City to City: the Real Urban Hits by Steve Propes Throughout Rock History, There Have "L.A

Total Page:16

File Type:pdf, Size:1020Kb

City to City: the Real Urban Hits by Steve Propes Throughout Rock History, There Have ON THE RECORDS KEN BARNES City To City: The Real Urban Hits By Steve Propes Throughout rock history, there have "L.A. International Airport," been thousands SURI C 1Y of songs about cities and towns across America, but only a War's "L.A. Sunshine" and the few real winners. Ides of March's "L.A. Goodbye." Choosing a place name that's sexy LIiIU enough is the hardest Uptown, there was Rufus & Chaka NUNUIUIU part. After all, who besides a local Khan's "Hollywood," Bob Seger's would be interested in "South $end's A Lonely Town," "I "Hollywood Nights," Billy Joel's Jan & Dean recorded the ultimate Left My Heart In West Covina," or "Boy From Eau Claire "Say Goodbye to Hollywood," Kool geographical concept album. City." & The Gang's "Hollywood Swing- New York Woman," Andrea 'live nie." (Fortùnately it stopped in'," and the Eleventh Hour's be- Wilbert Harrison's "Kansas Ci- Connection's "New York You Got fore they got to "Bristol Twistin' "Hollywood Hot," among hundreds ty," the biggest hit of 1959, began Me Dancin' " (with odd references Annie Had A Baby. ") of other Tinseltown tunes. life seven years earlier as Little to then-mayor Abe Beame), and Oklahoma had "Okie From Mus- Willie Littlefield's "K.C. Loving." Rockin' To New Orleans Ace Frehley's "New York Groove" kogee" and the Don Williams /Eric The locale was chosen because pro- Johnny Horton's "Battle (again, among many others). Clapton hit "Tulsa Time." Florida ducer Of New Ralph Bass thought it sound- Orleans" was satirized by Homer also had a few towns represented, ed "more hip." Little Richard's & Jethro as "Battle Of Kookamon- with Eugene Church's "Miami" "Hey Hey Hey Hey" also bore a ga." Jan & Dean notwithstanding, EErppic and Jan Hammer's "'Miami Vice' suspicious resemblance to Harri- most people seemed to side with Theme."' Again, Freddy Cannon son's hit. Despite and jth¡,BurdonThe Animals originally being Horton. There was Freddy Can- swamped them all with "Okefeno- written as "Birmingham," "Hey non's "Way Down Yonder In New kee" (not to be confused with Hey" MONTEREY _ later ended up reworked by Orleans," Arlo Guthrie /Steve "Okefenokee From Muskogee ") the Beatles as, you guessed it, Goódman /Willie Nelson's "City and "Tallahassee lassie." "Kansas Of City." New Orleans," Redbone's "Witch The city list could go on forever, with California cities were especially Queen Of New Orleans," and Gary "Please Come to Boston" by Dave popular. CCR saluted two: "Lodi" US Bonds's "New Orleans." Fats Leggins, "Born In Chicago" by and, as the Golliwogs a couple Wilbert Harrison suffers the after- Domino, who'd already covered Paul Butterfield, "Detroit City" of by Bobby Bare, years earlier, "Porterville" (the effects of "K.C. Loving" Professor Longhair's "Mardi Gras "The Lights Of In New Tucson" by Jim Campbell, latter a rather good example of Orleans," reportedly had a Oft: ,.a= "The an Flowers In Your Hair)" t; Tóny efts, 57 9!xu. S.ns 1201 hand in Newn, N.Y. Lights Of Cincinnati" unappealing place name). Eric writing "Walking lb New N.. 400:9 by Scott Bennett of course, the Flowerpot ..-. ... Walker, the Burdon & The Animals name- Orleans" after his tour bus broke classic "St. Louis Men ( "Let's Go To San Francis- Eric Burdon checks Blues," checked "Monterey" and down on that town's outskirts. No out the West Perry Como's "Seattle," "San co"), Joe Simon ( "San r Francisco Coast vibes "Viva Francisco Nights," and the latter's other Louisiana town makes much Las Vegas" by Elvis, the Is A Lonely lbwti "), Fever Tree Beach Boys' advice to jet off to the Bay of a showing, although in "Soul Texas did "Salt Lake City," Area ( "San Francisco Girls"),. and the best in Country hits, "Denver" was taken by Scott Meeting," Joe Tex, Ben E. King, Marty by Ronnie Milsap, McKenzie Village People ( "San Robbins' "El Paso" and "El Francisco Don Covay, Solomon Burke, "Omaha" by Moby Grape, just to ( "San Francisco ( Wear Some and Paso City," George Hamilton IYou Got Me) "), among others. Arthur IV's name a few. The floor Conley seem to spend an in- "Abilene," Glen Campbell's is open for Other Bay Area- related titles in- ordinate "Gal- more nominations. clude amount of time discussing veston" (he also tried "Houston the Sir Douglas Quintet's whether they "Mendocino," should