please consign this info-sheet with the shared music - thanks !


SIR DOUGLAS QUINTET
- May 24, 1983 -
Limmathaus, Zuerich, Switzerland
** analog DRS-FM MASTER, MWM 0173 **
>> THE COMPLETE BROADCAST PLUS a 15 minutes "DRS-Sounds" INTERVIEW with DOUG SAHM
(he was AWOL during soundcheck!) - AMAZING QUALITY ! << w/ samples




Checking the DIME-bot, i found out that our dear friend Fabio (38f) had
uploaded a first generation copy of (seemingly) this concert here before.
Venue was INCORRECT there, some other songtitles (?) and there have been
some strange fade-ins and -outs reported, back then:

Sun Nov 6, 2005 1:45 pm
A new torrent has been uploaded to DIME.

Torrent: 67472
Title: SIR DOUGLAS QUINTET - THE VOLKHAUS, ZURICH, SWITZERLAND, MAY 24 TH 1983 FM SBD
Size: 668.88 MB
Category: Americana
Uploaded by: 38f

It was removed from Dime on Friday January 20, 2006 - after just 75 days.




Too sad, as this artist & band was/is another of those "Desert Island"-ones of my dad.

So he opened his truly immense archive and came up with the UNCUT FM-mastertapes of this
concert, INCLUDING the complete 20+ minutes long radio-interview Doug Sahm participated
in the "DRS"-Studios Zuerich with host Martin Schäfer (and one of his workmates) INSTEAD
of attending the soundcheck. Him going "absent without (official) leave" truly pissed his
bandmates, back then, as you'll hear in the Radio DJ's comments...what a great way to get
an incredible outstanding concert...with a band full of malodorous freaks - for sure !


This here has NOTHING to do with the old upload, it's a brandnew transfer from our masters.

Back then, this one here was also NOT traded with 38f...
and if one of the "old" DIMErs did download it back in the days '05/06,
please elaborate the possible differences in the comment section...


IN THE MEANTIME I'LL SAY THIS IS A
DAMN EXCELLENT FM-BROADCAST - SIMPLY A MUST HAVE !


ENJOY THIS MASTERPIECE OF FINE TEXAN MUSIC & START DANCING...



AND IF YOU'RE INTERESTED TO READ MORE,
SCROLL DOWN FOR A DAMN LOT OF INFORMATIONS.





SIR DOUGLAS QUINTET (the artists)

Limmathaus (the venue)
Zuerich (the city)
Switzerland (the country)

May 24, 1983 (the date)



"Schweizer Radio DRS"-FM concert broadcast from the very next day, May 25, 1983



Zürich or Zurich is the largest city in Switzerland and the capital of the canton of Zürich.
It is located in Eastern Switzerland at the northwestern tip of Lake Zürich. While the
municipality itself has 380,500 inhabitants, the Zürich metropolitan area is an urbanised
area of international importance constituted by a population of nearly 2 million inhabitants.
Zürich is a mixed hub for railways, roads, and air traffic. Both Zürich Airport and railway
station are the largest and busiest in the country. In addition to being Switzerland's main
commercial centre, Zürich is sometimes called the Cultural Capital of Switzerland.
An impressive number of museums and art galleries can be found in the city, among which
the Swiss National Museum and the Kunsthaus. Zürich also hosts one of the most important
theatres in the German-speaking world.

about the venue:
http://www.limmathaus.ch/
http://de.wikipedia.org/wiki/Limmathaus

about the radio station:
http://www.drs.ch/www/de/drs/ueber-uns/standorte/studios.html

pics & scans included in this torrent...




as far as we know NONE of this recording was used commercially...so far...

