrace rock and roll and began reforming their bands to but several early West Side Sound musicians did quickly the genre had a name.” City’s love about 15 seconds after affair with rock music started the desegregated military bases around the city.the desegregated military musicians also played in the officer’s clubs and NCO on venues were integrated by the late 1950s. Many of these up the majority of these night clubs’ clientele, all of these Vegas on Dolarosa Street. Although Mexican Americans made Commerce Street, the Cabaret on Houston Street, and the Las polka repertoire. Vegas. Even Flaco Jiménez began to mix rock and roll into his bandleader of the Del Kings and later moved the group to Las These artists and others played at such clubs as the FiestaThese artists on instead of just having my head down in the notes. way. I was involved with the crowd while I was playing within the changes. And it was just in a way different that, then your improvisation comes in. You just stay And you go from there. Once you know how to play and the fifth depending on what key you arefourth, in. progressions. Of course blues is just the first, and the chordalready the instrumentation knew everything. When rock and roll came along, you to get the right notes and eyes pealed on the charts [before]. It was more like a job to me. I had have my The big difference was that it more like a job 45 46 This may be a bit of an overstatement, In 1959, Frank Rodarte became the 47 While these 48 http://ecommons.txstate.edu/jtmh/vol5/iss1/4 hit with “She’s About A Mover.” Douglas Quintet had its first big mid-1960s. A year later, the Sir so-called “British Invasion” of the other groups who were of the part the success of Beatles and to capitalize on of an effort part sounding name and appearance as band and give it a British- Meaux, suggested they form the producer and promoter, Huey Douglas Quintet. Houston Meyers teamed up to form the Sir South Texas. Hernandez’s band had originated as Little Joe and Temple, Texas, frequented the Alamo City during his tours of himself, Joe Hernandez, of Little Joe y La Familia, based in influenced during the 1970s. Although not from San Antonio Antonio itself, the West Side Sound became chiefly Latin- before they converged again musically in the 1990s. Within San Side Sound took the genre directions in a number of new international level. In the meantime, these pioneers of West West Side Sound had success again at the national or like a conjunto-styled accordion. Augie Meyers intentionally works to make his Vox organ sound while the snare follows In on the second and fourth. addition, strikes resoundinglyThe bass drum on the first and third beats also evidence of a Mexican-American polka styling in the song. out “Oh yeah, what I say!” at the end of several verses. There is that seems to be influenced by Ray Charles, Doug Sahm yells “She’s About a Mover,” a song corrido, and bolero styles. In like those used in mariachi, of major thirds,intervals much horns, which are spaced in slow R&B number that utilizes early 1960s. The former song is a of the West Side Sound of the a Mover” representative are very Bandstand Dick Clark’s earned the band an appearance on and the Sunglows, had a national hit with “Talk to Me,” which the 1960s. In 1963, Sunny Ozuna’s San Antonio group, Sunny West Side Sound by the late 1950s. traditions that blended with rock and roll to the and gave birth Anglo influences coming from a variety of musical and cultural Several years passed before the musicians who created the “Talk to Me” and “She’s About The West Side Sound exploded onto the national stage during In the end, it was this hybridization of Chicano, Black, and . 49 In 1964, Sahm and American 50 51 Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 Sunny of Freddie Ozuna, courtesy records. police officers abusing the [Mexican] people, too.” people by the white establishment. And sometimes even brown brutality, about abuse of the citizens…Abuse of the brown Jail in San Antonio. with his Jalapeñoperformance Blues Band at the Bexar County producer Jeremy Marre filmed Rodarte during a 1978 time, but Rodarte movie active. remained Documentary very such as Charlie and the Jives, actually broke up during this influences throughout the 1970s. Most of the founding bands, continued to draw heavily from African-American musical overt political messages. and jazz into their repertoire, which also included songs with “hippie” look and began to mix polkas, corridos, rock and roll, in their suits and middle-class caught up in the burgeoning Chicano movement. They traded mostly pop music. By the early 1970s, however, the group was the Latinaires in 1959, wearing tailor-made suits and playing prisoners] getting a kick out of it, because he’s requesting all humorous. “See, the song is called ‘Last Meal,’ and they’re [the that the song is not political but, instead, intended to be of prison life. Rodarte refutesbrutality that claim. He insists narrator mistakenly reports that the song is a comment on playing an upbeat blues shuffle called “Last Meal,” and the Frank Rodarte was one West Side Sound pioneer that 56 In the film, Rodarte and his band are 52 According to the band’s keyboard downtown Market Square. Antonio at such venues as the frequently appeared in San Hernandez and the group growing Chicano movement. hippie counter-culture with the that reflected their blending of the cultural and political statement abandonment of the suits was a player, Sauce Gonzalez, the Dallas and Houston. Americans in Texas cities, such as police mistreatment of Mexican At times, he spoke openly about of the most politically-oriented. Joe Hernandez was one certainly impact on the West Side Sound, in the city like abuse of police that were happening at the time writing more about the things address social issues. “He was to use his musical career to political activism and willingness commented on Hernandez’s Antonio native Frank Rodarte orquesta Of those musicians who had an image in favor of a more 55 54 53 San

33 8 Sound Side West Antonio’s San Augie Meyers, of courtesy White Boy Records & Tapes other worlds out there.” same crater like my papa did. Doug showed me there were conjunto music.’ There are so many players who stayed in the ‘you’re not supposed to play just that simple, traditional helped introduce him to the larger music world. “Doug told me with Aaron Howard,an interview Jiménez told of how Sahm beyondexpand even his traditional conjunto roots. further In with such a high-profile and eclectic group allowed Jiménez to Bob Dylan on Sahm’s album Doug Sahm recruited Jiménez to play alongside Ry Cooder and of the other leading figures of the West Side Sound. In 1973, requesting all these things.” these [things like] blue banana split. For his last meal he’s The 1970s also was a transitional time for Flaco Jiménez, one 58 57 ogSahm and Band Doug . Working the Progressive movement, Country in which hippies, rednecks, 35 to Austin during the early 1970s. Austin was the epicenter of worlds” even more. Together,” from their 1994 CD Musslewhite, and, on the Rolling Stones’ “Sweethearts Cooder, Jiménez has played with Dwight Yoakam, Charlie larger international arena. minds would prompt Jiménez to play for the first time in of him, but then he opened my eyes” and that meeting of the and found out my history. He tracked me down. I never heard accordion. Jiménez recalls that Cooder “checked out conjunto greatly appreciated the Tex-Mex style of Jiménez and his The West Side Sound also migrated northward up Interstate- Ry Cooder also brought Flaco Jiménez out into “other 59 Cooder, a musician and musicologist, 60 Since working with Dylan and Voodoo Lounge .

