Category Archives: US

The Jagged Edge “Midnight to Six Man” / “How Many Times” on Twirl Records

Jagged Edge Twirl 45 Midnight to SixSupposedly recorded in California, but released on a NY label, with the band maybe from Ohio? That’s how different versions of the story go, which has to make the Jagged Edge one of the best ’60’s bands whose history was a mystery until recently.

Their fantastic double-sider on the Twirl Records label features a cover of the Pretty Things’ “Midnight to Six Man” that surpasses any other I’ve heard. The b-side “How Many Times” is an original by D. Brown (which could stand for Donner Brown). It was released in February, 1966.

Band members were:

Shelly Leder – lead vocals, rhythm guitar
Don Brown – lead guitar, vocals
Freddie Ebner – bass
Peter Gretch – drums
Lenny Matlin (Leni) – organ

Jagged Edge Twirl 45 How Many TimesAs Alan points out in a comment below, the Twirl label was started in Detroit. Harry Balk had formed Twirl and the publishing company Vicki Music and had a business partner, Irving Micahnik. They released about twenty singles on Twirl before Balk sold his share in Twirl and Vicki to Irving and formed the Impact label, which released some great 45s by the Human Beings and others. It seems that Irving Micahnik relocated the Twirl label to New York, where he resided, in 1965.

When I originally made this page in March, 2007, I gave an edge to Detroit as the most likely origin for the band, but I finally heard from the band’s manager, Mike Glasser and their vocalist Shel Stewart, and have confirmed the band was from New York City.

This was their only release, but a couple of unreleased acetates turned up that I’m fairly sure is the same band, but I would like confirmation of this from one of the members. The demos feature an excellent original (?) song “Gonna Find My Way”, and a frantic version of “I’m a Man”. The other songs on the acetate are a decent version of “Big City” and a slower take on “I’m a Man”. Who has the acetate – where was it recorded?

I wonder if any photos of the group exist? If anyone knows of one please contact me.

To make clear another confusing matter, this band was not the Jagged Edge from Brooklyn that released “You Can’t Keep a Good Man Down” / “How She’s Hurting Me” on Gallant in April of ’66, and then became the Off-Set, recording “Xanthia (Lisa)” for Jubilee in July of ’66. That band also did a version of “A Change Is Gonna Come” that went unreleased at the time.

Shel Stewart wrote to me:

Shel Stewart, known as Shelly Leder at the time. I formed the group with Don Brown in NYC in 1965. I played rhythm guitar and sang lead with Don Brown on this record. Don Brown played lead. Lenny from Brooklyn played Vox organ, Mike Glasser at the time was our manager. Peter a friend of Don played drums.

Don Brown is a childhood friend of mine that goes way back when we were both in high school together. We played together before the Jagged Edge, which I named the band. It was a high school band called the Continentals and we played many of the NYC synagogues and some churches.

Because of my brief but exciting past with this band I will recall most of what I can remember in a future memoir/historical document.

I kept in touch with Don sporadically till about 1973/1974, then we drifted into different lifestyles I presume.

Most of my life I played in various original bands after the Jagged Edge still looking for the dream. I have been in glitter rock projects (Dorian Zero) during the pre-punk days, Poptronix a new wave band, Fahrenheit 451 a gothic band, Orange Midnight a garage retro band, The Lucifer Scale, an industrial band. To listen to some of my other projects after that just google my name Shel Stewart. I’m featured on bigmusic.org and reverbnation.

The band’s producer Michael Glasser also produced The Soup Greens’ “Like a Rolling Stone” / “That’s Too Bad” at Dick Charles Studio in 1965. Lenny Matlin was part of the Soup Greens. I’ve read that Lenny played on Harumi’s 2LP album on Verve Forecast and also toured with Harumi.

I believe Mike also recorded for LHI (Lee Hazelwood) under the name Michael Gram, but I haven’t confirmed this with him yet. Mike Glasser commented below, “I was the manager/producer, and a Long Island, NY band took the name when the original band dismantled. Joe Mara of the Night Owl Cafe loved this band and if Joe is still with us I know he can verify the origin of the Jagged Edge and so many other bands and artists that the Night Owl Cafe showcased back in the early 60s.”