AND:

SADLY an about 8 minutes long CCR medley incl. "Proud Mary" & Doug Clifford's
(ex-CCR) drum solo had been omitted for the broadcast...so we'll have to wait
for a possible upcoming Pre-FM recording...HOPEFULLY NOT another 27 years !!



the complete broadcast:


CD 1 (69:43.08)

THE MUSIC - Set One:
===============

1-01. DRS Radio DJs Intro -> Wasted Days And Wasted Nights $ 3:31.03
1-02. Sheila Tequila 2:49.53
1-03. -> It Was Fun While It Lasted 3:02.64
1-04. Cowboy Peyton Place 3:57.47
1-05. Mendocino 4:43.18
1-06. ...introducing Augie Meyers... 1:00.47
1-07. Down In The Heart Of Mexico 3:08.21
1-08. Who Were You Thinkin' Of (When We Were Making Love Last Night)? % 2:45.53
1-09. Sugar Bee 2:57.30
1-10. ...introducing Doug Clifford... 0:46.09
1-11. Green River 4:36.33
1-12. Folsom Prison Blues 4:05.57
1-13. Papa Ain't Salty No More § 5:21.38
1-14. ...what happened to us at the Swiss border... 1:10.64
1-15. At the Crossroads 5:19.13
1-16. Nuevo Laredo 2:42.04
1-17. ...introducing Louie Ortega... 0:33.08
1-18. I Know You Know # 2:50.07
1-19. She's About A Mover 5:33.66
1-20. ...band introduction... 2:20.40
1-21. -> Meet Me In Stockholm 3:40.60
1-22. -> Adios Mexico 2:46.23

CD 2 (66:02.21)

THE MUSIC - Set Two (43:03.73):
=======================

2-01. Dynamite Woman & 4:10.32
2-02. Cotton-Eyed Joe & 1:26.63
2-03. -> (Is Anybody Going To) San Antone & 3:27.55

encore 1:
2-04. Little Georgie Baker # § 3:53.04
2-05. -> This Time (We're Really Breaking Up) 3:39.22
2-06. Call It Stormy Monday (But Tuesday Is Just As Bad) 6:31.17
2-07. -> 96 Tears * 3:15.03
2-08. Be Real 2:52.01
2-09. -> Texas Tornado 3:34.53
2-10. Groover's Paradise 3:57.00
2-11. ...applause/crowd freaked out completely... 1:05.39

encore 2:
2-12. The Last Time 4:21.50
2-13. DRS Radio DJs Outro... 0:49.34


broadcasted concert: 69:43.08 + 43:03.73 = 112:46.81 minutes


THE TALKING SECTION (22:58.23):
=======================

A: MOVED DJ's talk:

Broadcasted May 25, 1983 (originally aired BETWEEN both sets, after
track #1-22 and before 2-01), live from the DRS-Studio Zürich DURING the
very first transmission on the following day after the concert; and removed
just for this upload HITHER - AFTER the music - for a better flowing concert:

3-01. DRS Radio DJs talking about the concert... 6:55.48


B: DRS Radio "Sounds" Interview (16:02.50):

Including the two OMITTED songs the uncut original broadcast lasted 21:42.49 minutes...

"Live-in-the-studio" interview from "DRS"-Studios Zuerich: host Martin Schäfer
(and one of his workmates) in a pretty good conversation with Doug Sahm, AWOL from
the band-soundcheck earlier the same day the concert took place; AND semi-live
broadcasted on May 24, 1983, to get promotion AND a bigger crowd into the venue:

4-01. Interview 1: about his band members, tonight's program & the new album 4:12.26
4-02. "Charisma Face" studio version, faded and OMITTED , following DIME rules 0:34.64
4-03. Interview 2: phonequestions about deleted shows, motivation & Texan music 6:05.25
4-04. "Meet Me In Stockholm" studio version, faded and OMITTED , following DIME rules 0:35.58
4-05. Interview 3: about Doug's musical faves & Bob Dylan's birthday 4:34.27


total: 69:43.08 + 66:02.21 = 135:45.29 minutes



notes:

$ - song written by
% - song written by
# - lead vocals by Louie Ortega
& - with an inspired fiddle by Doug Sahm
§ - original tape flip during the applause @ the song end, nothing was lost...
* - read more about "Qmark": http://www.pharaohweb.com/Qmark/bio.html

You can join this one also seamlessly, as there are no fades at the
end of 1-07. and the beginning of 2-01. Nothing was lost @ this cut.


musicians:

Douglas Wayne "Doug" Sahm - vocals, guitar, fiddle on track 2-01/02/03
Bobby Black - pedal steel guitar
Jon Blondell - bass
Louis "Louie" Ortega - guitar, vocals, lead vocals on track 1-18 and 2-04
Douglas "Cosmo" Clifford - drums, percussion
August "Augie" Meyers - keyboards, accordion, vocals
-> Augie was released from the hospital yesterday (April, 27 2010) and is doing great...


