SIR DOUG & THE TEXAS TORNADOS
TEXAS ROCK FOR COUNTRY ROLLERS

From The Adios Lounge (2008):

"I'm a part of Willie Nelson's world and I love it, but at the same time, I'm part of the Grateful Dead's world. One night I might be playing twin fiddles at the Broken Spoke and the next night I'll be down at Antone's playing blues. In that way Texas is a paradise, because all that music is here."
--Doug Sahm, 1975


When the album was released in 1976, it would've been misleading to suggest that "Texas Rock For Country Rollers" was the first Doug Sahm album to openly embrace his country music roots. I'd say it more or less picked up where "Doug Sahm And Band" left off in '73. In fact, aside from "Honkey Blues" in '68, there really wasn't a Sahm or Sir Douglas Quintet LP devoid of country groove. However, what makes Texas Rock unique is that of the 10 songs on the album, 7 are either outright country numbers or some sort of country-rock/country-pop hybrid. While Doug was never afraid to Texas Rock, he'd never Country Rolled so decisively.

Band-wise, the album was attributed to the Texas Tornados, but they shouldn't be confused with Sahm's Tex-Mex supergroup of the 1990s. This was merely the name given to Doug's new backing band, most of whom were longtime Texas compadres. Augie Meyers, of course, rides shotgun with his familiar collection of keys, the steady yin to Doug's cosmic yang. Atwood Allen plays acoustic guitar and provides the best harmony singing Sahm ever had. More acoustic guitar is added by Uncle Mickey Moody, who went back to the early days of the SDQ and producer Huey Meaux's Crazy Cajun Recordings. Harry Hess was the one recent addition to Doug's band and here he adds tasty steel and slide guitar. Finally, the rhythm section is anchored by Jack Barber on bass and George Rains on drums, the guys who Shawn Sahm ... Doug's son ... once called "his secret weapon."

I will admit that my one complaint about Texas Rock is that the mix sucks. Meyers, Barber, and Rains are buried too low, the vocals are too high, and everything else is kind of a wishy-washy mid-range. If ever an album was in dire need of a remix and remaster, this bad mamma jamma is it. Regardless, the quality of the material holds everything together, Sahm's voice has rarely sounded better, and despite the audio flaws it remains my favorite Doug Sahm album. So, without further ado, here's Sir Doug & The Texas Tornados, track-by-track, warts and all.


TRACK-BY-TRACK REVIEW
1. I Love The Way You Love (The Way I Love You)

A pleasant, almost CCR-ish country-rock tune written by bandmate and longtime runnin' buddy, Atwood Allen (the mustachioed dude next to Doug and Ernie Durawa), this is mostly carried by Hess' steel and Sahm's phased-out guitar, which sounds like it's being run through a Leslie speaker, an effect featured throughout the album. Of course, it's always a treat hearing the close harmony singing of Doug and Atwood, who share the vocal simpatico normally reserved for brother acts like the Everlys and Louvins. Doug invariably sings it straight, holding down the mid-range, while Atwood glides on top with his wonderful high tenor. Even when Doug sings tenor with himself, as he does on "I Love," Atwood manages to climb even higher. Jerry Wexler once compared them to the 1950s country duo, Johnnie & Jack, which is apt since one of the purest examples of the Sahm/Allen vocal blend is their cover of Johnnie & Jack's 1951 smash, "Poison Love," which appears on the Doug Sahm And Band album for which Wex served as producer.

2. Cowboy Peyton Place

"Well, I just came in this bar for a beer
Didn't know that country band was playin' here
Cause I'm in love with the steel player's wife
And I know its not right and I want her tonight
And that's how it is in Cowboy Peyton Place."

A stone-cold country shuffle, with lyrics about infidelity that would make Fred Rose proud. In a perfect world, this would be a honky tonk standard. Once again, we're treated to more of Hess' sweet steel guitar ... though, given the lyrics, you wouldn't blame him if he spent most of the song glaring at Doug. Another highlight is the twin fiddle sound Doug co-opted from Bob Wills which I think Sahm first showcased on record via "Faded Love" from Doug Sahm And Band. I could be wrong about that, though.