The Inmates

Inmates Columbia 45 You Tell LiesLong Branch, New Jersey’s Inmates won a battle of the bands in 1966, leading to just one 45 on Columbia, the horrible novelty song “Local Town Drunk”. Columbia should have promoted the b-side instead, “You Tell Lies”, written by guitarist Ron Flannery.

A few unreleased numbers turned up later on. There’s a psychedelic edge to “Fakirs & Thieves” and “More Than I Have”, unlike the clean garage sound of “You Tell Lies”.

The other members of the band were Bobby Nolan lead vocals, Gordon Rhoades, Al Aschettino on bass, and Sammy Falvo on drums.

I recently received photos of an acetate credited to the Electric Carnival with “Fakirs and Thieves” and “More Than I Have”. Tommy Falcone is listed as producer. Thanks Joe for sending this in.

Anyone have a photo of the group?

The Electric Carnival National Recording Studios demo acetate More Than I HaveThe Electric Carnival National Recording Studios demo acetate Fakirs and Thieves

The New Generation

“That’s the Sun” is a fine garage song with a touch of psych. All copies of the record suffer from a warble in the tape created in recording or mastering. New Generation Sonic 45 That's The Sun

From Spartanburg, South Carolina, the New Generation had Tommy Caldwell on bass and Doug Gray on vocals – these two would soon become part of the Marshall Tucker Band. Other members were Randy Foster on rhythm guitar, Ross Hannah on drums, Dan Powell on organ, and Keith Wood on lead guitar.

Anyone have a photo of the group?

“That’s The Sun” was written by Tommy Caldwell and Randy Foster. The flip side is a conventional pop song called “Because of Love (It’s All Over)”. Released April of 1968 on the Sonic label.

I’ve read they had one other 45, but I think that may be a mistake. They were not the same New Generation with a 45 on Kapp, “If You’re Lookin’ for Love” / “Never Let the Right Hand Know (What the Left Hand’s Doin'”.

John and Paul

I wonder how many Beatles fans this one confused? If they dropped the needle on the record before purchasing, the answer would be zero, I’m sure, as this sounds nothing like the Fab Four, and is obviously a very American production.

This was released on a California label, TIP, then picked up by London for release in the UK, unusual for 1965 when records were more likely to be traveling the other direction.

The band delivers a tough sound for “I’m Walkin'” even though it’s not much more than a mediocre love song. “People Say (Love Is Blind)” is of less interest but it still shows the competence of the band and has nice reverb on the guitar.

Who is behind this 45 is definitely a mystery. The songwriting credits for both sides are S. Szigeti and P. Lichterman. The band sounds like more than a studio conglomeration so they were probably a professional group working under an alias just for this release.

The Gentlemen Wild

Gentlemen Wild Photo SignedAThe Gentlemen Wild had a lively career based out of Portland, Oregon starting in 1965. The band went through several personnel changes, but early members include Craig Cathey vocals and keyboards, Jay Zilka lead guitar, Page McCallum keyboards, Bill Whitcomb bass, Tom Phelps guitar and David Vermilya on drums.

In 1966 Bob Hart joined from the Beaverton group, the Nightraiders, and his father Ross Hart took over management of the band. Both additions immediately improved their prospects, and they became a house band at a teen club in Portland, the Tork Club.

In May of 1967 they won the state Battle of the Bands, enabling them to travel to the Ridge Arena in Braintree, Massachusetts (just outside Boston) to compete nationally. Their version of “Nowhere Man” from that competition is on a rare two record album released at the time. The photo just below is taken from the program for the Battle of the Bands.

They appeared on local and national television shows, including the Paul Revere & Mark Lindsay hosted show, Happening ’68. In the episode I’ve seen, the Gentlemen Wild lip synch to their version of “Keep On Running”, easily beating out a California band, the Good Friends and Merry Fellows, who did “Heat Wave”. Judges for that show included Bobby Vee and Sal Mineo, who says “have beads will travel” during the introductions! All the photos below are from the Happening ’68 show.