[ n okadrl,sung in both English and Spanish. and rock and roll,

sound that has become a hallmark of the Austin music scene. Austin, but he also contributed significantly to the eclectic the unique diversity of San Antonio’s West Side Sound to and Soap Creek Saloon. In so doing, Sahm not only brought Austin clubs, such as the famed Armadillo World Headquarters be widely popular in Austin. Sahm soon became a regular in from one genreeffortlessly to another. This approach proved to pointing out that Sahm used a “scatter-gun approach,” moving was still more a reflection of the diversity of San Antonio,” Sahm’s contribution to the Austin scene, saying that “his music began spending more time in Austin. Reid acknowledges record, which also features Flaco Jiménez. started playing in Austin:started commented on The Western Head Band two years after Meyers Joe Nick Patoski, who later wrote Selena’s biography, album.” and Dr. John and resurfaced with a country-rock-blues enlisted a superstar array of sidemen that included Bob Dylan Quintet, lapsed into semi-retirement for a while, then, in 1973, “Sahm got extremely tired of the routine with the Sir Douglas which the Quintet had played for years. As Reid points out, Both had grown of the San Francisco weary “hippie” scene, in Augie Meyers also were of the 1970s migration to Austin. part Country, sometimes called “Redneck Rock.” Doug Sahm and combined their diverse musical influences to spawn Progressive elsewhere. Nelson and others who moved to the Capitol City in Nashville,music industry New York, Los Angeles, and early 1970s, because they were disillusioned with the state of Nelson and many other musicians relocated to Austin in the Rise of Redneck Rock and roll, R&B, and even reggae. In his book, musical hybrid that celebrated blues, country,new folk, rock their socio-economic and ideological differences and revel in this college students, and other disparate groups seemed to set aside the audience and said, “Austin just keeps growing, don’t it?” growth of the Austin music scene. Between songs, he turned to there,performance Meyers quickly recognized the tremendous his group, the Western Head Band. During the group’s first The Texas Tornados It was around this time, in the early 1970s, that Doug Sahm Soon after Sahm moved to Austin, Augie Meyers arrived with first made their reputation here in Austin two years definitely has a countrified flavor to it and the group Their loose, easy going type of dance music 61 That album, of course, is the Doug Sahm and Band , Jan Reid discusses the fact that Willie D etrdamxo ald,cuty &,conjunto, R&B, country, a mix of ballads, CD] featured The Improbable 62 63 Huerta), to create the super group, the Texas Tornados. this time with Flaco Jiménez and Freddy Fender (born Baldemar during the 1990s, Meyers and Sahm came together once again, Side Sound. During the explosion of interest in Latino music of the development of the had always been an essential part West our neighbors as well.” is uniquely American, to celebrate one’s own culture, and that of especially among young Latinos, is that it became “OK, columnist Ramiro Burr, one reason for this upswing in interest, music and culture. According to national and international groundswell in popularity of Latino Sound occurred during the 1990s, with an unprecedented redefine music. mainstream country impact on the Progressive scene, which, in turn, helped Country Austin in the 1970s, West Side Sound had an important study, further this topic deserves it is clear that, in regard to conjunto, the Chicano, and country-western.” Sahm, says that “It was just a mix of all those styles. The Lucky Tomblin, a singer-songwriter and long-time friend of Tex-Mex background…it was that conjunto/country, etc.” of it was that Sanpart Antonio sound. It was that great, great, something different; it had this great creative energy, and a huge Texas] was giving us of the country…This to this part coming up [from San all started artists Antonio and South because of Doug, and all the players, all the hipsters, and publicly by Young says that the Progressive movement, Country lauded so developed as it did because of Doug Sahm’s presence there. Danny Roy Young, believes that much of the Austin music scene evolving musical environment there. Veteran Austin musician, brought the West Side Sound to Austin of the and made it part music community. In reality, Meyers and Sahm had simply of the Austinthought of by many fans as being an integral part the unique musical environment of San Antonio, yet they were Meyers, Sahm, Jiménez, and Fender actually formed the The most recent phase in the evolution of the West Side It ironic that Meyers is somewhat and Sahm were steeped in octet is a San Antonio product. member of the high time real funny because every play in comparison to pure country. And which gets all the Tex-Mex originals, polkas, and Dixieland they the Southwest. Which is kind of amusing considering ago before they began extensive touring throughout Rolling Stone 66 , “Started developing…in large part This celebration of collective culture 64 San Antonio Express-News 65 Although

35 San Antonio’s West Side Sound Side West Antonio’s San Produced by The Berkeley Electronic Press, 2005 Olsen: San Antonio's West Side Sound 9 Augie Meyers, of courtesy White Boy Records & Tapes other worlds out there.” same crater like my papa did. Doug showed me there were conjunto music.’ There are so many players who stayed in the ‘you’re not supposed to play just that simple, traditional helped introduce him to the larger music world. “Doug told me with Aaron Howard,an interview Jiménez told of how Sahm beyondexpand even his traditional conjunto roots. further In with such a high-profile and eclectic group allowed Jiménez to Bob Dylan on Sahm’s album Doug Sahm recruited Jiménez to play alongside Ry Cooder and of the other leading figures of the West Side Sound. In 1973, requesting all these things.” these [things like] blue banana split. For his last meal he’s The 1970s also was a transitional time for Flaco Jiménez, one 58 57 ogSahm and Band Doug . Working the Progressive movement, Country in which hippies, rednecks, 35 to Austin during the early 1970s. Austin was the epicenter of worlds” even more. Together,” from their 1994 CD Musslewhite, and, on the Rolling Stones’ “Sweethearts Cooder, Jiménez has played with Dwight Yoakam, Charlie larger international arena. minds would prompt Jiménez to play for the first time in of him, but then he opened my eyes” and that meeting of the and found out my history. He tracked me down. I never heard accordion. Jiménez recalls that Cooder “checked out conjunto greatly appreciated the Tex-Mex style of Jiménez and his The West Side Sound also migrated northward up Interstate- Ry Cooder also brought Flaco Jiménez out into “other 59 Cooder, a musician and musicologist, 60 Since working with Dylan and Voodoo Lounge . http://ecommons.txstate.edu/jtmh/vol5/iss1/4

[ n okadrl,sung in both English and Spanish. and rock and roll,

sound that has become a hallmark of the Austin music scene. Austin, but he also contributed significantly to the eclectic the unique diversity of San Antonio’s West Side Sound to and Soap Creek Saloon. In so doing, Sahm not only brought Austin clubs, such as the famed Armadillo World Headquarters be widely popular in Austin. Sahm soon became a regular in from one genreeffortlessly to another. This approach proved to pointing out that Sahm used a “scatter-gun approach,” moving was still more a reflection of the diversity of San Antonio,” Sahm’s contribution to the Austin scene, saying that “his music began spending more time in Austin. Reid acknowledges record, which also features Flaco Jiménez. started playing in Austin:started commented on The Western Head Band two years after Meyers Joe Nick Patoski, who later wrote Selena’s biography, album.” and Dr. John and resurfaced with a country-rock-blues enlisted a superstar array of sidemen that included Bob Dylan Quintet, lapsed into semi-retirement for a while, then, in 1973, “Sahm got extremely tired of the routine with the Sir Douglas which the Quintet had played for years. As Reid points out, Both had grown of the San Francisco weary “hippie” scene, in Augie Meyers also were of the 1970s migration to Austin. part Country, sometimes called “Redneck Rock.” Doug Sahm and combined their diverse musical influences to spawn Progressive elsewhere. Nelson and others who moved to the Capitol City in Nashville,music industry New York, Los Angeles, and early 1970s, because they were disillusioned with the state of Nelson and many other musicians relocated to Austin in the Rise of Redneck Rock and roll, R&B, and even reggae. In his book, musical hybrid that celebrated blues, country,new folk, rock their socio-economic and ideological differences and revel in this college students, and other disparate groups seemed to set aside the audience and said, “Austin just keeps growing, don’t it?” growth of the Austin music scene. Between songs, he turned to there,performance Meyers quickly recognized the tremendous his group, the Western Head Band. During the group’s first The Texas Tornados It was around this time, in the early 1970s, that Doug Sahm Soon after Sahm moved to Austin, Augie Meyers arrived with first made their reputation here in Austin two years definitely has a countrified flavor to it and the group Their loose, easy going type of dance music 61 That album, of course, is the Doug Sahm and Band , Jan Reid discusses the fact that Willie Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 D etrdamxo ald,cuty &,conjunto, R&B, country, a mix of ballads, CD] featured The Improbable 62 63 Huerta), to create the super group, the Texas Tornados. this time with Flaco Jiménez and Freddy Fender (born Baldemar during the 1990s, Meyers and Sahm came together once again, Side Sound. During the explosion of interest in Latino music of the development of the had always been an essential part West our neighbors as well.” is uniquely American, to celebrate one’s own culture, and that of especially among young Latinos, is that it became “OK, columnist Ramiro Burr, one reason for this upswing in interest, music and culture. According to national and international groundswell in popularity of Latino Sound occurred during the 1990s, with an unprecedented redefine music. mainstream country impact on the Progressive scene, which, in turn, helped Country Austin in the 1970s, West Side Sound had an important study, further this topic deserves it is clear that, in regard to conjunto, the Chicano, and country-western.” Sahm, says that “It was just a mix of all those styles. The Lucky Tomblin, a singer-songwriter and long-time friend of Tex-Mex background…it was that conjunto/country, etc.” of it was that Sanpart Antonio sound. It was that great, great, something different; it had this great creative energy, and a huge Texas] was giving us of the country…This to this part coming up [from San all started artists Antonio and South because of Doug, and all the players, all the hipsters, and publicly by Young says that the Progressive movement, Country lauded so developed as it did because of Doug Sahm’s presence there. Danny Roy Young, believes that much of the Austin music scene evolving musical environment there. Veteran Austin musician, brought the West Side Sound to Austin of the and made it part music community. In reality, Meyers and Sahm had simply of the Austinthought of by many fans as being an integral part the unique musical environment of San Antonio, yet they were Meyers, Sahm, Jiménez, and Fender actually formed the The most recent phase in the evolution of the West Side It ironic that Meyers is somewhat and Sahm were steeped in octet is a San Antonio product. member of the high time real funny because every play in comparison to pure country. And which gets all the Tex-Mex originals, polkas, and Dixieland they the Southwest. Which is kind of amusing considering ago before they began extensive touring throughout Rolling Stone 66 , “Started developing…in large part This celebration of collective culture 64 San Antonio Express-News 65 Although

