It wasn’t quite subterfuge, and it wasn’t exactly a scam. But during the mid-‘60s—any band that smacked of the British Invasion was hot and sure to get attention. So, a number of, um, decidedly American groups tried to adapt a Union Jack sin their quest for attention and chart positions.

There were a slew of groups with English sounding names and Beatlesque harmonies. Like the Buckinghams from Chicago (“Kind of a Drag,”); the Knickerbockers of New Jersey (“Lies”); the Beau Brummels of San Francisco (“Laugh, Laugh,”), and the Count Five of San Jose (“Psychotic Reaction”).

But perhaps the most credibility-stretching entry in this subgroup was the Sir Douglas Quintet. Probably because the leader of the San Antonio-based group was singer/multi-instrumentalist Doug Sahm, a known quantity in the Lone Star State music industry since his days as a child prodigy.

Their sound was also more Cajun and Tex-Mex flavored. And some of the Quintet’s were clearly of Hispanic origin (hence some photos that show bandmembers shrouded in shadows).

Still, the group notched a bit hit and Garage Rock classic with notorious Houston music producer Huey P. Meaux (aka “The Crazy Cajun”) in 1965 with “She’s About a Mover.”

Fans of the Sir Douglas Quintet will get to hear some previously unheard live material this April 22 on Record Store Day with the vinyl release of Texas Tornado Live: Doug Weston’s Troubadour, 1971 (Liberation Hall Records). Its eight songs were soundboard-recorded by Daniel Rose at a pre-show rehearsal, with a 29-minute running time and recorded to play at 45 rpm.

“I was pretty intrigued because [the recording] came at one of these moments in time that was right before Doug ended up signing with Jerry Wexler at Atlantic Records,” says noted music journalist Joe Nick Patoski. He wrote the liner notes for the record and has penned books on Stevie Ray Vaughan and Selena as well as the definitive take on Willie Nelson (An Epic Life).

Sahm had originally hastened to California and spent years there outrunning a December 1965 band drug bust at the Corpus Christi airport. Shortly after the Troubadour set was recorded, Sahm would move back to San Antonio before finally landing in Austin. It put him squarely at the nexus of hippies and rednecks, with more of a nod to the former than his friend and similarly-minded uniter Nelson.

Once at Atlantic, Sahm would then record a string of seminal and influential records (even Bob Dylan was a fan!) including Doug Sahm and Band, Texas Tornado, and Groovers Paradise.

The lineup for this record includes 4/5ths of the original group: Sahm (vocals, guitar, piano), Augie Meyers (organ), Frank Morin (saxophone), and Johnny Perez (drums), along with newer recruit Jimmy Stallings (aka “JJ Light”) on bass. Saxophone player/percussionist Martin Fierro, who had previously appeared on the more experimental LP Honkey Blues credited to the “Sir Douglas Quintet +2” also guests.

Stallings had come into the group via Perez, as the pair had played together in a band called The Truth. “I’m so happy that they are putting out this record, and for Doug. And he definitely belongs in the Rock and Roll Hall of Fame!” an energetic Stallings says on the phone. “I didn’t even know anybody had recorded it. And I’m anxious to see what happens with it!”

“Someone found the tape, that’s all I know. It came from out of left field because no one I know in Doug World even knew about it,” Patoski offers. “I like getting into these details and nuances. I love this stuff! This [album] was a great reveal.”  

And he’s definitely plugged into “Doug World,” having directed and co-written (with Jason Wehling) the 2015 documentary Sir Doug and the Genuine Texas Cosmic Groove. After being out of circulation for a few years due to music rights, it’s back for viewing at SirDougFilm.com.

In addition to hits “She’s About a Mover” and “Mendocino,” the album includes SDQ/Sahm tunes like “Tortilla Flats,” “And It Didn’t Even Bring Me Down,” “Be Real,” and “Dynamite Woman.” Also, a cover of “I’m Glad for Your Sake (But I’m Sorry for Mine).” Sahm jokes and talks with the audience. Then there’s “Heya, Heya”—which gave Stallings a vocal role on a tune he co-wrote with producer Bob Markley and had recorded and put out previously as “Heya.” For Patoski, “Heya, Heya” is the real star of the record, despite the absence of Doug Sahm’s voice.

“Bob told me I should write something about my heritage, and I didn’t know what the heck to do. Then I remembered my mother taking me to Gallup, New Mexico where we used to watch the Indians dance. And I remember them chanting ‘Heya!’ So, I went with that,” Stallings says. “And that was it. It was a big hit in Europe. I even went over there to do it on a TV show!”

“It sticks with you, especially knowing that JJ is a Native American,” Patoski says. “A friend of mine’s son is on the crew for the TV show Reservation Dogs. ‘She’s About a Mover’ was a theme in the first season, and for the third one they’re doing some flashback to the ‘70s and they asked me for a Sir Doug poster. But I had them listen to that track too! JJ was right in the middle of the mainstreaming of Native American sounds with Redbone [“Come and Get Your Love’], Buffy Saint-Marie and Jesse Ed Davis.”

Doug Sahm died in 1999 at the age of 58 of a heart attack. Ironically, he was having a huge resurgence as the leader of the popular Tex-Mex supergroup the Texas Tornados with Freddy Fender, Flaco Jimenez, and Augie Meyers (“A Little Bit is Better Than Nada,” “Who Were You Thinkin’ Of?”).

Stallings says the two were close, and Sahm even lived with him for a few months when he was in between residences.

“He had all his clothes in my garage back in the day! We were all young, scuffling, and just trying to get together!” Stallings laughs. “I first met Doug when he came down in a white Cadillac. A couple of days later, he asked me if I wanted to play bass. I didn’t know anything about the Sir Douglas Quintet!”

A couple of days after invitation, Stallings remembers that Sahm and Perez came by and played a song that Sahm was writing, asking Stallings if he should record it. Stallings liked it and said, “Let’s cut it now!” That tune was “Mendocino,” the band’s second biggest hit.

Today, despite some health challenges, Jimmy Stallings/JJ Light is still very much active, having self-released three records recently: a compilation of his ‘70s material, a blues record, and one called I’d Rather Be a Has Been Than a Wanna Be. But his enthusiasm for the new Texas Tornado is just as passionate and genuine.

“Doug was a character. One of a kind and very talented. Just one of the best guys I’ve ever known,” Stalling says. “I miss him so much.”

This article originally appeared at The Houston Press.