They released just one 45, recorded at the local NWI (Northwestern Incorporated) Studios and pressed on its vanity label. This is a label I’d definitely like to know more about! “You Gotta Leave” became a big hit on the west coast, reaching #2 in Portland. It was written by the guitarist, Jay Zilka.

The flip side, “I Believe”, wasn’t written by any of the band members. It’s not garage, more like the last slow song at a dance, the kind to get you to leave! Other members of the Gentlemen Wild at one time or another included Dave Cookson drums, John Crowe drums, and Steve Joslin keyboards. The band broke up in 1969.

Thanks to Mike for the Gentlemen Wild appearance on Happening ’68, and to Paul for the scan of the Braintree Battle of the Bands program.

 

 

 

 

 

 


All the screen shots above from the Happening ’68 TV show

The Villains (aka The Villians on Bullet)


left to right Steve Hacker (bass), Larry Mattingly (rhythm guitar, vocals), Alan Hoover (lead guitar, backup vocals), Roger Walker (drums, vocals), Bob Ledbetter (lead vocalist)
 

The Villains first 45, “Don’t Ever Leave Me” is a classic, featuring some of the most savage screams in garage music.

The Villains were long thought to be from Tennessee because their records were on the Bullet label from Nashville, but after hearing from lead guitarist and co-founder Alan Hoover, I can confirm they were from Evansville, Indiana, just 150 miles north of Nashville. Their records were produced by Leon Beaver (a country singer himself) and Jack Bulleit (the son of Jim Bulleit).

Here’s their story as told to me by Alan:

Actually, we spelled Villains correctly (after looking it up!), but many people put the a/i in the wrong order, including the guys at Bullet Records. Jim Bulleit (“pronounced Bullet”) of Nashville was the producer/owner of Bullet. He attempted to revive the label with our record, but I don’t know if he ever did get it going.

Anyway, the folk classic “Shortenin’ Bread” was the “A” side of our first record, not “Don’t Ever Leave Me”. Shortenin’ Bread acheived number one in Evansville, IN, for a good run, and also other towns in the area. We had to play it 2 or 3 times a gig or they wouldn’t let us leave. Really! Don’t Ever Leave Me was also locally popular, but much less so than Shortenin’ Bread. Also, Shortenin’ Bread was a 4-star pick hit in Cashbox Magazine, and (we were told by Bulleit) “broke” in the Tallahassee, Florida market and some other markets. I have also been told by several people over the years that the Bullwinkle cartoon show featured it in an episode, but I have never personally verified that. We actually heard it on an Astronauts (Boulder CO) record as a rock song in ’63, and thought we could improve on it.

Here is some history of the band:

Bob Ledbetter (Led) and I started the Villains in our hometown of Evansville, Indiana, in summer of 1963 (after we graduated from high school), with Roger Walker, a local drummer (we had no bass yet). I was lead guitar, taught Led some rhythm. Led was also our lead singer. We started playing beer parties, dances, etc. I went to college that fall, and Bob met Larry Mattingly (Midget), a local E’ville guitar player who sang good backup. They continued the band during the ’63/’64 school year, adding Bob’s girlfriend Julia Hadad for backup harmony and sex appeal. Still no bass guitar. Then, I quit college, came back in the summer of ’64.

We practiced all day all summer and fall in Bob’s basement, improving our chops. In the fall of ’64, we picked up Steve Hacker, a local bass player. We played loud, solid rock, and crowds were attracted to the atmosphere that we created. Our reputation kept increasing, and we became the top local band. We had lots of fans/friends around the area. We were known for inciting rowdy behavior with our music, particularly if beer was running freely. The “Villains” name fit, although we chose it largly because we were from “the ‘ville”. We were definitely one of the party bands of all time, I’m not exaggerating either. Larry and Led had a natural comedic talent, which added to the showy aspects of the band. (They formed a “Led and Larry” duo for about 10 years after the Villains broke up, also known for inciting rowdiness.)