go to Baton (I'm Coming To See You)" Guest Norman Green - Rouge. as well baum's "Petaluma," "Foxy as, in another state, "By The Time Girls New York City got mentions In Oakland" by Rodger I Get To Phoenix "), Floyd Collins, from the Ad Libs/ Manhattan Column and "Sausalito Summer Night" by Cramer's "San Antonio Rose," Transfer's "Boy From . Diesel, which. for Tanya Tucker's "San Antonio a Dutch group, Frank Sinatra's "Theme From seemed to know an awful lot Stroll," George Strait's "Amarillo Time about the Tradewinds' non -surf the drive between Los Angeles and By Morning," and Waylon Jenn- When I invited surfing hit "New York's A Lonely readers to submit San Francisco. (Unlike the British ings's "Luckenbach, Texas." ideas for guest lbwn," B.J. Thomas's "Eyes Of A columns to run in group First Class, who in "Beach There was also Dean Martin's the On The Records section, I Baby" proposed a casual "Houston," Lou Christie's "Waco," didn't really after - expect to receive a school drive from L.A. to San Jose.) and Neil Sedaka's "Amarillo." flood of essays. (I wouldn't have minded: Memories Are Made The Kids In Bristol think of all the vacations I Tennessee had the much -remade could take.) But I was pleased to Of El Monte "Memphis" get a column from Steve Propos, Southern Californians (as well as King Cur - retaliated tis's "Memphis who wrote at some length on songs with the Marketts' "Balboa Soul Stew," Buddy Blue," Miles's named after cities. (Some astute and "Memphis Train," John Jan & Dean's "Little Old Lady Elton would rather be in Phila- readers Fogerty's "Big Train (From Mem- may recall I did a column on From Pasadena" and "The Ana- delphia. phis)," and Herbie Mann's hits titled after geographic locations heim, Azusa & Cucamonga Sewing "Mem- phis Underground"), along - June 28, 1985. if anyone's Circle, Book Review & Timing As- with RCA's Bruce Meltzer wrote to in- the Lovin' Spoonful's "Nashville counting. But that one was limited sociation." (Jan & Dean did a form me that the Burt Bacharach Cats" (and Vicki to Top 15 hits only and included whole album of city songs following Lawrence's far song "I'll Never Fall In Love less-known states and countries as well as "Surf City." Great..concept.) "There's A Gun Still Again," performed by Dionne The Smokin' War- cities.) Penguins doo-wopped In Nashville "), Cash & wick, was not the same song in with an Carter's "Jackson" as the Of course I couldn't leave well early Frank Zappa composition, (which could Tom Jones hit of the same title. Is be about this town enough alone. so I (and the indefati- "Memories Of El Monte," and or the one in that clear, or do I need that begin- gable Sean Ross) added some Christie and the Lemonade Char- Mississippi), and Tina Turner's ning writer's refresher class at the hometown tribute more. and the result is the column ade chose the equally odd location "Nutbush City local JC? Limits." The urbane on this page. Steve Propes, by the "San Bernardino." San Diego, the Freddy Can- R&R's own Greg Agnew, who's is non was, of course, in way, the Sunday morning oldies third largest city in the state, is rel- there with lately been the custodian of our DJ for "Chattanooga Shoe Shine KLON/Long Beach, teaches atively underrepresented (an ob- Boy." "One/Five /lèn Years Ago Today" a Pennsylvania had Elton course in the "Roots of Rock- & scure Billy J. Kramer single called John's feature. appearing weekly on the keystone 1975 hit, Roll" at Cal State Long Beach. and "San Diego" comes to mind). "Philadelphia Image & Marketing page (plug), is the Freedom." The Nu Tornados author of several historical/ Los Angeles, ever alert for its did points out that in the last week of record "Philadelphia U.S.A. ", Billy collecting books. including own lbny Bennett, got a boost from Joel August, Ronnie Milsap had the No. the forthcoming charted with "Allentown," "The Rock & Roll the Doors' "L.A. Woman" and and the 1 Country song a year ago (1985's Record." which he describes Kendalls saluted the "Pittsburgh "Lost as a Randy Newman's "I Love L.A." In The Fifties Tonight") , five song -by -song Stealers." The Dovells placed history of rock. There was also Jerry Jeff Walker's Andreu two years ago ( "No Gettin' Over Me "), True: New York had the hits on the dance floor L.A. Freeway," with "Bristol and ten years ago ( "Stand Susan Raye's Samantha Fox of ner aay aancing Stomp" By My 38/ R&R FRIDAY, OCTOBER 31,1986 and "Bristol Twistin' An- Woman Man"). Quite a feat. .
