The Last Real (Nashville) Texas Blues Band
Gypsy Tea Room Dallas, Texas
9th May 1998 / Soundboard

Received in trade as audio CDs > Re-edited track-splits between disc 2 t12 & t13 and edited
silence out at start of d2 t12 > converted to FLAC with dbConverter - stewART, June 2006
Soundboard recording - excellent quality.

Doug Sahm (guitar/vocals)
Roy Head (vocals)
Jack Barber (bass/vocals)
Shawn Sahm (guitar)
Arturo "Sauce" Gonzalez (piano/organ)
Frank Christina (drums)
with the West Side Horns -
Al Gomez (trumpet)
Rocky Morales (sax)
Spot Barnett (sax)
(Disc 2 1 - 3 & 11 - 14 > with Roy Head - vocals)

Disc 1 - 73.52
1 instrumental intro
2 I Won't Cry (Johnny Adams)
3 Dealers Blues (Doug Sahm)
4 I'm Glad For Your Sake
5 She's About A Mover (Doug Sahm)
6 Bad Boy
7 Reconsider Baby
8 Things That I Used to Do (Guitar Slim)
9 I Ain't Got Nothin' Yet (Ray Charles)
10 Don't Let The Sun Catch You Cryin' (Ray Charles)
11 Texas Tornado (Doug Sahm)
12 At the Crossroads
13 You're Gonna Miss Me

Disc 2 - 72.41
1 Treat Her Right (Roy Head)
2 Linda Lou (Ray Sharpe) (CUTS AT END)
3 Lucille (Little Richard)
4 Someday
5 Wasted Days, Wasted Nights (Freddy Fender)
6 Golly Gee (Sonny Osuna)
7 Oh Marie (Louis Prima)
8 Mack the Knife (Bobby Darin)
9 You Lied,Cheated For So Long (Junior Parker)
10 Think It Over
11 Just a Little Bit
12 Rock Me Baby
13 Treat Her Right - reprise (Roy Head)
14 One More Time / Land of a 1000 Dances / Born to Be Wild (CUTS AT END)

The Last Real Texas Blues Man BY JAY TRACHTENBERG

Of his many incarnations, Doug Sahm & the West Side Horns (aka The Last Real Texas Blues Band)
has long been my favorite. Sahm was no stranger to this type of blues endeavor.
As early as the late Sixties, he was recording soulful R&B with a horn section.
But I'll never forget the first of many times I heard this band, sometime back in the
mid-Eighties when Antone's was up on Guadalupe. I'd always been a big fan of the Duke/Peacock
sound out of Houston, with its blasting horns and with-it arrangements on those gold
and burgundy-labeled Bobby Bland and Junior Parker 45s.
And here was Sahm out front, the consummate Texas hipster, barely able to contain himself,
somehow orchestrating this airtight, muscular little big band featuring ace San Antonio
saxman Rocky Morales and various longtime friends -- positively nailing that sound to the
wall! Their moniker, The Last Real Texas Blues Band, was no hyperbole either.
They alone, in their home state, were the sole purveyors of this classic, distinct sound.
It didn't stop there, either. Sahm's voracious musical appetite had the band devouring
virtually every style of blues, R&B, and rock & roll to be found along old Route 90 from
New Orleans to San Antone. And let's not forget a Dallas-Ft. Worth shuffle or two just
for good measure.

Texas music group review -
The late Doug Sahm was one of the genuine great (if under recognized) artists of contemporary
American music, and the master of all things Texan and musical. His legacy spans just about
every genre of contemporary popular music. And some of Sahm's best work can be found on the
two albums of Gulf Coast R&B and blues he recorded for Antone's Records: Juke Box Music and
The Last Real Texas Blues Band.
Originally released in 1988, Juke Box Music united some of Austin's best blues players with
Sahm's San Antonio musical compadres to create a classic Texas big-band R&B sound.
It was a style that Sahm absorbed from T-Bone Walker, Junior Parker and Bobby "Blue" Bland
as a youngster and mastered playing the San Antonio clubs as a teen, finally captured for a
full album. The Last Real Texas Blues Band in 1994 found Sahm further refining his take on
the style with studio cuts as well as live tracks recorded at Antone's nightclub, offering
some of the most soulful sounds to be heard in modern music (and earning a Grammy nomination
for Best Traditional Blues Album).