In ’65, we got a new drummer, Pat Ziemer, from another local band (The Aragons). Also, we picked up Bruce Blythe, a local keyboard player, from the same band. Bruce and my brother Mike Hoover (now a doctor in Evansville) wrote “Don’t Ever Leave Me”. We actually recorded Shortnin’ Bread/Don’t Ever Leave me in late summer of ’65 in Nashville, after Jim Bulleit saw us and liked what we were doing. He personally auditioned us in Evansville, and had us to his house for a cookout immediately after we recorded Shortenin’ Bread etc. He mentioned that he was reviving the label after being out of the business for some years.

It quickly became #1 in E’ville. A local DJ started managing our bookings, and we were playing all over the southern Indiana/Illinois, northern Kentucky area, with Shortenin’ Bread boosting our visibility in the area. We also regularly played fraternity parties in Evansville, IU (Bloomington IN) and Vanderbilt (Nashville), as well as numerous Louisville and Indinapolis gigs. Fraternities always asked us back, for obvious reasons.

Bruce Blythe had other ambitions, and left later in ’65. We picked up Danny Brown, another local keyboard player, to replace Bruce. In ’66, we recorded a Gary Bugg song called “Love is the Treasure”, our second record, and we put “Midnight Hour” on there too (actually the “A” side). Danny and Garry Bugg both came from another Evansville band, The Circles. We recorded that in the basement of a funeral home in Evansville!


The Passions (l-r): Althea Mitchell, Sandy King, Cynthia Bennet

In 1967, a local Supremes tribute group called “The Passions” joined us, as we started playing more and more soul. They were Cynthia Bennett (lead singer), Althea Mitchell, and Sandy King. These girls danced, sang, looked great in short dresses, and the crowds loved them. They liked our white soul, and sat in on a couple gigs. They were sweethearts. Everybody liked them, so we made them part of the band. About that time, we joined Triangle Talent of Louisville, KY, who put us into many venues that we didn’t previously have access to.We pretty much split up in ’67 or ’68, with Larry and me quitting. Led, Dan, a new drummer (Tommy Thompson), and Steve Hacker teamed up with super guitar player Denny Browder (who is said to have refused a membership with Chicago because of fear of flying), along with Cynthia of the Passions and formed a touring band. They might have called themselves The Villains, but no one can recall.

In 1984, we decided to do a 20-year reunion in Evansville, with Led, me, Larry, Pat, Danny, and Steve (our serious party lineup). It went over big, with all the original members showing up to jam. We continued this every year until 1997 with good crowds. The rowdiness would always recur, even though many of the audience were entirely too old to be behaving in such a manner. But, they couldn’t help themselves! Then, Led had a stroke Christmas Eve of 1997 at the young age of 52. The stroke damaged Led’s speech, and he can no longer sing. So, that sadly ended the Villains. He can still make me fall over laughing though, he is such a natural comic.

Everybody went on to have families, etc., some in professional fields. I became an engineer, designed, patented, and now make and sell a guitar invention called the Sustainiac, that produces infinite sustain for guitar. (Sustainiac.com) Larry Mattingly and Pat Ziemer are in sales, Danny Brown a counselor, Roger Walker a hairdresser, Steve Hacker still playing bass I think, Bruce is doing well as a nationally recognized consultant with business on dealing with catastrophic events. Cynthia Bennet became a nurse, but I don’t know about Althea Mitchell or Sandy King. I hope I got all the facts right.

Thank you Alan for your input and the great photos.


“Photo taken at the Surf Club (a regular Friday gig for us for a couple of years): Danny Brown (right, keyboards) and Pat Ziemer (our main drummer for most of our run) are shown in this picture.
We would pack the place with 400-500 people, and it got loud and rowdy without fail. Most of our old fans recall the Surf Club as some of the most fun of their youth years. By the way, Pat would usually stand on his drums during Shortnin’ Bread, and never fell off that I can remember!” – Alan Hoover

The Landlords

The Landlords from Winchester, MA released one 45 on the Reed label before disappearing.