35 10 San Antonio’s West Side Sound Side West Antonio’s San San Antonio’s West Side Sound Side West Antonio’s San

Olsen: San Antonio's West Side Sound San Antonio’s West Side Sound Side West Antonio’s San

Texas Tornados in 1989. The following year, they released their commented that, one of the two CDs they produced, Juke Box van. Crawling over a startled Rocky Morales, she shut and Garibay won a number of awards during his career. In 1994 first album, Texas Tornados. The CD was very much a reflection Music, included some of his favorite musicians. “We had locked the door and insisted that the driver “get going.” The and 1995, he won the Pura Vida Hispanic Music Award. In of those earlier influences from San Antonio’s unique West Side George Raines from [Austin] on drums, and Jack Barber [on driver finally began moving.71 1996, he received the West Side Rhythm and Blues Award, and Sound. It featured a mix of ballads, country, R&B, conjunto, bass],” as well as one of Antone’s favorite San Antonio vocalists, Flaco Jiménez also gained further national and international just before Garibay died in 2002, Charlie Alvarado presented and rock and roll, sung in both English and Spanish. In 1991, Randy Garibay. Following the recordings, Antone and his recognition during the 1980s and 1990s. In addition to the him the first Jiveman Award.73 Garibay also was chosen as the the album charted on Billboard’s rock, Latin, and country record label helped sponsor a tour of the group that included Grammy he won with the Tornados, he received one for Best featured performer at the 1998 Chicano Music Awards. charts, and also won a Grammy.67 The West Side Horns, a horn Los Angeles and New York.69 Mexican-American Music Performance in 1987 with Ay Te Chicano filmmaker Efrain Guiterrez perhaps paid Garibay the section formed by several veteran San Antonio musicians, often Sahm’s second release on the Antone’s label, The Last Real Dejo en San Antonio, another for Best Mexican-American highest compliment of all when he used eight of his songs in Music Performance in 1995 with Flaco Jiménez, in 1996 as Best the soundtrack for his 2001 film Lowrider Spring Break en San Mexican-American/Tejano Music Performance with the same Quilmas. Before he passed away, Garibay teamed up with I went down Nogalitos, looking for barbacoa and Big Red; recording from the previous year, and yet another Grammy in Ricardo Montalban and Cheech Marin in an ongoing effort to Yes, I went down Nogalitos, looking for barbacoa and Big Red; 1998 for the Tejano category with Said and Done. Jiménez says make Chicanos more “visible,” as he put it, to mainstream I could have had some menudo, but I had some cabeza instead! that, what works best for him is to play a combination of America. Garibay called it the “Power of visibility for polkas, boleros, country, and even rock and roll. Jiménez, and Chicanos.”74 To that end, he wrote the title track for his 2001 most conjunto musicians, also have drawn from the musical CD, Invisible Society. It is a hard rocking tune that carries a backed up the Tornados when they toured nationally and Texas Blues Band, came in 1994 and included the West Side traditions of the large German-American population around strong political message: internationally. Spot Barnett, a founding member of the Horns, Horns. It featured covers by Lowell Fulson, T-Bone Walker, and San Antonio. In fact, the accordion and the polka tradition recalls that the group was the “icing” on the cake when they several Louisiana “Swamp Pop” tunes, such as “Bad Boy” and probably entered the Mexican-American musical repertoire in I fought your wars, washed your cars played behind the popular Tornados: “I’m a Fool to Care.” The CD was recorded live at Antone’s in the mid-1800s, as a result of the large influx of German I even shined your shoes. Austin. Although it did not win, the record was nominated for immigrants into Central Texas around that time. As Jiménez I cooked your meals, worked your fields Now, this is what we did all through Europe. And a Grammy in 1995. describes it, “I mean, you know, sharing cultures, sharing But me you still refuse. I’m talkin’ about London, Paris, Germany, Holland, Sahm had developed a large international fan base long music, blending different kinds of music together man, it’s just Invisible society – is what you want to see.
36 Switzerland. They would put the light on us when we before he joined the Texas Tornados, and his worldwide fun, fun, fun and having a good time. It’s the main thing.”72 Invisible Society – won’t even look at me.
37 were actively playing…Yeah, we gave the show class. popularity continued to grow throughout the 1990s. Debora Jiménez recorded his latest two CDs, Sleepy Town and Squeeze We gave it the icing.68 Hanson, Sahm’s personal manager during the final years of his Box King, in his own studio. In keeping with his West Side Garibay’s songs represented how far some parts of Texas life, recalls how popular he was in Europe. At a concert in Sound roots, these CDs feature a mix of country, conjunto, and society had progressed, in terms of cross-cultural interaction, Other members of the West Side Horns include Rocky Lucerne, Switzerland, in 1998, Sahm and his Last Real Texas rock and roll, with lyrics in both English and Spanish. Like but they also reflected the persistent barriers to true social Morales, Louis Bustos, Al Gomez, and Sauce Gonzalez, who Blues Band played at a casino in which the proprietors opened Doug Sahm, Jiménez has become very popular in Europe and equality. For generations, Mexican Americans had faced played keyboards with Sonny Ozuna on American Bandstand in several doors to let the large crowd in. Hanson remembers that elsewhere throughout the world. The popularity of his widespread discrimination in employment, education, and 1963 and with Joe Hernandez during his heyday in the 1970s. it was “wall to wall people. You couldn’t get through the crowd; accordion playing has spawned numerous conjunto bands in other areas. This began to slowly change in the latter half of the Having the West Side Horns join the Texas Tornados to it was that tight.” Perhaps, because of poor planning on the part such seemingly unlikely places as Japan and the Netherlands. twentieth century, but only after Mexican-American activists, perform a variety of musical styles was perhaps the ultimate of the casino’s management, the musicians were brought into Another key figure in the development of the West Side including such musicians as Randy Garibay and Joe fruition of the West Side Sound. Because of the band’s the building at the opposite end of the room from the stage and Sound was the late Randy Garibay. He never became as well Hernandez, convinced other Americans to recognize the social, tremendous popularity worldwide, the unique musical had to force their way through the massive crowd to get to the known outside of Texas as Sahm, Meyers, and Jiménez, but political, and economic significance of Mexican Americans. amalgamation born in San Antonio in the 1950s was finally front of the hall. The band’s normal routine was to start Garibay’s rendition of the West Side Sound style, steeped Another pioneer of the West Side Sound who has left an making its way out to nearly every corner of the globe during without Sahm to get the crowd warmed up and then bring him heavily in blues and R&B, resonated well beyond the San indelible mark on Texas music is Clifford Scott. Before his the 1990s. Sadly, this marriage of diverse musical talents did out on stage. When the time came for Sahm to appear, Antonio music community. His three CDs, Chicano Blues Man, death in 1993, the man who was known by his friends as not last long. Dough Sahm died suddenly in 1999, and the however, Hanson had to push people out of the way, so that Barbacoa Blues, and Invisible Society, reflect a strong blues and “Scotty,” played throughout San Antonio. He did release one Texas Tornados have remained largely inactive ever since. Sahm could finally reach the stage. A similar situation occurred R&B influence, but they also reveal the impact Mexican- record, “Mr. Honky Tonk is Back in Town,” on the New Rose Sahm also had been quite active as a solo artist at the same after the show, as hundreds of adoring fans tried to get close American music had on Garibay, who grew up as a child of label in 1992.75 Frank Rodarte has referred to Scott as his time that the Texas Tornados were becoming so internationally enough to touch Sahm.70 migrant Mexican farm workers. His signature song, “Barbacoa “mentor,” and, along with Randy Garibay, San Antonio jazz popular. He went back to his West Side Sound roots with two In Belgium, during the same tour, Sahm and the band were Blues,” which features Al Gomez on trumpet and Garibay on bassist George Prado, and others, Rodarte had the honor of releases, Juke Box Music and Last Real Texas Blues Band, both being transported in a van to and from the stage area at an lead guitar, blends blues with distinct Chicano lyrics. His playing at Scott’s funeral. Rodarte recalled, “His sister requested released on Antone’s Records. These CDs reflect a variety of outdoor festival. After the show, Hanson ushered the musicians soulful voice, which has been compared to Bobby Bland’s, that I play at his funeral…I did ‘Honky Tonk’ at the open regional influences, including Guitar Slim, T-Bone Walker, and into the van in an attempt to leave quickly. According to immediately cuts through to the listener: casket…We played all of Clifford’s favorite songs,” such as other Texas and Louisiana blues artists. In 1988, Clifford Hanson, when Sahm got into the van, “The fans were literally “There Is No Greater Love” and “As Time Goes By.”76 In Antone, owner of the legendary Austin blues club, Antone’s, coming in right behind Doug.” Hanson told the driver to I went down Nogalitos, looking for barbacoa and Big Red; addition to the great respect he earned from fellow musicians, heard Sahm and Randy Garibay performing songs from some “Drive on,” but he would not move, because the frenzied fans Yes, I went down Nogalitos, looking for barbacoa and Big Red; Clifford Scott’s legacy is his unique tenor saxophone style, of these artists. Antone told them, “Let’s record this; don’t wait were still trying to come through the door. Finally, in I could have had some menudo, but I had some cabeza instead! which is still celebrated by Rodarte, Charlie Alvarado, Spot any longer,” and they soon went into the studio. Antone later desperation, Hanson had to push her way to the front of the Barnett, Rocky Morales, Al Gomez, and Louis Bustos, of which Produced by The Berkeley Electronic Press, 2005 11 San Antonio’s West Side Sound Side West Antonio’s San

Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 San Antonio’s West Side Sound Side West Antonio’s San

Texas Tornados in 1989. The following year, they released their commented that, one of the two CDs they produced, Juke Box van. Crawling over a startled Rocky Morales, she shut and Garibay won a number of awards during his career. In 1994 first album, Texas Tornados. The CD was very much a reflection Music, included some of his favorite musicians. “We had locked the door and insisted that the driver “get going.” The and 1995, he won the Pura Vida Hispanic Music Award. In of those earlier influences from San Antonio’s unique West Side George Raines from [Austin] on drums, and Jack Barber [on driver finally began moving.71 1996, he received the West Side Rhythm and Blues Award, and Sound. It featured a mix of ballads, country, R&B, conjunto, bass],” as well as one of Antone’s favorite San Antonio vocalists, Flaco Jiménez also gained further national and international just before Garibay died in 2002, Charlie Alvarado presented and rock and roll, sung in both English and Spanish. In 1991, Randy Garibay. Following the recordings, Antone and his recognition during the 1980s and 1990s. In addition to the him the first Jiveman Award.73 Garibay also was chosen as the the album charted on Billboard’s rock, Latin, and country record label helped sponsor a tour of the group that included Grammy he won with the Tornados, he received one for Best featured performer at the 1998 Chicano Music Awards. charts, and also won a Grammy.67 The West Side Horns, a horn Los Angeles and New York.69 Mexican-American Music Performance in 1987 with Ay Te Chicano filmmaker Efrain Guiterrez perhaps paid Garibay the section formed by several veteran San Antonio musicians, often Sahm’s second release on the Antone’s label, The Last Real Dejo en San Antonio, another for Best Mexican-American highest compliment of all when he used eight of his songs in Music Performance in 1995 with Flaco Jiménez, in 1996 as Best the soundtrack for his 2001 film Lowrider Spring Break en San Mexican-American/Tejano Music Performance with the same Quilmas. Before he passed away, Garibay teamed up with I went down Nogalitos, looking for barbacoa and Big Red; recording from the previous year, and yet another Grammy in Ricardo Montalban and Cheech Marin in an ongoing effort to Yes, I went down Nogalitos, looking for barbacoa and Big Red; 1998 for the Tejano category with Said and Done. Jiménez says make Chicanos more “visible,” as he put it, to mainstream I could have had some menudo, but I had some cabeza instead! that, what works best for him is to play a combination of America. Garibay called it the “Power of visibility for polkas, boleros, country, and even rock and roll. Jiménez, and Chicanos.”74 To that end, he wrote the title track for his 2001 most conjunto musicians, also have drawn from the musical CD, Invisible Society. It is a hard rocking tune that carries a backed up the Tornados when they toured nationally and Texas Blues Band, came in 1994 and included the West Side traditions of the large German-American population around strong political message: internationally. Spot Barnett, a founding member of the Horns, Horns. It featured covers by Lowell Fulson, T-Bone Walker, and San Antonio. In fact, the accordion and the polka tradition recalls that the group was the “icing” on the cake when they several Louisiana “Swamp Pop” tunes, such as “Bad Boy” and probably entered the Mexican-American musical repertoire in I fought your wars, washed your cars played behind the popular Tornados: “I’m a Fool to Care.” The CD was recorded live at Antone’s in the mid-1800s, as a result of the large influx of German I even shined your shoes. Austin. Although it did not win, the record was nominated for immigrants into Central Texas around that time. As Jiménez I cooked your meals, worked your fields Now, this is what we did all through Europe. And a Grammy in 1995. describes it, “I mean, you know, sharing cultures, sharing But me you still refuse. I’m talkin’ about London, Paris, Germany, Holland, Sahm had developed a large international fan base long music, blending different kinds of music together man, it’s just Invisible society – is what you want to see.
36 Switzerland. They would put the light on us when we before he joined the Texas Tornados, and his worldwide fun, fun, fun and having a good time. It’s the main thing.”72 Invisible Society – won’t even look at me.
37 were actively playing…Yeah, we gave the show class. popularity continued to grow throughout the 1990s. Debora Jiménez recorded his latest two CDs, Sleepy Town and Squeeze We gave it the icing.68 Hanson, Sahm’s personal manager during the final years of his Box King, in his own studio. In keeping with his West Side Garibay’s songs represented how far some parts of Texas life, recalls how popular he was in Europe. At a concert in Sound roots, these CDs feature a mix of country, conjunto, and society had progressed, in terms of cross-cultural interaction, Other members of the West Side Horns include Rocky Lucerne, Switzerland, in 1998, Sahm and his Last Real Texas rock and roll, with lyrics in both English and Spanish. Like but they also reflected the persistent barriers to true social Morales, Louis Bustos, Al Gomez, and Sauce Gonzalez, who Blues Band played at a casino in which the proprietors opened Doug Sahm, Jiménez has become very popular in Europe and equality. For generations, Mexican Americans had faced played keyboards with Sonny Ozuna on American Bandstand in several doors to let the large crowd in. Hanson remembers that elsewhere throughout the world. The popularity of his widespread discrimination in employment, education, and 1963 and with Joe Hernandez during his heyday in the 1970s. it was “wall to wall people. You couldn’t get through the crowd; accordion playing has spawned numerous conjunto bands in other areas. This began to slowly change in the latter half of the Having the West Side Horns join the Texas Tornados to it was that tight.” Perhaps, because of poor planning on the part such seemingly unlikely places as Japan and the Netherlands. twentieth century, but only after Mexican-American activists, perform a variety of musical styles was perhaps the ultimate of the casino’s management, the musicians were brought into Another key figure in the development of the West Side including such musicians as Randy Garibay and Joe fruition of the West Side Sound. Because of the band’s the building at the opposite end of the room from the stage and Sound was the late Randy Garibay. He never became as well Hernandez, convinced other Americans to recognize the social, tremendous popularity worldwide, the unique musical had to force their way through the massive crowd to get to the known outside of Texas as Sahm, Meyers, and Jiménez, but political, and economic significance of Mexican Americans. amalgamation born in San Antonio in the 1950s was finally front of the hall. The band’s normal routine was to start Garibay’s rendition of the West Side Sound style, steeped Another pioneer of the West Side Sound who has left an making its way out to nearly every corner of the globe during without Sahm to get the crowd warmed up and then bring him heavily in blues and R&B, resonated well beyond the San indelible mark on Texas music is Clifford Scott. Before his the 1990s. Sadly, this marriage of diverse musical talents did out on stage. When the time came for Sahm to appear, Antonio music community. His three CDs, Chicano Blues Man, death in 1993, the man who was known by his friends as not last long. Dough Sahm died suddenly in 1999, and the however, Hanson had to push people out of the way, so that Barbacoa Blues, and Invisible Society, reflect a strong blues and “Scotty,” played throughout San Antonio. He did release one Texas Tornados have remained largely inactive ever since. Sahm could finally reach the stage. A similar situation occurred R&B influence, but they also reveal the impact Mexican- record, “Mr. Honky Tonk is Back in Town,” on the New Rose Sahm also had been quite active as a solo artist at the same after the show, as hundreds of adoring fans tried to get close American music had on Garibay, who grew up as a child of label in 1992.75 Frank Rodarte has referred to Scott as his time that the Texas Tornados were becoming so internationally enough to touch Sahm.70 migrant Mexican farm workers. His signature song, “Barbacoa “mentor,” and, along with Randy Garibay, San Antonio jazz popular. He went back to his West Side Sound roots with two In Belgium, during the same tour, Sahm and the band were Blues,” which features Al Gomez on trumpet and Garibay on bassist George Prado, and others, Rodarte had the honor of releases, Juke Box Music and Last Real Texas Blues Band, both being transported in a van to and from the stage area at an lead guitar, blends blues with distinct Chicano lyrics. His playing at Scott’s funeral. Rodarte recalled, “His sister requested released on Antone’s Records. These CDs reflect a variety of outdoor festival. After the show, Hanson ushered the musicians soulful voice, which has been compared to Bobby Bland’s, that I play at his funeral…I did ‘Honky Tonk’ at the open regional influences, including Guitar Slim, T-Bone Walker, and into the van in an attempt to leave quickly. According to immediately cuts through to the listener: casket…We played all of Clifford’s favorite songs,” such as other Texas and Louisiana blues artists. In 1988, Clifford Hanson, when Sahm got into the van, “The fans were literally “There Is No Greater Love” and “As Time Goes By.”76 In Antone, owner of the legendary Austin blues club, Antone’s, coming in right behind Doug.” Hanson told the driver to I went down Nogalitos, looking for barbacoa and Big Red; addition to the great respect he earned from fellow musicians, heard Sahm and Randy Garibay performing songs from some “Drive on,” but he would not move, because the frenzied fans Yes, I went down Nogalitos, looking for barbacoa and Big Red; Clifford Scott’s legacy is his unique tenor saxophone style, of these artists. Antone told them, “Let’s record this; don’t wait were still trying to come through the door. Finally, in I could have had some menudo, but I had some cabeza instead! which is still celebrated by Rodarte, Charlie Alvarado, Spot any longer,” and they soon went into the studio. Antone later desperation, Hanson had to push her way to the front of the Barnett, Rocky Morales, Al Gomez, and Louis Bustos, of which http://ecommons.txstate.edu/jtmh/vol5/iss1/4 12 San Antonio’s West Side Sound Side West Antonio’s San