Recommended publications
  • I Can Hear Music
    5 I CAN HEAR MUSIC 1969–1970 “Aquarius,” “Let the Sunshine In” » The 5th Dimension “Crimson and Clover” » Tommy James and the Shondells “Get Back,” “Come Together” » The Beatles “Honky Tonk Women” » Rolling Stones “Everyday People” » Sly and the Family Stone “Proud Mary,” “Born on the Bayou,” “Bad Moon Rising,” “Green River,” “Traveling Band” » Creedence Clearwater Revival “In-a-Gadda-Da-Vida” » Iron Butterfly “Mama Told Me Not to Come” » Three Dog Night “All Right Now” » Free “Evil Ways” » Santanaproof “Ride Captain Ride” » Blues Image Songs! The entire Gainesville music scene was built around songs: Top Forty songs on the radio, songs on albums, original songs performed on stage by bands and other musical ensembles. The late sixties was a golden age of rock and pop music and the rise of the rock band as a musical entity. As the counterculture marched for equal rights and against the war in Vietnam, a sonic revolution was occurring in the recording studio and on the concert stage. New sounds were being created through multitrack recording techniques, and record producers such as Phil Spector and George Martin became integral parts of the creative process. Musicians expanded their sonic palette by experimenting with the sounds of sitar, and through sound-modifying electronic ef- fects such as the wah-wah pedal, fuzz tone, and the Echoplex tape-de- lay unit, as well as a variety of new electronic keyboard instruments and synthesizers. The sound of every musical instrument contributed toward the overall sound of a performance or recording, and bands were begin- ning to expand beyond the core of drums, bass, and a couple guitars.
    [Show full text]
  • Sir Douglas Quintet
    Sir Douglas Quintet The Sir Douglas Quintet: Emerging from San Antonio‟s “West Side Sound,” The Sir Douglas Quintet blended rhythm and blues, country, rock, pop, and conjunto to create a unique musical concoction that gained international popularity in the 1960s and 1970s. From 1964 to 1972, the band recorded five albums in California and Texas, and, although its founder, Doug Sahm, released two additional albums under the same group name in the 1980s and 1990s, the Quintet never enjoyed the same domestic success as it had during the late 1960s. A big part of the Sir Douglas Quintet‟s distinctive sound derived from the unique musical environment in which its members were raised in San Antonio. During the 1950s and 1960s, the “moderate racial climate” and ethnically diverse culture of San Antonio—caused in part by the several desegregated military bases and the large Mexican-American population there—allowed for an eclectic cross- pollination of musical styles that reached across racial and class lines. As a result, Sahm and his musical friends helped create what came to be known as the “West Side Sound,” a dynamic blending of blues, rock, pop, country, conjunto, polka, R&B, and other regional and ethnic musical styles into a truly unique musical amalgamation. San Antonio-based artists, such as Augie Meyers, Doug Sahm, Flaco Jiménez, and Sunny Ozuna, would help to propel this sound onto the international stage. Born November 6, 1941, Douglas Wayne Sahm grew up on the predominately-black east side of San Antonio. As a child, he became proficient on a number of musical instruments and even turned down a spot on the Grand Ole Opry (while still in junior high school) in order to finish his education.
    [Show full text]
  • San Antonio's West Side Sound
    Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures.