All PA-systems, stage equipment and the sound & light engineers for
the roomsound @ Limmathouse came completely from Hugo Hypyus' company
"Hyposound AG" Winterthur, it was their first "international gig"...




lineage:

recorded by lonetaper, FM broadcast to analog tape


recording May 24 and 25, 1983:

DRS-FM Swiss Radio Broadcast > Airwaves > Sony STR 3800L Stereo Receiver/Amplifier >
> Hitachi D 980 Stereo Cassette Tape Deck (without any Dolby NoiseReduction) > My Compact Cassette Masters
(Maxell XL II-S 90 Epitaxial, 1-7/8ips Position Chrome, High Bias Type II, EQ 70us, 135 meter tape)


transfer, just recently:

Cassettes (master) > Nakamichi Cassette Deck 1 (manual playback head azimuth aligned ! No NR used) > Analog Cable (coax) >
> Behringer SRC-2496 Ultramatch Pro
(Ultra-high-resolution 24-Bit/96 kHz A/D & D/A and Sample Rate Converter & Dropouts-/Jitter Remover) >
> 16 bit, SP 48 kHz converted to 16 bit, SP 44,1 kHz > > Oehlbach Hyper Profi Opto Set (optical fibre, TOS-Link) >
> Terratec Aureon 7.1 PCI - Dolby Digital Live Soundcard with C-Media CMI8768 Soundprocessor Chip, digital S/P-DIF in >
> Motherboard with AMD Multicore Processor, Serial ATA Interface > CD Wave (recording) >
> Harddisc Western Digital with Thermaltake HD Cooler (EVER had a HardDisc burnout ??) >
> lonetaper's secret box of miracles > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME






this upload here comes directly from the "Men With Microphones" archives.
if you want to know more about, check the old uploads...lotta stuff to read !


the concert was recorded COMPLETELY live by Swiss DRS-FM on May 24, 1983,
the first known (incomplete) broadcast was the next day - May 25, 1983,
the radio-DJs there did quite a good & not too annoying job...and so far
there was NO complete, uncutted re-broadcast (at least to my knowledge...).


FOR THE FIRST TIME OUT OF OUR ARCHIVE,
CAREFULLY RESTORED & SLIGHTLY MASTERED,
TRANSFERRED - OTHERWISE UNALTERED - PLEASE ENJOY !



And if there's some interest, maybe there is MORE TO COME...
it just depends on YOUR demeanor, and lotta useful comments ;-)




The Sir Douglas Quintet Biography

Arguably the greatest and most influential Tex-Mex group ever, the Sir Douglas Quintet epitomized
Texas' reputation as a fertile roots music melting pot and established the career of Tex-Mex cult
legend Doug Sahm. The Quintet mixed country, blues, jazz, R&B, Mexican conjunto/norteño music,
Cajun dances, British Invasion rock & roll, garage rock, and even psychedelia into a heady stew
that could only have come from Texas. Although they went largely underappreciated during their
existence (mostly in the '60s), their influence was far-reaching and continues to be felt in Texas
(particularly the similarly eclectic Austin scene) and beyond; afterward, Sahm embarked on a
frequently fascinating solo career and reunited with the Quintet or its individual members several
times over the years.