Olsen: San Antonio's West Side Sound San Antonio’s West Side Sound Side West Antonio’s San

the latter four are current members of the West Side Horns. unique place, especially as a major urban center in the South, of an ongoing power struggle, people do have the power to 47. The San Antonio Light ran a four-part series on the rock and roll transform themselves. This is what the West Side Sounds craze, largely reiterating the fears that local authorities had The West Side Horns still perform today, both as a band and and its uniqueness has allowed for a more pluralistic, multi- musicians did. regarding the raucous nature of the genre. See the Light June 17- as a back up group for such acts as Cats Don’t Sleep, Randy cultural environment to flourish. The West Side Sound is a 24. Author’s interview with Spot Barnett, 25. All of the musicians 20, 1956. interviewed agreed that race is not an issue here. This refutes 48. Author’s interview with Charlie Alvarado, 8. Garibay’s former band. Garibay’s brother, Ernie, now leads Cats dynamic musical manifestation of that multi-culturalism assertions made by music historians, such as Jon Michael 49. Joe Nick Patoski “Uno, Dos, One, Two Tres, Quatro,” Journal of Spencer, who insist that only African Americans can legitimately Texas Music History, Vol. 1, No. 1, 12-14; Author’s interview Don’t Sleep. Randy’s daughter, Michelle Garibay-Carey, who present in San Antonio. play black music. See Jon Michael Spencer Blues and Evil with Sauce Gonzalez and Spot Barnett, June 4, 2004. Gonzalez sang a soulful rendition of “At Last” on Invisible Society, also As a topic of scholarly research, the West Side Sound (Knoxville: The University of Tennessee Press, 1993). recalled that, while the band was told that they would be 25. Interview with Spot Barnett; also see Robert A. Goldberg, performing live, they did resort to lip-syncing. performs with the group and with the modern jazz group, Planet phenomenon deserves more attention. It should be recognized “Racial Change on the Southern Periphery: The Case of San 50. Coincidentally, Meaux also managed Sunny and the Sunglows. Antonio, Texas, 1960-1965,” The Journal of Southern History, Apparently, neither Meyers nor Sahm really liked the “Fab Four.” Soul. The West Side Horns also performed on the recent CD, I as a distinctly Texas genre that blends African-American, Vol. 49, No. 3 (Aug., 1983), 349-374. On page 351, Goldberg 51. Interview with Augie Meyers. The Sir Douglas Quintet later Heard it on the X, by the eclectic Texas group Los Super Seven. Mexican-American, Anglo-American, and even German- says “The city had never passed a segregation ordinance, but moved to San Francisco and played at the Avalon Ballroom and custom and the Police Department enforced racial segregation.” Golden State Park. They had a minor hit in 1969 with Augie Meyers continues to make and market his own CDs, American influences into one complex yet broadly appealing Segregation was enforced in settings such as public education, “Mendocino.” including his latest, Blame it on Love, and he recently played style. In a very real sense, the West Side Sound reflects the rich public facilities, and civic activities. However African Americans 52. Peña, The Mexican-American Orquesta, 233. Peña calls this did not express their displeasure of the existing order with more musical mixing within a song “bimusicality.” organ on Bob Dylan’s CD, Love and Theft. Although semi- and diverse cultural influences that have made Texas music so assertive methods that often were used elsewhere throughout the 53. Interview with Sauce Gonzalez and Spot Barnett, June 4, 2004. Deep South during this period. 54. Documentary film producer Jeremy Marre’s Tex-Mex: Music of the retired, Flaco Jiménez still performs in the Alamo City and unique and dynamic. As historian Gary Hartman notes, “Partly 26. Goldberg, Racial Change on the Southern Periphery, 351. I am Texas Mexican Borderlands, (Newton, New Jersey: Shanachie, occasionally tours Europe. Frank Rodarte has a Catholic music because Texas was less strictly segregated than the Deep South, indebted to Dr. Thomas Clarkin of San Antonio College’s 1982). Hernandez, and later Garibay, were the only two who history department for bringing this article to my attention. frequently spoke out on political issues. While Flaco Jiménez ministry called Unidos that plays weekly in churches and partly because the rugged environment of the western 27. Ibid., 350-352. Goldberg does an excellent job of describing the recorded a number of boleros during the 1960s, he admits that he difficulties facing blacks in the city before 1960 and how did it more to put bread on his table than for his personal views of throughout San Antonio. Rodarte and his musical partner, frontier necessitated cooperation among traditionally disparate religious leaders worked closely with city leaders to peacefully race and politics. See author’s interview with Flaco Jiménez. Danny Ornales, also perform in small venues around the city.77 groups, people of different racial, ethnic, and socioeconomic address segregationist issues. 55. Author’s interview with Frank Rodarte, 12-13. 28. See “San Antonio Taking Calm Attitude Toward Mixing of 56. Marre, Tex-Mex. The West Side Sound musicians made substantial, if largely backgrounds interacted somewhat more freely in Texas than in Races in Schools,” San Antonio Light, June 24, 1955, 14 A; 57. Author’s interview with Frank Rodarte 12. The narrator of Te x- overlooked, contributions to the development of Texas and other parts of the South, exchanging musical ideas and “More San Antonio School Districts Integrate,” San Antonio Mex made another mistake, this time in his analysis of Flaco Register, July 22, 1955, 1; and “Stop Political Quibbling on Jiménez’s “Pantalone Blue Jeans,” by saying that the song is about American music. They are a remarkable example of people influences in the process.”78The West Side Sound represents the Integration,” San Antonio Light, August 28, 1955, 2B. The a young Chicano who cannot find his place in Anglo society. Catholic schools in San Antonio desegregated the year before. Jiménez refutes this claim. See author’s interview with Flaco from different ethnic and racial backgrounds who made a open acceptance of such diverse cultural backgrounds and goes However, blacks still faced segregation in the Alamo City at Jiménez, 33, as well as Ingrid Kokinda’s 1986 oral interview with conscious decision to transcend social barriers and share their beyond simple tolerance to actually embracing the best that lunch counters, movie theaters, and the annual policeman’s ball. Jiménez in the University of Texas at San Antonio’s Institute of ■ What is striking is that these issues were settled peacefully and Texan Cultures Archives, OHT 781.764 J61, 8.
culture with others. The city of San Antonio has long been a each of these ethnic groups has to offer. without much incident. 58. Aaron Howard, “Flaco Jiménez about fame and music on the
