oug Sahm’s career began early. As “Little Doug”, he played pedal steel guitar for artists playing The Louisiana Hayride in the late 40s and early 50s. Little Doug even played pedal steel for Hank Williams in his last concert. Between 1952 and 1965, Sahm recorded a number of small singles released only in Texas. In ’65, after bothering “The Crazy Cajun, producer Huey P. Meaux, for a record deal, Meaux agreed to produce Sahm and his friends under the moniker ‘The Sir Douglas Quintet’. Because Meaux’s career producing Cajun swamp-pop was faltering with the success of the British Invasion, he felt that if he marketed Sahm and his band as Englishmen, with a British Invasion-sounding name, they would be far more profitable. While the English ruse was short lived, The Sir Douglas Quintet scored two sizeable hits with “She’s About a Mover” and “The Rains Came”. The Quintet’s status as a pop band didn’t last long and after returning to Texas from a European tour, the group was busted for marijuana possession.

With the nascent “Cosmic Cowboy” scene still fairly underground in Texas, Sahm felt he longer fit in with the Texas climate. He moved to San Francisco in 1966, leaving most of the Quintet behind, including organist Auggie Meyers, whose playing style was the most recognizable piece of the group’s sound. After performing in California for 3 years with a different incarnation of the Sir Douglas Quintet, Sahm returned to Texas where he combined members of both the Texas and California bands to record Mendocino , his biggest commercial success. While The Quintet’s Tex-Mex style incorporated a number of influences not found in many of the more popular country-rock affairs of the day, the notoriety of bands like the Byrds and the Flying Burrito Brothers, helped make the album’s title track the top 40 hit that it was. After a few more albums with the Sir Douglas Quintet, the group disbanded and Sahm signed with Atlantic Records’ new C&W division.

In 1973, Sahm recorded his greatest artistic achievement, Doug Sahm and Band for Atlantic. Recorded in New York with longtime associates Auggie Meyers and accordionist Flaco Jimenez, as well as better-known performers like Bob Dylan, David Bromberg and Dr. John, the album is a perfect showcase for Sahm’s ramshackle energy and distinct style without the lack of quality control found on earlier records. Through the 70s and 80s, Sahm released album upon album of varying quality, the best being Texas Rock For Country Rollers , Border Wave and Hell of a Spell .

Finally in 1990, with his work with supergroup The Texas Tornados, Sahm found acceptance from the country establishment. The Tornados combined the eclectic sounds of Texas on their five albums, but, like, Sahm suffered from the lack of focus to record one, truly great album. They’re best heard on the 1994 compilation, The Best of the Texas Tornados . Featuring Sahm associates Auggie Meyers and Flaco Jimenez along with Chicano/C&W Texan guitarist Freddie Fender, the band did very well on country radio and was even nominated for a Grammy in 1991. Having to uphold the touring and recording responsibilities of a more popular group, Sahm mused that “the Tornados got me so busy, I don’t have time to smoke pot no more”. While probably untrue, the comment illustrated the difference in one-hit wonder success in the mid-1960s with AOR country success in the 90s.

Sahm died of a heart attack in 1999. Sahm’s appeal lies in his combination of the fiercely upbeat aspects of frat rock with a laid back, but not vapid hippie attitude and the authentic Tex-Mex sound. Unfortionanly, Sahm is yet to be popularized by revisionists and is still known to most through Oldies Radio overplay of “She’s About a Mover”.

Quick Facts:

Location: San Antonio, Texas. San Francisco, California.

Style: Tex-Mex, country-rock

Labels Appeared On: Tribe, Atlantic, Mercury, Edsel, Texas, Rockhouse, Chrysalis, Norton, Smash, Phillips.

Starting Point: The Best of Doug Sahm (1968-1975) (1991)

Essential: Doug Sahm and Band (1973)