According to legend, the Sir Douglas Quintet was the brainchild of Houston producer Huey P. Meaux,
who at the height of the British Invasion took a stack of Beatles records into a hotel room and
studied them while getting drunk on wine. He found that the beats often resembled those of Cajun
dance songs and hit upon the idea of a group that could blend the two sounds well enough to fool
Beatles fans into giving a local band a chance. Doug Sahm, meanwhile, had been something of a
childhood prodigy as a country artist - he turned down a spot on the Grand Ole Opry in order to
finish junior high and performed on-stage with Hank Williams. Sahm had made Meaux's acquaintance
while leading a series of bands around San Antonio in high school and wanted to work with him.
Meaux told Sahm his idea and Sahm quickly formed a band featuring childhood friend Augie Meyers
on organ, bassist Jack Barber, drummer Johnny Perez, and percussionist Leon Beatty (who didn't
stick around for too long); saxophonist Frank Morin was added after a short time. Meaux gave them
the deceptively British-sounding name the Sir Douglas Quintet and released their debut single,
"Sugar Bee," on his Pacemaker label in 1964; it flopped. However, their next single, the British
Invasion/garage-flavored "She's About a Mover" (on a different Meaux label, Tribe), became a
classic of Tex-Mex rock and an international hit, climbing into the U.S. Top 20 in 1965.
Later that year, "The Rains Came" hit the Top 40 and Meaux assembled an LP from their singles
sessions with the misleading title The Best of the Sir Douglas Quintet. The group toured the
United States and Europe, but upon returning, they were arrested at the Corpus Christi airport
for possessing a tiny amount of marijuana. Feeling targeted for his long hair and hippie image,
Sahm decided to break up the band upon his release from jail, and moved to San Francisco in
early 1966; Morin tagged along.

Once in San Francisco, Sahm formed a new version of the Sir Douglas Quintet featuring Morin,
keyboardist Peter Ferst (who was quickly replaced by Wayne Talbert), bassist John York (later of
the Byrds, soon replaced by Whitney Freeman), and drummer George Rains; most of them were Texas
expatriates as well. The new Sir Douglas Quintet gigged regularly around the Bay Area and signed
with the Mercury subsidiary Smash. Their first album, Sir Douglas Quintet + 2 = Honkey Blues, was
recorded with several extra horn players as the Sir Douglas Quintet + 2 and released in 1968;
however, it lacked Augie Meyers' signature organ sound. Rains and Talbert soon left to concentrate
on other projects and Sahm convinced Meyers and Johnny Perez to move up from Texas; they brought
Meyers' old bandmate Harvey Kagan with to be the bassist. With almost all of their original members,
the Sir Douglas Quintet recorded one of their finest albums, 1969's Mendocino; the title track
became a Top 40 hit and a Tex-Mex rock staple and the whole record fit in very well with the
emerging country-rock hybrid. Moreover, it made the group extremely popular in Europe, where they
would retain a fan base for many years to come. Together After Five followed in 1970, after which
the group switched to a different Mercury affiliate, Philips. Also released in 1970, 1+1+1=4
featured members of both the Texas and California lineups of the Quintet, plus new bassist Jim
Stallings. It was perhaps a sign that much of the group was beginning to drift into other projects
again. Without Sahm, the remainder of the Quintet recorded an album for United Artists called
Future Tense; several members also backed Gene Vincent as the Amigos de Musica. A homesick Sahm
finally returned to Texas in 1971 and the Sir Douglas Quintet officially disbanded in late 1972,
though some of its members - Meyers in particular - would continue to work with Sahm frequently
during his solo career.

After being ignored by Mercury, Sahm signed with Atlantic as a solo artist; in the wake of Atlantic's
promotional push, Mercury issued an album of unreleased Sir Douglas Quintet tracks, called Rough Edges,
in 1973. This was the last new Quintet album for some time, until Sahm, Meyers, and Perez re-formed
the group at the dawn of the '80s, along with new guitarist Alvin Crow and new bassist Speedy Sparks.
They signed with the Chrysalis subsidiary Takoma and released the album Border Wave in 1981, which
fused their eclectic Tex-Mex rock & roll with the concise pop sound of new wave (as Joe "King"
Carrasco had been doing). Crow left prior to the supporting tour to work with his own band and was
replaced by Louie Ortega; once again, the Quintet proved more popular in Europe, especially Scandinavia,
than in their own country. They recorded for the European Sonet label during the '80s and Takoma
occasionally released Quintet material as well. They scored an enormous Swedish hit with "Meet Me
in Stockholm," though the accompanying album wasn't released in the U.S.; by 1985, the group had
broken up again. Sahm and Meyers formed the Tex-Mex supergroup the Texas Tornados with Freddy Fender
and Flaco Jimenez at the end of the decade and in 1994 presided over a one-off version of the
Sir Douglas Quintet that featured Sahm's sons Shandon (drums) and Shawn (guitar).
In November 1999, Sahm died of a heart attack.
- Steve Huey, All Music Guide