39 38 29. Bernard Brister, “Radio,” The Handbook of Texas Music, 191-192. Texas border,” accessed at http://www.rootsworld.com/ 30. San Antonio Light, June 25, 1955, p. 2A; March 8, 1956, p. 4F; interview/flaco.html. Notes Dialectic of Conflict (Austin: University of Texas Press, 1999). April 29, 1956, 4F. 59. Author’s interview with Flaco Jiménez, 30. 1. See Jim Beal, Jr. “Rockin’ S.A.: Local Scene Always had a 12. Author’s interview with Augie Meyers, February 9, 2004, 2. Meyers 31. Cathy Brigham “Louisiana Hayride,” The Handbook of Texas 60. Howard, “Flaco Jiménez about fame and music on the Texas Spanish Accent,” San Antonio Express-News, Section G, Page 1, says that he and Sahm, at the ages of 12 and 13, were able to sit in Music, 191-192. border.” October 4, 2000; Hank Harrison San Antonio Jazz: The Golden at the Eastwood Country Club and listen to such famous 32. San Antonio Light, June 10, 1955, 24 and June 17, 1955, 61. Reid, The Improbable Rise of Redneck Rock, 1-12, 43. Reid notes Years, (San Antonio: KLRN Learning Place, 1998); and Allen O. musicians as T-Bone Walker, Bobby Bland, and Albert King. 26. HEB took out a full page add on June 16, in which the grocery that the best known musician to tire of Nashville and return to Olsen, “The Native Born Troubadours of San Antonio and the 13. See Jan Reid, The Improbable Rise of Redneck Rock (Austin: chain offered prizes, such as free tickets to the show, 45 Roy Texas was Willie Nelson. Roots of the West Side Sound,” Buddy, April 2002. The author Heidelberg Publishers, 1974); See also Cory Lock, Rogers buck horses, and 60 Roy Rogers pup tents. 62. Ibid. See also author’s interviews with Debra Hanson, Gary would like to thank Beal, Harrison, and the many musicians “Counterculture Cowboys: Progressive Texas Country of the 33. David Nevin “Roy Rogers Puts on More Show than Rodeo,” San Hartman, Lucky Tomblin, and Danny Roy Young, September who gave of their time for oral interviews. Thanks also to Sauce 1970s and 1980s,” The Journal of Texas Music History, Vol. 3, Antonio Light, June 19, 1955, 8D. 10, 2004. Gonzalez, who has legal rights to the names Sauce and the West No. 1, 15-23. 34. San Antonio Light, August 19, 1955, 1 and August 24, 1955,1. 63. Ibid. 83. Side Sound and Sauce and the West Side Horns. 14. Author’s interview with Charlie Alvarado, May 10, 2004, 13. In The article of June 19 reported that the winner of the pre-school 64. Joe Nick Patoski Papers, Southwestern Writer’s Collection/Texas 2. Texas Monthly has recently dubbed this song the number one the formative period of the genre, Alvarado’s “For the Rest of my frontier costume award went to two Mexican-American siblings, State University, San Marcos, Box 408, Folder 3, Document 1. Texas song of all time. See “The 100 Best Texas Songs,” Texas Life” featured a multicultural variant of the West Side Sound. Julio and Esmerelda Benavides. 65. Author’s interview with Debora Hanson, Lucky Tomblin, and Monthly, April 2004. The song is clearly rhythm and blues, but the harmonies are in 35. San Antonio Light, June 10, 1955, 22. Danny Roy Young, September 10, 2004. 3. “Hey Baby, Que Paso?” is one well-known example. This song thirds, as is the sax solo, both of which are exemplary of the 36. Author’s interview with Flaco Jiménez, April 2, 2004, 15; La 66. Ramiro Burr, The Billboard Guide to Tejano and Regional helped give rise to the city’s “Puro San Antonio” tourist promotion. mariachi and bolero styles of voicing in thirds. Prensa, February 16 and February 12, 1956, 2; La Prensa, Mexican Music, (New York: Billboard Books, 1999), 44. 4. During the early years of the West Side Sound, Garibay played 15. Elisabeth Gareis, “Intercultural Friendship: Five Case Studies of February 23, 1956, 2; and La Prensa, March 1, 1956, 2. 67. James Head, “Douglas Wayne Sahm,” The Handbook of Texas with San Antonio bands, such as the Del Kings and Charlie and German Students in the USA,” Intercultural Studies, April 2000, 37. La Prensa, March 25, 1956,. 2. Music, 281. the Jives. Vol. 21, Issue 1., 79-158. 38. La Prensa, September 13, 1955, 2. This is one of the few large 68. Author’s interview with Spot Barnett, March 10, 2004, 29-30. 5. La Prensa March 11, 1956, 2, March 18, 1956, 2, and March 16. Author’s telephone interview with Rocky Morales, March 3, 2004. advertisements that the newspaper used to promote a conjunto 69. Author’s interview with Clifford Antone, September 10, 2004. 25, 1956, 2. 17. Author’s interview with Frank Rodarte, January 30, 2004, 11. group. This paper represented mostly middle-class Mexican 70. Author’s interview with Debra Hanson, September 10, 2004. 6. The Del Kings became Los Blues toward the end of their tenure 18. Daniel A. Yon, “Urban Portraits of Identity: on the problem of Americans, who often looked down on the music of working- 71. Ibid. at the Sahara and made one record for United Artists in 1971. knowing culture and identity in intercultural studies,” Journal of class Mexican Americans. For an analysis of the cultural tensions 72. Author’s interview with Flaco Jiménez, April 2, 2004, 37. 7. Jim Beal, Jr. “Rockin’ S.A.” Intercultural Studies, Vol. 21, No. 2, 2000, 144. between working and middle-class Tejanos, see Peña’s Música 73. Jackie Potts, “Randy Beltran Garibay,” The Handbook of Texas 8. Few know of Scott’s influence, as well as the fact that Scott 19. Author’s interview with Charlie Alvarado, May 10, 2004. Tejana and Texas-Mexican Conjunto. Music, 114. Part of the Jivemen Award given to Garibay states joined Lionel Hampton’s orchestra. See author’s interviews with Alvarado’s exposure to African-American music came at a very 39. San Antonio News, April 7, 1953, 3A. that “The first award of The Jiveman goes to the artist who wrote Spot Barnett, March 10, 2004, Charlie Alvarado, May 10, 2004, early age when he and his brother shared a radio set on which 40. La Prensa, May 8, 1958, 16, and May 12 through 18, 16. ‘Where Are They Now?’” Garibay was a member of Charlie and Rocky Morales, March 3, 2004, and Frank Rodarte, January 30, they listened to such styles as Bebop. Alvarado later listened to 41. La Prensa, March 19, 1956. the Jives in the early 1960s. 2004. San Antonio’s Scratch Phillips and his “Ebony Theater,” which 42. Hank Harrison, San Antonio Jazz: The Golden Age, San Antonio: 74. Author’s phone interview with Randy Garibay, November 9, 2000. 9. Alan Govenar, “The Blues,” The Handbook of Texas Music, edited aired on KCOR TV channel 41. Charlie and the Jives later KLRN, 1998. 75. Karla Peterson, “Clifford Scott,” The Handbook of Texas Music, 284. by Roy Barkley, et al, (Austin: Texas State Historical Association, appeared on that show. 43. Author’s interview with Spot Barnett; San Antonio Register, 76. Author’s interview with Frank Rodarte, January 30, 2004, 26. 2003), 25. 20. Author’s interview with Jack Barber, August 5, 2004. October 16, 1953, 7, October 30, 1953 7, November 2, 1953, 77. Unfortunately Rodarte never recorded his own material after Los 10. Author’s interview with Spot Barnett, March 10, 2004, 28. 21. Shi-Xu “Critical Pedagogy and Intercultural Communication: 7, November 6, 1953, 7, November 13, 1953, 7, July 8, 1955, Blues Volume 1 in 1971. 11. For very good studies of these Latin styles and others, see creating discourses of diversity, equality, common goals, and 7, and September 23, 1955, 7. 78. Gary Hartman, “Country and Western Music,” The Handbook Guadalupe San Miguel, Jr., “Música Tejana: Nuestra Música,” rational-moral motivation,” Journal of Intercultural Studies, Vol. 44. Karla Peterson “Eastwood Country Club,” The Handbook of of Texas Music, 66. It should be noted that this is not to suggest Journal of Texas Music History, Vol. 1, No. 1, 24-35; See also the 22, No. 3, 2001, 279. Texas Music, 91. More open and frequent jam sessions were held that intolerance and racial discrimination have not had a strong following by Manuel Peña: Música Tejana: The Cultural Economy 22. See Peña’s The Texas-Mexican Conjunto, 164, in which he argues at Club Ebony where Spot Barnett and the various combos he presence throughout Texas history. They certainly have. of Artistic Transformation, (College Station, Texas: Texas A&M that “the existence of ethnic differences have often been the led there often invited Doug Sahm, Rocky Morales, Randy However, Texas tended to have a more ethnically diverse University Press, 1999), The Texas-Mexican Conjunto: History of friction that sets off the spark of conflict in intercultural contact.” Garibay, and others to play with them. population and a less rigidly structured system of racial a Working Class Music (Austin: University of Texas Press, 1985), 23. In Critical Pedagogy and Intercultural Communication, 283, Shi- 45. Beal, “Rockin’ S.A.” segregstion than many other southern states. and The Mexican-American Orquesta: Music, Culture and the Xu agrees that, although groups interact from the point of view 46. Author’s interview with Augie Meyers.