A couple of references are worth mentioning. The first is Peyton Place itself. Does anyone younger than 40 remember either the book, movie, or primetime soap opera? If not, the wikipedia link above will tend to your pop culture needs. Let's just say that, like most soaps, infidelity was a recurring theme.

The second reference that might puzzle outsiders is the first line of the second verse: "I met her in Soap Creek just by chance." Soap Creek Saloon was an out-of-the way honky-tonk Doug and many other Austin groovers called home for much of the 1970s. In 2001, Margaret Moser wrote a great piece on Soap Creek for the Austin Chronicle and it's pretty much required reading for all Dougheads. Just get to it after you're done here. You know the rules.

3. Give Back The Key To My Heart

Funny, even though this was the song that started this whole mess, I really didn't spend a lot breaking down the whatfors last time around. Too bad, because it's one of the masterpieces in the Doug Sahm catalog. A mix of Dylan moxie and Sam Cooke swing, "Key" features more superior harmonies from Doug and Atwood and has to be one of the only songs from the era to highlight the perils of cocaine addiction. Remember, this was 1976, the same year that The Last Waltz crew supplied its all-star cast of musicians with enough backstage blow to support the Peruvian GDP for 4 years. Hell, the rock in Neil Young's nose became so famous it got its own sitcom. So, in that context, Sahm's dire warning about coke is, dare I say, shockingly responsible?!?!

"Well, you got a friend named cocaine
And to me he is to blame
He has drained life from your face
He has taken my place."

If you've got coke-face and you're stealing TVs to support your habit, you might need to rethink your priorities. Just sayin'.

4. Wolverton Mountain

Wolverton Mountain was a massive crossover hit for Claude King in 1962, one of Doug's two homages to early '60s AM radio on Texas Rock (the Gene Thomas Medley is the other). Actually, Wolverton is a throwback in another sense, as well, being the one song on the album that harkens back to the classic SDQ sound of the mid-'60s. While Augie's Vox organ is mostly buried in the mix, it jumps out in all its familiar, swirling, roller-rink glory during the instrumental break. In the end, though, Doug owns this song with one of the album's most searing vocals. When he goes into the red in the first verse with, "Whoaaaa baby for a fight!" that's soul right there, baby.

5. Texas Ranger Man

I realize in the CD/iPod era, "album sides" mean very little, but "Texas Ranger Man" ends Side One as the country-rock bookend to "I Love The Way You Love." This one has kind of a late Byrds feel to it, with Sahm again running his guitar through a Leslie speaker for the song's killer main riff. I've always felt that Doug was an underrated guitarist. He was no virtuoso, but he had a great rhythmic feel and knew his way around the fretboard.

"Texas Ranger Man" actually seems like a companion piece to the SDQ tune, "Dallas Alice," which appeared on their outstanding "Together After Five" album. Like that song ... and "Wolverton Mountain," for that matter ... the protagonist in both narratives has to face down a father's disapproval and possibly his firearms. Where Alice's "father didn't approve of his long hair and far-out groove," the Texas Ranger Man heard that Doug "had a reputation in the town of lovin' all the girls from miles around." It's like a country-rock Shakespearean tragedy. What's not to like?

6. Float Away

Side Two begins with the one song on the album meant to crank up to 11 and cannonball naked into the swimming pool. This is a straight-up classic rock summer jam, somewhat akin to The James Gang's "Walk Away". Hmmm ... "Walk Away," "Float Away" ... coincidence??? Anyway, I could talk more about the huge guitar sound or Sahm's great double-tracked vocals, but I've got something to do first ... CANNONBALLLLLL!!!!!

7. I'm Missing You

A wistful country-pop tune that's a nice contrast to "Float Away," Atwood's high lonesome tenor again stands out. However, I think the star of this show is drummer George Rains. While he's buried in the mix and he's not going all Gene Krupa on the kit, he holds down a solid pocket while adding a number of economic accents and fills to the give the simple pop song a rhythmic tension it wouldn't have in lesser hands.

On an unrelated note, Elvis Costello has gone on record as being a huge Doug Sahm fan and I've always thought this was the kind of song that he could write in his sleep ... and possibly inspired some of his work on, say, "King Of America". Can someone call him up and get a yay or nay? Thanks.