    [Show full text]
  • Willie Nelson
    LESSON GUIDE • GRADES 3-6 TABLE OF CONTENTS 3 Introduction 4 About the Guide 5 Pre and Post-Lesson: Anticipation Guide 6 Lesson 1: Introduction to Outlaws 7 Lesson 1: Worksheet 8 Lyric Sheet: Me and Paul 9 Lesson 2: Who Were The Outlaws? 10 Lesson 3: Worksheet 12 Activities: Jigsaw Texts 14 Lyric Sheet: Are You Sure Hank Done It This Way 15 Lesson 4: T for Texas, T for Tennessee 16 Lesson 5: Literary Lyrics 17 Lyric Sheet: Daddy What If? 18 Lyric Sheet: Act Naturally 19 Complete Tennessee Standards 21 Complete Texas Standards 23 Biographies 3-6 Table of Contents 2 Outlaws and Armadillos: Country’s Roaring ‘70s examines how the Outlaw movement greatly enlarged country music’s audience during the 1970s. Led by pacesetters such as Willie Nelson, Waylon Jennings, Kris Kristofferson, and Bobby Bare, artists in Nashville and Austin demanded the creative freedom to make their own country music, different from the pop-oriented sound that prevailed at the time. This exhibition also examines the cultures of Nashville and fiercely independent Austin, and the complicated, surprising relationships between the two. Artwork by Sam Yeates, Rising from the Ashes, Willie Takes Flight for Austin (2017) 3-6 Introduction 3 This interdisciplinary lesson guide allows classrooms to explore the exhibition Outlaws and Armadillos: Country’s Roaring ‘70s on view at the Country Music Hall of Fame and Museum® from May 25, 2018 – February 14, 2021. Students will examine the causes and effects of the Outlaw movement through analysis of art, music, video, and nonfiction texts. In doing so, students will gain an understanding of the culture of this movement; who and what influenced it; and how these changes diversified country music’s audience during this time.
    [Show full text]
  • My Guitar Is a Camera
    My Guitar Is a Camera John and Robin Dickson Series in Texas Music Sponsored by the Center for Texas Music History Texas State University–San Marcos Gary Hartman, General Editor Casey_pages.indd 1 7/10/17 10:23 AM Contents Foreword ix Steve Miller Acknowledgments xi Introduction xiii Tom Reynolds From Hendrix to Now: Watt, His Camera, and His Odyssey xv Herman Bennett, with Watt M. Casey Jr. 1. Witnesses: The Music, the Wizard, and Me 1 Mark Seal 2. At Home and on the Road: 1970–1975 11 3. Got Them Texas Blues: Early Days at Antone’s 31 4. Rolling Thunder: Dylan, Guitar Gods, and Joni 54 5. Willie, Sir Douglas, and the Austin Music Creation Myth 60 Joe Nick Patoski 6. Cosmic Cowboys and Heavenly Hippies: The Armadillo and Elsewhere 68 7. The Boss in Texas and the USA 96 8. And What Has Happened Since 104 Photographer and Contributors 123 Index 125 Casey_pages.indd 7 7/10/17 10:23 AM Casey_pages.indd 10 7/10/17 10:23 AM Jimi Hendrix poster. Courtesy Paul Gongaware and Concerts West. Casey_pages.indd 14 7/10/17 10:24 AM From Hendrix to Now Watt, His Camera, and His Odyssey HERMAN BENNETT, WITH WATT M. CASEY JR. Watt Casey’s journey as a photographer can be In the summer of 1970, Watt arrived in Aus- traced back to an event on May 10, 1970, at San tin with the intention of getting a degree from Antonio’s Hemisphere Arena: the Cry of Love the University of Texas. Having heard about a Tour.
    [Show full text]
  • Biography: Doug Sahm
    BIOGRAPHY: DOUG SAHM THE ORIGINAL COSMIC COWBOY Doug Sahm was a wildly creative artist best known for his pop-rock music, but for a time in the 1970s in Austin, he became the role model for a group of Outlaw country artists that included Willie Nelson. “Doug was the organizer of what blew up into the Austin music scene,” said Joe Nick Patoski, who directed a 2015 documentary on Sahm. “ . Doug made Willie possible in so many ways.” Born on November 6, 1941, in San Antonio, Texas, Sahm was performing country music on the radio by age five and playing fiddle, steel guitar, and mandolin by age eight. By his teens, he had performed on stages as “Little Doug” with country “Willie wanted that rock & roll crowd, and Doug legends Hank Thompson, Hank Williams, and had them,” recalled Speedy Sparks, who played Faron Young. Still, his musical tastes stretched to in the Sir Douglas Quintet. “Willie would come include blues and rock & roll. out and watch Doug and figure out what Sahm left country behind for rock in the 1950s, Doug was doing.” and after high school he built a regional career Both Sahm and Nelson signed to record albums as a performing and recording artist. In 1964, he for New York producer Jerry Wexler. The raw, helped found the Sir Douglas Quintet, and he country-flavored Doug Sahm and Band was wrote their 1965 smash hit, “She’s About a Mover.” released in January 1973, but it failed to gain A year later, the group moved to San Francisco, attention.