Produced by The Berkeley Electronic Press, 2005 13 San Antonio’s West Side Sound Side West Antonio’s San

Journal of Texas Music History, Vol. 5 [2005], Iss. 1, Art. 4 San Antonio’s West Side Sound Side West Antonio’s San

the latter four are current members of the West Side Horns. unique place, especially as a major urban center in the South, of an ongoing power struggle, people do have the power to 47. The San Antonio Light ran a four-part series on the rock and roll transform themselves. This is what the West Side Sounds craze, largely reiterating the fears that local authorities had The West Side Horns still perform today, both as a band and and its uniqueness has allowed for a more pluralistic, multi- musicians did. regarding the raucous nature of the genre. See the Light June 17- as a back up group for such acts as Cats Don’t Sleep, Randy cultural environment to flourish. The West Side Sound is a 24. Author’s interview with Spot Barnett, 25. All of the musicians 20, 1956. interviewed agreed that race is not an issue here. This refutes 48. Author’s interview with Charlie Alvarado, 8. Garibay’s former band. Garibay’s brother, Ernie, now leads Cats dynamic musical manifestation of that multi-culturalism assertions made by music historians, such as Jon Michael 49. Joe Nick Patoski “Uno, Dos, One, Two Tres, Quatro,” Journal of Spencer, who insist that only African Americans can legitimately Texas Music History, Vol. 1, No. 1, 12-14; Author’s interview Don’t Sleep. Randy’s daughter, Michelle Garibay-Carey, who present in San Antonio. play black music. See Jon Michael Spencer Blues and Evil with Sauce Gonzalez and Spot Barnett, June 4, 2004. Gonzalez sang a soulful rendition of “At Last” on Invisible Society, also As a topic of scholarly research, the West Side Sound (Knoxville: The University of Tennessee Press, 1993). recalled that, while the band was told that they would be 25. Interview with Spot Barnett; also see Robert A. Goldberg, performing live, they did resort to lip-syncing. performs with the group and with the modern jazz group, Planet phenomenon deserves more attention. It should be recognized “Racial Change on the Southern Periphery: The Case of San 50. Coincidentally, Meaux also managed Sunny and the Sunglows. Antonio, Texas, 1960-1965,” The Journal of Southern History, Apparently, neither Meyers nor Sahm really liked the “Fab Four.” Soul. The West Side Horns also performed on the recent CD, I as a distinctly Texas genre that blends African-American, Vol. 49, No. 3 (Aug., 1983), 349-374. On page 351, Goldberg 51. Interview with Augie Meyers. The Sir Douglas Quintet later Heard it on the X, by the eclectic Texas group Los Super Seven. Mexican-American, Anglo-American, and even German- says “The city had never passed a segregation ordinance, but moved to San Francisco and played at the Avalon Ballroom and custom and the Police Department enforced racial segregation.” Golden State Park. They had a minor hit in 1969 with Augie Meyers continues to make and market his own CDs, American influences into one complex yet broadly appealing Segregation was enforced in settings such as public education, “Mendocino.” including his latest, Blame it on Love, and he recently played style. In a very real sense, the West Side Sound reflects the rich public facilities, and civic activities. However African Americans 52. Peña, The Mexican-American Orquesta, 233. Peña calls this did not express their displeasure of the existing order with more musical mixing within a song “bimusicality.” organ on Bob Dylan’s CD, Love and Theft. Although semi- and diverse cultural influences that have made Texas music so assertive methods that often were used elsewhere throughout the 53. Interview with Sauce Gonzalez and Spot Barnett, June 4, 2004. Deep South during this period. 54. Documentary film producer Jeremy Marre’s Tex-Mex: Music of the retired, Flaco Jiménez still performs in the Alamo City and unique and dynamic. As historian Gary Hartman notes, “Partly 26. Goldberg, Racial Change on the Southern Periphery, 351. I am Texas Mexican Borderlands, (Newton, New Jersey: Shanachie, occasionally tours Europe. Frank Rodarte has a Catholic music because Texas was less strictly segregated than the Deep South, indebted to Dr. Thomas Clarkin of San Antonio College’s 1982). Hernandez, and later Garibay, were the only two who history department for bringing this article to my attention. frequently spoke out on political issues. While Flaco Jiménez ministry called Unidos that plays weekly in churches and partly because the rugged environment of the western 27. Ibid., 350-352. Goldberg does an excellent job of describing the recorded a number of boleros during the 1960s, he admits that he difficulties facing blacks in the city before 1960 and how did it more to put bread on his table than for his personal views of throughout San Antonio. Rodarte and his musical partner, frontier necessitated cooperation among traditionally disparate religious leaders worked closely with city leaders to peacefully race and politics. See author’s interview with Flaco Jiménez. Danny Ornales, also perform in small venues around the city.77 groups, people of different racial, ethnic, and socioeconomic address segregationist issues. 55. Author’s interview with Frank Rodarte, 12-13. 28. See “San Antonio Taking Calm Attitude Toward Mixing of 56. Marre, Tex-Mex. The West Side Sound musicians made substantial, if largely backgrounds interacted somewhat more freely in Texas than in Races in Schools,” San Antonio Light, June 24, 1955, 14 A; 57. Author’s interview with Frank Rodarte 12. The narrator of Te x- overlooked, contributions to the development of Texas and other parts of the South, exchanging musical ideas and “More San Antonio School Districts Integrate,” San Antonio Mex made another mistake, this time in his analysis of Flaco Register, July 22, 1955, 1; and “Stop Political Quibbling on Jiménez’s “Pantalone Blue Jeans,” by saying that the song is about American music. They are a remarkable example of people influences in the process.”78The West Side Sound represents the Integration,” San Antonio Light, August 28, 1955, 2B. The a young Chicano who cannot find his place in Anglo society. Catholic schools in San Antonio desegregated the year before. Jiménez refutes this claim. See author’s interview with Flaco from different ethnic and racial backgrounds who made a open acceptance of such diverse cultural backgrounds and goes However, blacks still faced segregation in the Alamo City at Jiménez, 33, as well as Ingrid Kokinda’s 1986 oral interview with conscious decision to transcend social barriers and share their beyond simple tolerance to actually embracing the best that lunch counters, movie theaters, and the annual policeman’s ball. Jiménez in the University of Texas at San Antonio’s Institute of ■ What is striking is that these issues were settled peacefully and Texan Cultures Archives, OHT 781.764 J61, 8.
culture with others. The city of San Antonio has long been a each of these ethnic groups has to offer. without much incident. 58. Aaron Howard, “Flaco Jiménez about fame and music on the