8. Gene Thomas Medley: Sometimes/Cryin' Inside

Here's what I wrote about this tune for Star Maker Machine a few weeks ago and I see no reason to change now. FYI: The theme being referenced was songs that are 2:42, as a result of Joshua Allen's hilarious essay.

"Doug Sahm ... as Sir Doug & The Texas Tornados ... released this tune as a single in 1976, the same year that Boston released the song that inspired the post that inspired this theme. Doug's single is actually a medley of two Gene Thomas songs from the early '60s and features a spoken bridge rife with nostalgia: "Yeah, I remember those times. Back in the old nightclubs in 1961 in San Antone." In other words, Doug's medley not only flies in the face of the cocaine-fueled self-indulgence of its own time (1976), it's an intentional throwback to that pre-FM time when singles and AM radio ruled the earth (1961). Furthermore, Doug cherry-picks the best parts of two separate songs to maximize the concision of his 2:42. All meat, no potatoes, and absolutely gorgeous harmonies from Sahm and his longtime compadre, Atwood Allen. God bless Sir Doug."

9. Country Groove

"I was raised on country music
Blues and rock 'n' roll
Country groove, country groove
Gets right to your soul."

The album's other honky tonk gem, this is Doug's homage to his Texas music heroes. In the roll call are such heavy-hitters as George Jones, Lefty Frizzell, Bob Wills' fiddles, Waylon Jennings, and Willie Nelson. However, as with the Soap Creek reference in "Cowboy Peyton Place," this one has a few references that might slip by the uninitiated.

Link Davis and J.R. Chatwell ("... the kind Link and J.R. used to play") were both highly gifted western swing fiddlers (and singers) who were forefathers to the open-minded, genre-skipping, musical gumbo favored by Doug Sahm. In the early '70s, Doug even put J.R. on the band payroll so he join them on their tour of New York City. It was largely a gesture of goodwill, though, as J.R.'s musical skills had eroded due to a stroke. But, that gives you an idea of the esteem in which he was held by Sir Doug.

KOKE-FM ("I don't know what happens when I turn on KOKE-FM") was an Austin radio station that pioneered the progressive country radio format in the mid-'70s to differentiate its classic country playlists from those stations heavy into the Nashville Sound. Speaking of classic, with the earlier mention of Bob Wills and "Country Groove's" namecheck, I think it's time for the final bonus track.

10. You Can't Hide a Redneck (Under That Hippy Hair)

Texas Rock's "sore thumb" is a blues jam, which means it's a bit out of place on an album full of country songs. But, this is Doug Sahm we're talking about. This is what he does. Actually, "Redneck" bookends Side Two nicely with "Float Away" and gives the LP a legit claim for having "rock" in the title. While not a great song, I do like how Doug's T-Bone Walker guitar wail complements Hess' slide parts. In fact, I love when Doug calls out, "Blow your horn, Harry," and Hess launches into a slide solo. Funny stuff. Speaking of which, this song has to have one of the funniest couplets in the Book of Sahm:

"Don't care how many joints you roll,
Oh man, you got a white man's soul."

And that, my friends, is Texas Rock For Country Rollers in an intense, flavorful, slow-cooked nutshell. Now I think I need 20 consecutive hours of sleep. But, please enjoy the tunes and spread the gospel of Sahm as much as you can. Long live Sir Doug!

From Rate Your Music (2010):

Continuing his corporate wanderings, 1976's "Texas Rock for Country Rollers" found Doug Sahm signed to ABC's rapidly dying Dot subsidiary where he was reunited with original Sir Douglas Quintet producer Huey P. Meaux. Credited to 'Sir Doug & the Texas Tornados', the collection showcased one of the best bands he'd worked with in years, including bassist Jack Barber, steel guitar player Harry Hess, longtime sidekick Augie Meyers on keyboards, and drummer George Rains.