    [Show full text]
  • Sir Doug & the Texas Tornados
    Sir Doug & The Texas Tornados Texas Rock For Country Rollers mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Texas Rock For Country Rollers Country: UK Released: 1997 Style: Country Rock, Classic Rock, Psychedelic Rock, Country MP3 version RAR size: 1987 mb FLAC version RAR size: 1105 mb WMA version RAR size: 1173 mb Rating: 4.8 Votes: 227 Other Formats: FLAC DXD AHX VQF MP2 FLAC APE Tracklist Hide Credits I Love The Way You Love (The Way I Love You) 1 5:17 Written-By – Atwood Allen Cowboy Peyton Place 2 3:35 Written-By – Doug Sahm Give Back The Key To My Heart 3 2:51 Written-By – Doug Sahm Wolverton Mountain 4 2:30 Written-By – Claude King , Merle Kilgore Texas Ranger Man 5 3:24 Written-By – Doug Sahm Float Away 6 2:38 Written-By – Doug Sahm I'm Missing You 7 3:02 Written-By – Doug Sahm Gene Thomas Medley: Sometimes/Cryin' Inside 8 2:41 Written-By – Gene Thomasson Country Groove 9 2:21 Written-By – Doug Sahm You Can't Hide A Redneck (Under That Hippy Hair) 10 3:55 Written-By – Doug Sahm Companies, etc. Recorded At – Sugar Hill Studios Phonographic Copyright (p) – MCA Records Copyright (c) – Demon Records Ltd. Licensed From – MCA Records Published By – Crazy Cajun Music Published By – Menace Music Ltd. Published By – Shapiro Bernstein & Co. Ltd. Published By – Grand Prize Credits A&R [Director] – Uncle Mickey Moody Acoustic Guitar – Uncle Mickey Moody Arranged By – Doug Sahm Art Direction – Tom Wilkes Bass – Jack Barber Coordinator [Talent Co-ordinator] – Jim Groenewegen Crew [Executive Crew] – Augie Meyers, J.T.Groenewegen, Lucky Tomblin Crew [Road Crew] – Billy Bob, Speedy Sparks Drums – George Rains Engineer – Uncle Mickey Moody Fiddle – Doug Sahm Guitar – Doug Sahm Harp – Harry Hess Liner Notes – Ed Ward Liner Notes [Last Four Paragraphs] – Val Jennings Management [Agent] – Jim Groenewegen Organ [Hammond] – Augie Meyers Organ [Vox] – Augie Meyers Photography By – Tom Wilkes Photography By [Juke Box Picture] – Burton Wilson Piano – Augie Meyers, Doug Sahm Producer – Huey P.
    [Show full text]
  • The History of Rock Music: 1955-1966
    The History of Rock Music: 1955-1966 Genres and musicians of the beginnings History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) The Flood 1964-1965 (These are excerpts from my book "A History of Rock and Dance Music") The Tunesmiths TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Beach Boys' idea of wedding the rhythm of rock'n'roll and the melodies of pop music was taken to its logical conclusion in Britain by the bands of the so- called "Mersey Sound". The most famous of them, the Beatles, became the object of the second great swindle of rock'n'roll. In 1963 "Beatlemania" hit Britain, and in 1964 it spread through the USA. They became even more famous than Presley, and sold records in quantities that had never been dreamed of before them. Presley had proven that there was a market for rock'n'roll in the USA. Countless imitators proved that a similar market also existed in Europe, but they had to twist and reshape the sound and the lyrics. Britain had a tradition of importing forgotten bluesmen from the USA, and became the center of the European recording industry. European rock'n'roll was less interested in innuendos, more interested in dancing, and obliged to merge with the strong pop tradition.
    [Show full text]
  • Austin's Progressive Country Music Scene and the Negotiation
    Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference.