Erik Lindgren provided the lineup of the band in a comment below:

Roger Millen – lead vocals and harmonica
John Buzzotta – lead guitar
Bill Brusseau – rhythm guitar
Bobby Mouradian – drums
Jimmy Mouradian – bass

Michael Kelley wrote a comment that I’ll reproduce in part here because it’s informative:

The Landlords were from Winchester, MA. Their one single, pictured above, was released by Jolar/Reed Record owner John J. Sullivan in 1967. The Landlords did back up labelmate Jonna Jaye on some live peformances, but not in the studio. However, she did come with her father to the Landlord’s recording session in New York. Jonna’s last release “Detour On A Dead End Street” was backed by the Maine garage band The Barracudas who recorded on Critique, Flair, and Jolar.

“I’ll Return” is a well-crafted love song, lyrically interesting, with tasty guitar reverb. The quality recording lets you hear an experienced, cohesive band that was probably gigging regularly. “I’ll Return” was written by Richard R. Errico. My copy is inscribed “To Pvt. Rossi – Good Luck – Dick Essio”, poignant given the escalation in the Vietnam War going on in 1967 when this was released.

“I’m Through With You” is as weepy as they get, and I wish I could have made a less noisy transfer of it. This side was written by John Buzzottu and Bid Woods.

Anyone have a photo of the group?

The Checkmates

Updated January 2010

For every fuzz-driven garage screamer, there are a dozen records like this one by the Checkmates: competent and upbeat but uncompromised pop music. I didn’t know much about the group until people commented and wrote to me, so I’m adding some of the comments into this article.

Ray Ruff was an Amarillo impresario, owning the Checkmate night club, a recording studio and Ruff Records. He was also a partner in Sully Records, eventually taking it over from Gene Sullivan, who had started it in Oklahoma City in 1959.

A paragraph from Ruff’s obituary gives some background on his early music career:

Ray Ruff befriended Buddy Holly’s record producer Norman Petty and, after Holly’s death, he made several soundalike recordings, deliberately wearing spectacles like Holly’s when he recorded. Ruff often worked with his group the Checkmates, but they became the Executioners and wore hooded masks on stage.

There are at least eight different 45s by Ruff with the Checkmates, mostly on Norman Records, from between 1959 to the early ’60s.

Bobby Hacker commented below:

I was his first drummer and I recorded several records with the Checkmates under the Norman label. Ray was the vocalist along with Chuck Tharp. Tharp was the original vocalist for the Fireballs. Charles McClure was the lead guitarist, Tharp was rhythm guitarist and Tom Beck was bass guitarist. We toured the mid-west U.S., along with two provinces in western Canada. Most of our recordings were done in Clovis, N.M. at Norman Petty studios. While on the road, we. the Checkmates, recorded in St. Louis, Mo. backing a singer, trumpet player named Gabriel.

The year was 1961 and I am the only living survivor of the original Checkmates mentioned here. Ray Ruff went through several musicians during the 1960’s and he passed away a couple of years ago in L.A. He was very sucessful as a record producer but not that good a singer when I worked with him. He supposedly along with Norman Petty, formed the Checkmates.

Tom McCarty of the Page Boys wrote to me:

Ray Ruff had a recording studio in Amarillo at the Trades Fair shopping center at N.E. 24th and Grand. Ray was a Buddy Holly look-alike/wannabe who toured the mid-west with the Checkmates from Scotts Bluff, Nebraska – Minot, Minnesota, etc. If memory serves me right, The Checkmates had pretty well disbanded by 1966 which is about the time I met Ray Ruff. They were really a good group. Larry Marcum, their lead guitarist, was a good musician and a nice fellow.

Jerry Hodges commented:

I played with Bob and Larry Marcum with the Checkmates. I remember a tour to North Dakota with with Ray Ruff. I think we traveled in a Nash Rambler. I can also remember going into the Norman Petty studio and Larry wanted to play bass, so we switched as I was the bass player.

The band’s lineup had changed considerably since Ruff fronted the group, and by the time of the 45 I’m featuring here the band included Galen Ray (Galen Ray Englebrick) on bass. Galen Ray wrote both sides of this 45. There’s another 45 on Ruff by the Charming Checkmates – Just to Make Me Cry, that I haven’t heard.

Also see the Ruff and Sully discographies I’ve posted here.

Anyone have a photo of the group?