Working with a top notch band seemed to reinvigorate Sahm, and while the album wasn't perfect, track by track it was one of the most enjoyable and consistent things he'd done in years. I'm saying that even though I've never been a big country/country-rock fan and this is an album with plenty of country; by my count seven of the ten tracks would qualify as country, or country-rock efforts. That said, "Texas Rock for Country Rollers" was one of those albums you listened to and just had to wonder what happened ... How did radio, critics, and the buying public miss this one ? Sahm seldom sounded as comfortable in a studio and that gave the entire album a warm, easy-to-like charm. There were plenty of highlights, but my picks would include the lead off rocker 'I Love the Way You Love (The Way I Love You)', the anti-drug 'Give Back the Key To My Heart', and the rocker 'Floatway'.

- Penned by rhythm guitarist Atwood Allen, in spite of the clumsy title, 'I Love the Way You Love (The Way I Love You)' was a nice country-rocker. Sporting a great chuggin' beat that drilled into your head and one of the Sham's tastiest guitar solos, this one's always reminded me of something John Fogerty might have recorded early in his career. rating: **** stars
- Powered by Harry Hess' pedal steel and Sahm's own fiddle, 'Cowboy Peyton Place was one of the album's straight ahead country numbers. Normally I wouldn't want anything to do with a song like this one, but I could live with this one. I'm not saying this is one of my Doug Sahm favorites, but the lyric was actually kind of funny - made you wonder if it was autobiographical. rating: ** stars
- Showcasing some nice acoustic 12 strings, 'Give Back the Key To My Heart' was a beautiful country-rock ballad and one of those lost Sahm classics. With Sahm sporting his best Dylan impression the song was also interesting from a lyrical standpoint. Initially sounding like a standard 'love gone wrong' tale, the song was actually a cautionary tale on the addictive nature of cocaine. Pretty amazing for something written in the mid-1970s when most folks still though the drug was relatively harmless. My only complaint is that the track faded out just as it was beginning to pick up real steam. Shame. rating: **** stars
- Even before Augie Meyers Vox kicked in if there was a song that recalled Sahm's Sir Douglas heyday, 'Wolverton Mountain' was that track. A fantastic, rollocking upbeat number, once again the effect was undermined by the unexpected early fade out ... Meaux should have let this one roll on. rating: **** stars
- With Sahm turning in an even more distinctive Dylan-styled vocal, 'Texas Ranger Man' may have been side one's most interesting song. The song certainly sported side one's best Sahm guitar performance. Unfortunately once again, you were left wondering why the song had an early fade out ... rating: **** stars
- In large measure due to the fact it was an atypical rocker, 'Floatway' started side two with my favorite performance. Kicked along by Sahm's electric guitar this was a great party tune. Again, they should have let the tape roll a little longer. rating: ***** stars
- A pretty, but unexceptional country ballad, 'I'm Missing You' was saved from the 'also ran' pile by two things - Sahm's nifty little Buddy Holly vocal nod, and the great little rock riff that showed up in the refrains. rating: *** stars
- Others rave about the performance, but perhaps because it sounds extremely old fashioned to me, the Gene Thomas medley 'Sometimes / Crying Inside' was the one country tune that I could have done without. I guess hearing it in a small club after a couple of cold beers might bring me around ... rating: ** stars
- Similarly, 'Country Groove' was a pure honky tonk number that did nothing for me. Okay, the Texas country stars name checks (Link Davis, Lefty Frizzel, Waylon Jennings, George Jones, etc.) were mildly interesting. rating: ** stars
- In spite of the title, 'You Can't Hide a Redneck (Under the Hippy Hair)' was a traditional blues number. You've heard stuff like this hundreds, if not thousands of times before, so it's kind of hard to get all that excited about it. That said, Sahm's rugged vocal and squealing lead guitar (along with Harry Hess' slide guitar and harmonica), made it worth hearing once or twice. rating: *** stars
ABC / Dot actually tapped the album for a single, though they don't seem to have done much to promote it:

- 1976's 'Cowboy Peyton Place' b/w 'I Love the Way You Love (The Way I Love You)' (ABC / Dot catalog number 17658)

There was also one ABC / Dot non-LP single:

- 1976's 'Crying Inside Sometimes' b/w 'I'm Missing You' (ABC / Dot catalog number 17674)