    [Show full text]
  • MARTY ROBBINS GUNFIGHTER BALLADS DOUG SAHM Doug Sahm and Band
    MARTY ROBBINS GUNFIGHTER SELLING POINTS: BALLADS • Marty Robbins’ Gunfighter Ballads and Trail AND TRAIL SONGS Songs Is Probably the Single Greatest Postwar Album of Western Music (LIMITED 180-GRAM BLACK • Includes Such Classic Western Tunes as “Big Iron,” “Cool Water,” “The Master’s Call,” “Billy the Kid,” VINYL EDITION) and “Strawberry Roan” SONGS: • Also Includes the Rare Long Version of the Hit SIDE ONE “El Paso” Real Gone Music is proud to present, for the first time in close to 55 years, the original mono version of what most folks consider 1. Big Iron • The Original Mono Version of This Album Has to be the single greatest postwar album of Western music, Marty 2. Cool Water Been Unavailable for Close to 55 Years 3. Billy the Kid Robbins’ Gunfighter Ballads and Trail Songs . Everything about 4. A Hundred and Sixty Acres • Remastered by Vic Anesini at Sony’s Battery this album is iconic, from its “quick draw” cover art to the songs 5. They’re Hanging Me Tonight Studios it contains—“Big Iron,” “Cool Water,” “The Master’s Call,” “Billy 6. Strawberry Roan • Lacquer Cutting by Kevin Gray the Kid,” “The Strawberry Roan,” and, of course, “El Paso” (here in its rare, full-length version)— that have come to define the SIDE TWO • Comes with Original, Iconic, “Quick Draw” Western genre. And the music has never sounded better than it Cover Art 1. El Paso does here: our limited edition (of 600 copies) 180-gram black 2. In the Valley • 180-Gram Black Vinyl Pressing vinyl pressing was remastered by Vic Anesini at Battery Studios 3.
    [Show full text]
  • Talk to Me: the History of San Antonio's West Side Sound
    “Talk to Me” The History of San Antonio’s West Side Sound1 Alex La Rotta 8 The Twisters (background) playing behind the Royal Jesters, ca 1958. Courtesy Ramn Hernández. Contrary to its name, the “West Side Sound” did not actually originate on the West Side of San Antonio. Nor, for that matter, is it a singular “sound” that can be easily defined or categorized. In fact, the term “West Side Sound” was not widely used until San Antonio musician Doug Sahm applied it to his band, the West Side Horns, on his 1983 album, The West Side Sound Rolls Again. Since then, journalists, music fans, and even Sahm himself 9 have retrofitted the term to describe a particular style that emerged from San Antonio and the greater South Texas region beginning in the 1950s and continuing into the early twenty-first century.2 So what, then, is the West Side Sound? To quote historian Allen Olsen, the West Side Sound is “a remarkable amalgamation of different ethnic musical influences found in and around San Antonio and South-Central Texas. It includes blues, conjunto, country, rhythm and blues, polka, swamp pop, rock and roll, and other seemingly disparate styles.”3 To others, the West Side Sound is more of a feeling than a specific musical genre. In the words of Texas Tornados drummer Ernie Durawa, “It’s just that San Antonio thing…nowhere else in the world has it.”4 Both descriptions of the West Side Sound are accurate, but they really only tell part of the story of this remarkable musical hybrid.
    [Show full text]
  • 2018 Sir Douglas.Cdr
    International PO Box 935, Byron Bay Tel: 61 2 6687 4441 NSW, 2481 Australia Fax: 61 2 6687 4445 Tel: (02) 6687 4441 Web:http://www.aiminternational.com Fax: (02) 6687 4445 E-Mail:[email protected] TRADING GROUP Pty Ltd ABN 78 093 907 914 AVAILABLE NOW BEST OF SIR DOUGLAS QUINTET TEXAS FEVER AIM 2018 CD 1. She's About A Mover 2. Mendocino When the Beatles stormed America in 1964 they caused a revolution in the 3. Nuevo Laredo American music industry that changed it's direction forever, and influenced 4. The Rains Came almost everybody working and playing in the industry at that time. The Sir Douglas Quintet formed in San Antonio Texas at that time, and were 5. (Is Anybody Going To) San inspired by the British invasion to grow their hair and name themselves in a Antone manner where they were originally thought to be a British band. They comprised Doug Sahm (vocals, guitar), Augie Meyers (organ), Jack Barber 6. Who Were You Thinking Of (bass) Johnny Perez (drums) and Frank Morin (horns). 7. Woolly Bully it nal H They were signed by Heuy Meaux "The Crazy Cajun' to his Houston, Texas 8. Texas Tornado rigi ngs based Tribe label, and in 1965, their first single "She's About A Mover" O ordi climbed to #13 on the US charts, and in their own manner of "Selling Coal To 9. Wasted Days Rec Newcastle" the single went to #15 in the U.K. & Wasted Nights They followed with "The Rains Came" (US #31, 1966) and promptly moved to San Francisco two years before the "Summer Of Love," the single 10.
    [Show full text]