DOUG SAHM - (from AIM Records)
The late great Doug Sahm, who died unexpectedly in late 1999, was a genre-defying, musical
badass who was equally at home with country, Psychedelic Rock, R&B, all manner of Tex-Mex,
and just about any other category of music you might want to throw at him.
He began his career as a child prodigy singer/steel guitar player in the bars and clubs of
his native San Antonio, Tex., before he reached his teens. He even sat in with Hank Williams
shortly before the country legend kicked the bucket. Sahm formed the Sir Douglas Quintet
in the mid-1960s and hit the charts twice with the classic pumping Farfisa sounds of
"She's About A Mover" and "Mendocino." After the quintet split, Sahm continued to record
prolifically. A formidable blues guitarist and stunningly soulful singer, Sahm's music was
inextricably linked to Texas. In the '90s Sahm hooked up with Freddy Fender, Flaco Jiminez,
and his old buddy Augie Meyers to form the Texas Tornados, a sort of border rock supergroup
that enjoyed quite a bit of success. He will be missed.

Gomez grew up in a musical household. His dad leads a big band. Two of his sisters are music
educators. Gomez worked with keyboard man Sauce Gonzalez in Joe Bravo1s band. In the late '70s,
in a West Side joint called the Ooh-La-La, Gomez was introduced to the West Side Horns and
the West Side sound. "I was in a tuxedo and carrying my horn. They were playing blues.
Man,ż Gomez said. In the mid-'80s, when trumpeter McBirney opted to quit the road,
Gomez stepped into the trumpet spot. He1s an arranger and also a first-call studio player
whose work is heard on projects ranging from Tejano discs to songwriter James Talley1s latest,
1995 Grammy Nomination (R&B), "The Last Real Texas Blues Band" Current Magazine (San Antonio),
Ninth Annual Music Awards Best Latin Salsa Group: Henry Brun & The Latin Playerz Notre
Dame Jazz Festival, Outstanding Musician Award 1994-95 Texas Minority Graduate Fellowship
1991-94 Music Scholarship, SWTSU, Jazz & Orchestra Ensembles 1992 Music Achievement Award;
Wichita, Kansas Jazz Festival (IAJE) 1985 Music Achievement Award; UT Austin Jazz Festival
Performance Experience: Current, Dick's Last Resort, San Antonio, Texas 1996 European Tour
with Doug Sahm and the Last Real Texas Blues Band; including the Moulin Blues Festival
(Ospel, Holland) 1995-96 Corpus Christi Jazz Festival 1996 JAZZ' Alive (San Antonio
Jazz Festival) with The Jazz Vatos 1996 Eureka Springs, Arkansas, Jazz Festival with
The Jazz Vatos 1995 March-August: U.S. Tour with The Last Real Blues Band and the Texas
Tornadoes 1994 European tour with SWTSU Mysterium (composer ensemble) 1994 World Premier,
"Rio Bravo Ballet," by Alice Gomez 1993-96 Pura Vida Awards Orchestra

Rocky is the heart and soul of the "West Side Horns" of San Antonio. He has achieved
legendary status all over the world and continues to thrill audiences wherever he goes.
Morales started playing alto sax in junior high and at Fox Tech High School. The sound of
another San Antonian changed his mind. "When I heard Clifford Scott play 'Honky Tonk1
I switched to tenor. That was it, Morales said. Morales began working with Sahm in the
Mar-Kays in the early '60s. He played the Eastwood Country Club with Joe & the VIPs,
rocked and rolled with Rudy & the Reno Bops, played jumping blues with Randy Garibay and
stood shoulder-to-shoulder with Sahm on stages around the world.
Performance Credits: Doug Sahm, Kim Wilson, Angela Strehli, Lou Ann Barton, Stevie
Ray Vaughn, Albert Collins, Augie Meyers, Jackie King,Randy Garibay and many, many others

A later addition to the West Side Horns, sax giant Barnett in the late '50s and early '60s
was THE bandleader in San Antonio. Though his headquarters were in the Ebony Lounge on the
East Side, his influence was felt throughout San Antonio. Barnett1s band, which included
future Texas Tornados drummer Ernie "Murphyż Durawa, was known for mixing blues, jazz and
rock 'n1 roll. Sahm did a bass-playing stint in Barnett1s band and every musician worth
his salt made pilgrimages to the Ebony to watch the master work. In the '70s Barnett
played sax with Bobby Bland. Through the '80s and most of the '90s Barnett lived in South
Bend, Ind. where he worked construction and believed himself retired from the music business.
In the late '90s he returned to San Antonio and promptly went back to work leading his own
band and joining the West Side Horns.