Zum ersten "richtigen" Konzert des Sir Douglas Quintets
in der Schweiz schreibt Martin Schäfer im Tagesanzeiger:

Ein texanischer Tornado
Ihr wollt eine Kritik? Nicht doch. Mich beschäftigt jetzt nur die Frage: Warum ist das Sir Douglas
Quintet so gut, - und warum lockt es in der Schweiz doch keine 500 Leute hinter dem Ofen hervor?
Die Fakten zuerst: Der Blues-Club Zürich hat es in verdienstvoller Weise auf sich genommen, die
legendäre texanische Popgruppe aus Skandinavien (wo sich ihre fettesten europäischen Weidegründe
befinden) auch nach Zürich zu locken. Fast wäre das Konzert doch nicht zustande gekommen, allerdings
nicht wegen Sir Doug Sahms sagenhafter Unzuverlässigkeit, sondern weil der Organist Augie Meyers
und der zweite Gitarrist Louie Ortega an der Grenze aufgehalten wurden, angeblich wegen fehlender
Visa und einem vier Inches zu breiten Trailer. Ha! Ein Blick auf Augies Hippiezopf und das braune
Chicano-Gesicht von Louie genügt wohl, um das Herz jedes Grenzbeamten erschauern zu lassen.

Aber sie schafften es dann doch noch, und so standen kurz nach acht alle sechs momentanen Mitglieder
des famosen Quintetts auf der Bühne. Am Anfang durfte gleich - mit "Proud Mary" - der Schlagzeuger
Doug Clifford brillieren, für viele wohl, als Überlebender von "Creedence Clearwater Revival", der
geheime Star des Abends, ein Drummer, wie man ihn sich solider, aber auch beweglicher kaum wünschen
kann. Denn täuschen wir uns nicht: Diese Musik mag mitunter simpel tönen, aber sie setzt, in ihrer
ganzen stilistischen Breite von Tex-Mex, Rock, Blues, Country bis hin zur Polka, eine fast traum-
wandlerische Sicherheit voraus. Und dafür ist die Qualität der Rhythmussektion entscheidend.
Bassist Jon Blondell, der Jüngste der Band, spielt normalerweise Jazz, beim Quintett macht er mit,
weil er Doug Sahm als Bluessänger und -gitarristen bewundert. Und dazu hat er auch allen Grund,
neben den alten Hits wie "Mendocino" gehörten die T-Bone-Walker-Nummern "Papa Ain't Salty" und
"Stormy Monday" zum Eindrücklichsten an diesem Auftritt. Da spielt einer mit absoluter Autorität
aus einer Tradition heraus. Die von der spezifischen Grenzsituation von Texas her offenbar weniger
ethnische und damit auch musikalische Grenzen kennt als sonst im gelobten Land USA üblich.

Wenn ich noch einen Wunsch gehabt hätte, dann den: ein noch blueslastigeres Programm - nur hätte
Sir Douglas dafür seine Bläser gebraucht, und wer hätte die bezahlt? Aber "Stormy Monday" mit einem
perfekten Pedal Steel-Solo von Bobby Black (ex-Commander Cody), der überhaupt sehr viel Country-Klang
ins Spiel brachte, das war auch eines dieser Erlebnisse, wie sie (fast) nur Sir Douglas möglich macht,
genau wie seine eigenen gekonnten Fiedeleskapaden oder Augies Tex-Mex-Handorgel. Und das ist der
wahre Grund, weshalb Plattenfirmen, Konzertagenturen und folglich (leider) auch das grosse Publikum
vor dem Sir Douglas Quintet Angst haben: Da weiss man nie so recht, woran man ist, wie übrigens die
Musiker selbst nicht im voraus wissen, gibt's jetzt simplen Pop oder Volksmusik oder swingenden Jazz.
Das verunsichert in einer Zeit immer segmentierterer und immer gleichgeschalteterer Konsumgewohnheiten,
da könnte ja – Horror! - der Country-Fan plötzlich neben einem Punk stehen, und wer begegnet schon
gern dem anderen, Fremden so unvermittelt? Dabei lässt es Doug Sahm so einfach erscheinen und selbst-
verständlich, für ihn gehört alles zusammen, bis zum abschliessenden Rolling-Stones-Titel "The Last Time",
der hier plötzlich wieder zu dem wird, was er immer war: Teil der grossen Tradition, die wir mit dem
Begriff "Rock" so unvollkommen und ungenau erfassen.