39 38 29. Bernard Brister, “Radio,” The Handbook of Texas Music, 191-192. Texas border,” accessed at http://www.rootsworld.com/ 30. San Antonio Light, June 25, 1955, p. 2A; March 8, 1956, p. 4F; interview/flaco.html. Notes Dialectic of Conflict (Austin: University of Texas Press, 1999). April 29, 1956, 4F. 59. Author’s interview with Flaco Jiménez, 30. 1. See Jim Beal, Jr. “Rockin’ S.A.: Local Scene Always had a 12. Author’s interview with Augie Meyers, February 9, 2004, 2. Meyers 31. Cathy Brigham “Louisiana Hayride,” The Handbook of Texas 60. Howard, “Flaco Jiménez about fame and music on the Texas Spanish Accent,” San Antonio Express-News, Section G, Page 1, says that he and Sahm, at the ages of 12 and 13, were able to sit in Music, 191-192. border.” October 4, 2000; Hank Harrison San Antonio Jazz: The Golden at the Eastwood Country Club and listen to such famous 32. San Antonio Light, June 10, 1955, 24 and June 17, 1955, 61. Reid, The Improbable Rise of Redneck Rock, 1-12, 43. Reid notes Years, (San Antonio: KLRN Learning Place, 1998); and Allen O. musicians as T-Bone Walker, Bobby Bland, and Albert King. 26. HEB took out a full page add on June 16, in which the grocery that the best known musician to tire of Nashville and return to Olsen, “The Native Born Troubadours of San Antonio and the 13. See Jan Reid, The Improbable Rise of Redneck Rock (Austin: chain offered prizes, such as free tickets to the show, 45 Roy Texas was Willie Nelson. Roots of the West Side Sound,” Buddy, April 2002. The author Heidelberg Publishers, 1974); See also Cory Lock, Rogers buck horses, and 60 Roy Rogers pup tents. 62. Ibid. See also author’s interviews with Debra Hanson, Gary would like to thank Beal, Harrison, and the many musicians “Counterculture Cowboys: Progressive Texas Country of the 33. David Nevin “Roy Rogers Puts on More Show than Rodeo,” San Hartman, Lucky Tomblin, and Danny Roy Young, September who gave of their time for oral interviews. Thanks also to Sauce 1970s and 1980s,” The Journal of Texas Music History, Vol. 3, Antonio Light, June 19, 1955, 8D. 10, 2004. Gonzalez, who has legal rights to the names Sauce and the West No. 1, 15-23. 34. San Antonio Light, August 19, 1955, 1 and August 24, 1955,1. 63. Ibid. 83. Side Sound and Sauce and the West Side Horns. 14. Author’s interview with Charlie Alvarado, May 10, 2004, 13. In The article of June 19 reported that the winner of the pre-school 64. Joe Nick Patoski Papers, Southwestern Writer’s Collection/Texas 2. Texas Monthly has recently dubbed this song the number one the formative period of the genre, Alvarado’s “For the Rest of my frontier costume award went to two Mexican-American siblings, State University, San Marcos, Box 408, Folder 3, Document 1. Texas song of all time. See “The 100 Best Texas Songs,” Texas Life” featured a multicultural variant of the West Side Sound. Julio and Esmerelda Benavides. 65. Author’s interview with Debora Hanson, Lucky Tomblin, and Monthly, April 2004. The song is clearly rhythm and blues, but the harmonies are in 35. San Antonio Light, June 10, 1955, 22. Danny Roy Young, September 10, 2004. 3. “Hey Baby, Que Paso?” is one well-known example. This song thirds, as is the sax solo, both of which are exemplary of the 36. Author’s interview with Flaco Jiménez, April 2, 2004, 15; La 66. Ramiro Burr, The Billboard Guide to Tejano and Regional helped give rise to the city’s “Puro San Antonio” tourist promotion. mariachi and bolero styles of voicing in thirds. Prensa, February 16 and February 12, 1956, 2; La Prensa, Mexican Music, (New York: Billboard Books, 1999), 44. 4. During the early years of the West Side Sound, Garibay played 15. Elisabeth Gareis, “Intercultural Friendship: Five Case Studies of February 23, 1956, 2; and La Prensa, March 1, 1956, 2. 67. James Head, “Douglas Wayne Sahm,” The Handbook of Texas with San Antonio bands, such as the Del Kings and Charlie and German Students in the USA,” Intercultural Studies, April 2000, 37. La Prensa, March 25, 1956,. 2. Music, 281. the Jives. Vol. 21, Issue 1., 79-158. 38. La Prensa, September 13, 1955, 2. This is one of the few large 68. Author’s interview with Spot Barnett, March 10, 2004, 29-30. 5. La Prensa March 11, 1956, 2, March 18, 1956, 2, and March 16. Author’s telephone interview with Rocky Morales, March 3, 2004. advertisements that the newspaper used to promote a conjunto 69. Author’s interview with Clifford Antone, September 10, 2004. 25, 1956, 2. 17. Author’s interview with Frank Rodarte, January 30, 2004, 11. group. This paper represented mostly middle-class Mexican 70. Author’s interview with Debra Hanson, September 10, 2004. 6. The Del Kings became Los Blues toward the end of their tenure 18. Daniel A. Yon, “Urban Portraits of Identity: on the problem of Americans, who often looked down on the music of working- 71. Ibid. at the Sahara and made one record for United Artists in 1971. knowing culture and identity in intercultural studies,” Journal of class Mexican Americans. For an analysis of the cultural tensions 72. Author’s interview with Flaco Jiménez, April 2, 2004, 37. 7. Jim Beal, Jr. “Rockin’ S.A.” Intercultural Studies, Vol. 21, No. 2, 2000, 144. between working and middle-class Tejanos, see Peña’s Música 73. Jackie Potts, “Randy Beltran Garibay,” The Handbook of Texas 8. Few know of Scott’s influence, as well as the fact that Scott 19. Author’s interview with Charlie Alvarado, May 10, 2004. Tejana and Texas-Mexican Conjunto. Music, 114. Part of the Jivemen Award given to Garibay states joined Lionel Hampton’s orchestra. See author’s interviews with Alvarado’s exposure to African-American music came at a very 39. San Antonio News, April 7, 1953, 3A. that “The first award of The Jiveman goes to the artist who wrote Spot Barnett, March 10, 2004, Charlie Alvarado, May 10, 2004, early age when he and his brother shared a radio set on which 40. La Prensa, May 8, 1958, 16, and May 12 through 18, 16. ‘Where Are They Now?’” Garibay was a member of Charlie and Rocky Morales, March 3, 2004, and Frank Rodarte, January 30, they listened to such styles as Bebop. Alvarado later listened to 41. La Prensa, March 19, 1956. the Jives in the early 1960s. 2004. San Antonio’s Scratch Phillips and his “Ebony Theater,” which 42. Hank Harrison, San Antonio Jazz: The Golden Age, San Antonio: 74. Author’s phone interview with Randy Garibay, November 9, 2000. 9. Alan Govenar, “The Blues,” The Handbook of Texas Music, edited aired on KCOR TV channel 41. Charlie and the Jives later KLRN, 1998. 75. Karla Peterson, “Clifford Scott,” The Handbook of Texas Music, 284. by Roy Barkley, et al, (Austin: Texas State Historical Association, appeared on that show. 43. Author’s interview with Spot Barnett; San Antonio Register, 76. Author’s interview with Frank Rodarte, January 30, 2004, 26. 2003), 25. 20. Author’s interview with Jack Barber, August 5, 2004. October 16, 1953, 7, October 30, 1953 7, November 2, 1953, 77. Unfortunately Rodarte never recorded his own material after Los 10. Author’s interview with Spot Barnett, March 10, 2004, 28. 21. Shi-Xu “Critical Pedagogy and Intercultural Communication: 7, November 6, 1953, 7, November 13, 1953, 7, July 8, 1955, Blues Volume 1 in 1971. 11. For very good studies of these Latin styles and others, see creating discourses of diversity, equality, common goals, and 7, and September 23, 1955, 7. 78. Gary Hartman, “Country and Western Music,” The Handbook Guadalupe San Miguel, Jr., “Música Tejana: Nuestra Música,” rational-moral motivation,” Journal of Intercultural Studies, Vol. 44. Karla Peterson “Eastwood Country Club,” The Handbook of of Texas Music, 66. It should be noted that this is not to suggest Journal of Texas Music History, Vol. 1, No. 1, 24-35; See also the 22, No. 3, 2001, 279. Texas Music, 91. More open and frequent jam sessions were held that intolerance and racial discrimination have not had a strong following by Manuel Peña: Música Tejana: The Cultural Economy 22. See Peña’s The Texas-Mexican Conjunto, 164, in which he argues at Club Ebony where Spot Barnett and the various combos he presence throughout Texas history. They certainly have. of Artistic Transformation, (College Station, Texas: Texas A&M that “the existence of ethnic differences have often been the led there often invited Doug Sahm, Rocky Morales, Randy However, Texas tended to have a more ethnically diverse University Press, 1999), The Texas-Mexican Conjunto: History of friction that sets off the spark of conflict in intercultural contact.” Garibay, and others to play with them. population and a less rigidly structured system of racial a Working Class Music (Austin: University of Texas Press, 1985), 23. In Critical Pedagogy and Intercultural Communication, 283, Shi- 45. Beal, “Rockin’ S.A.” segregstion than many other southern states. and The Mexican-American Orquesta: Music, Culture and the Xu agrees that, although groups interact from the point of view 46. Author’s interview with Augie Meyers.

http://ecommons.txstate.edu/jtmh/vol5/iss1/4 14