Jack is currently touring with the Last Real Texas Blues Band.
He is also touring with the Texas Tornadoes and performed on their latest Grammy-nominated
album '4 Aces' on the Reprise label. The single, 'A Little Bit is Better than Nada' is the
opening track in the Kevin Costner film, 'Tin Cup'. Performance credits include :
Sir Douglas Quintet, David Bromberg, Bob Dylan, Willie Nelson, David "Fathead" Newman,
Joseph Latiff, Johnny Winter, Flaco Jimenez, Freddy Fender, Doug Sahm, Augie Meyers,
Los Lobos, Wayne Jackson (Memphis Horns), Joe Lewis Walker, Stevie Ray Vaughn, Jimmy Vaughn,
Kim Wilson, Asleep at the Wheel, Dr. John, Gene Taylor, Amos Garrett Band, Joe King Carrasco,
Johnny Nicholas, Stephen Bruton, Earl King, John Hammond, Delbert McClinton, Boz Scaggs
and Roger McGuinn

ARTURO "Sauceż GONZALEZ - piano and organ
The Hammond B-3 is his first love. "But it1s too heavy to carry around,ż he says with
a laugh. Sauce1s dad played piano at the house but "the radio was my college.ż
Influenced by the sounds of Jimmy Smith, Fats Domino and Jerry Lee Lewis, Sauce played
with Sunny & the Sunglows, Little Joe, Joe Bravo, the Drifters, the Coasters and others.
He can play polkas, but he loves the blues. In the '70s he began working with Sahm.
For a while he split time between Sahm1s various groups and Miss Lavelle White1s Blues
and Soul Situation. Now he leads The West Side Sound, a blues/R&B band that usually
includes at least one member of the West Side Horns.

Texas soul man Roy Head epitomizes Gulf Coast cool like no one else.
Originally discovered by San Antonio's T `N' T (short for Tanner `N' Texas) Records
wailin' out an R&B-laced style of rockabilly with his sizzling band the Traits,
Head cut the great "One More Time" in '59 and followed it up with "Live It Up" and
"My Baby's Fine." After a brief sojourn to Renner Records and a heap of stage work that
boiled his style down to leanest of the lean and the rawest of the raw, he busted out
with a potent double-sider that supercharged Big Joe Turner's "Teenage Letter" and
backed it with the soul-searing ballad "Pain." Then, in 1965 he crashed the gates,
take-no-prisoners style with "Treat Her Right," which rose to number two on the
Billboard Pop charts. If you're wondering why they never play this song on Oldies
radio stations, just dig its wrecking-crew power! Roy continued in this vein,
cracking the top 100 with "Just A Little Bit" and "Get Back Part 1," and laying
down other material that was just too wild for any chart, including the fabulous
"You're (Almost) Tough."
In 1970 he cut his swan song LP for Dunhill, The Same People You Meet Going Up You
Meet Coming Down. Produced by Huey P. Meaux, one of the world's great mysteries is just
why this album-replete with great "break beats"-isn't coveted by the funk/ hip-hop DJ crowd
But don't ponder, purchase!! It still sells for under ten bucks and is a true cornerstone
in any Gulf Coast music collection. For one thing, the backing musicians are completely out
of hand: funky drums, out-of-control bass lines, over-the-top fuzz guitars, screeching
Ornette-Coleman style saxophone and trumpet and above it all, Roy testifying with every
ounce of sweat and soul his body, mind and spirit can muster. Lord, have mercy!!!
There's just no arguing with the best.

The song selection, alas, couldn't be better. T.K. Hulin's swamp pop classic "I'm Not A
Fool Anymore," Jimmy Hughes' "Neighbor, Neighbor," Jackie Payne's "Go-Go Train"
(masquerading as "Soul Train") and the BEST version of the Sir Douglas Quintet's
"She's About A Mover" ever recorded. Yes, perhaps even better than the original,
hardly a fair comparison because Roy strips the proceedings down to their rawest
funkified core. And speaking of Sir Doug, Head even fronted the Texas Tornadoes
for a tour when Freddy Fender couldn't make the gig, and if he was any more intense
back in the `60s then he was a few years ago, well, he certainly hasn't lived up to
the title of one of the songs from that aforementioned album, "Don't Want To Make It
Too Funky." You won't be able to take your eyes (or ears) off Head when he's onstage,
but just watch out: this man's antics with a microphone are akin to an electrified boomerang.

Gypsy Tea Room -

The Gypsy Tea Room is located at 2548 Elm Street - Deep Ellum, Texas 75226 The Gypsy
Tea Room was opened by The Entertainment Collaborative in March of 1998.
Voted best live music venue two years in a row, the Gypsy Tea Room brings big local
favorites and national acts to town. The front club swings on Wednesday nights and
the back room has a revolving lineup of laidback jazz, head-banging metal, and enough
moshing to make you think you're in London. Whatever your musical taste, the Gypsy Tea
Room strikes a chord.
- D Magazine July 2000

The Gypsy Tea Room is arguably the finest live venue in Dallas at the moment,
its old school take on getting the job done outshining the Curtain Club's good
intentions or Trees' recent rebound. Attending a concert at the Gypsy Tea Room is
like going to Sons Of Herman Hall two decades ago, if it were located at the corner
of Nashville's Music Row and Sixth Street in Austin. The club not only brings in some
of the best acts in the country, but it does so with a sense of class and style that
is sorely lacking everywhere else in Dallas.
- Dallas Observer, March 25-31, 1999