Martin Schäfer im Tagesanzeiger, Donnerstag, 26. Mai 1983




PLEASE support the artists and buy all their available CDs & merchandise...
Check out the following websites:

http://www.myspace.com/sirdouglasquintet
http://www.myspace.com/dougsahmtribute
http://en.wikipedia.org/wiki/Doug_Sahm
http://en.wikipedia.org/wiki/Sir_Douglas_Quintet
http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:lzamqj4boj0a~T1
http://www.tshaonline.org/handbook/online/articles/SS/fsa88.html
http://www.statesman.com/life/books/texas-tornado-doug-sahm-and-his-groove-295915.html
http://www.johnpenrice.com/sirdoug/
http://www.dougsahmhill.com/
http://www.laventure.net/tourist/sdq.htm
http://www.vinylhound.ch/sirdoug1.html
http://www.vinylhound.ch/sirdoug2.html

http://www.steelguitar.com/webpix/playpix/bblack.htm
http://jonblondell.com/
http://www.louieortega.com/
http://www.creedence-revisited.com/
http://augiemeyers.com/



*************************************************************************************
More brilliant live music out of our collection:

Torrent #301281 the GOURDS
Torrent #300374 TOWNES VAN ZANDT
Torrent #299932 RAY WYLIE HUBBARD wsg. Slaid Cleaves & Carrie Newcomer
Torrent #298926 SLAID CLEAVES wsg. Carrie Newcomer
Torrent #289937 RAY WYLIE HUBBARD wsg. Slaid Cleaves & Carrie Newcomer
Torrent #289679 SLAID CLEAVES wsg. Carrie Newcomer
Torrent #288169 CONTINENTAL DRIFTERS
Torrent #287986 BOB NEUWIRTH
Torrent #268351 Jimmy LaFave & Band
Torrent #263837 rick DANKO, jonas FJELD, eric ANDERSEN

And please check also all other uploads...BUT as Leo said: BEWARE - LOTS OF TEXT TO READ !
*************************************************************************************




MY DAD USUALLY SAYS: A GOOD BREEDING SEEMS HARD TO FIND IN CYBERWORLD, NOWADAYS !

please be friendly & polite to me, and i'll be the same to you...twice-pledged !

BUT IF YOU'LL TAKE ME FOR A RIDE, I'LL COME TO YOUR HOME AND THE FUN IS OVER...DEFINITELY !
AND I'M ALWAYS ACCOMPANIED BY MY FRIENDS & BROTHERS - FRANCONIA'S TOUGHEST BIKERGANG
"DARK BECKSTEIN SKULLS" - A SUBDIVISION OF THE AWESOMELY "CROSSED BONES" FROM SOLINGEN.


Dime allows alternative versions, I don't own the music, so I can't stop you, but
the correct thing to do amongst tapers/editors is TO ASK FIRST...(C. by scdegraaf)

I SIMPLY CAN'T TAKE A JOKE - CONCERNING BAD MANNERS AND UNGRATEFULNESS ! pythonmonty.
====================================================================================


open recorded and carefully stored over 27 years, mastered etc. by Leo (all thanks go to him...),
transferred & finally uploaded by pythonmonty on Dime, May 12, 2010. This is "MWM 00173"


please consign this info-sheet with the shared music - thanks !