The Weads “Don’t Call My Name” / “Today” on Duane Records

The Weads Duane 45 Don't Call My NameThe Weads were the first rock band to release a record on the Duane label in Bermuda. I wondered, how did a band from Stony Brook, New York end up on a label from Bermuda? That question was answered when I spoke to Rodger Jackson, bass player for the Weads, who generously provided a lot of information about this great band.

Rodger Jackson started a band called the Statics with Allan Varela at their high school in Garden City, Long Island, Rodger playing bass and Allan lead guitar. Allan was 14 at the time and Rodger a little older. The next year, Allan moved to Stony Brook, where he attended the Stony Brook Boys School, though he continued playing music with Rodger. They recruited Dick Turano from Northport to play drums and Myron MacLeod McCloud to play rhythm guitar. Myron was from Texas but was attending the Stony Brook Boys School at the time.

The Weads distinguished themselves from other groups by playing only original songs, most of them written by Allan Varela (listed as Varella II on 45 label). They outfitted themselves in suits, and played through Vox Super Beatle amps. Allan Varela played a Stratocaster, Rodger a Precision bass, and Myron a Vox Teardrop guitar.

Also at the school was a student from Bermuda, Alan Dowdy, who took a demo tape of the Weads back home with him and played it for Eddy DeMello, owner of the The Music Box in Hamilton. DeMello liked what he heard, and in short order he contacted the Weads and signed them to 3 year, 10 song contract. The Weads recorded at least four songs at National Recording in Long Island. DeMello then took the masters back to Bermuda and pressed records there.

DeMello stocked them in his record shop and DJ Bryan Lodge got them played on the local radio station ZBM, sending “Today” to #2 in Bermuda. Allan Doughty from Bermuda became their manager. All the college students there for vacation knew the songs from the local radio play, so when the Weads arrived for College Week, they already had a good audience. Like the Savages, they played for college audiences around the island and at the Princess Hotel. It’s likely that the success of their 45, “Today” / “Don’t Call My Name”, led to the recording and release of records by the Savages and the Gents.

Back in the states, the flip side “Don’t Call My Name” went top 10 on Long Island. The Weads did an hour-long radio interview that may still exist on tape somewhere. They played shows at local Hullabaloo clubs and in Pt. Jefferson. They also started recording commercial jingles and may have recorded new material at Ultrasonic in Hempsted.

About a year after signing with DeMello the Weads decided they wanted to get out of contract in order to concentrate on breaking into the national scene. DeMello fought this and made it difficult for them to find another label. Columbia passed on them in late ’66/early ’67 and with members going to college, the Weads called it quits.

During college, Rodger joined a club band, playing the Hamptons and Lake George. He fondly remembers late night jam sessions with members of other Long Island bands at the Afterhours.

Master tapes of the Weads sessions should still be in existence. One of the unreleased songs has a title like “Her Name Was Lynn”. Until those tapes surface, we’ll have to wonder what else this talented group was capable of. Given the quality of their original material on the Duane 45, they could have done well if they had the backing of a major label.

Anyone have a photo of the group?

Jimmy Rabbit and Positively 13 O’Clock

 Jimmy Rabbit cuts Chuck Dunaway's call letters off his shirt
Jimmy Rabbit cuts Chuck Dunaway’s call letters off his shirt after winning a boat race between the stations. Photo from The History of KLIF Radio (http://1650oldiesradio.com/pgone.html – now defunct).

Jimmy Rabbit Knight 45 PushoverJimmy Rabbit was a prominent DJ at Dallas station KLIF AM 1190 with a show that mixed British Invasion sounds with Texas acts like Mouse and the Traps, Sir Douglas Quintet and the Five Americans. Having tried his hand at singing as a young rockabilly under his real name, Eddy Payne (Dale Payne), he decided to make another attempt in 1965. With help from friends, Rabbit released three good garage 45s from ’65 to ’67.

“Pushover” is distinguished by a popping rhythm and sharp guitar. It was released with three variations in the name. First as Jimmy Rabbit with Ron and Dea on the yellow Knight label, on a blue Knight label as simply Jimmy Rabbit, and then picked up for national release on Southern Sound as Jimmy Rabbit and the Karats (ha ha).

Jimmy Rabbit Knight 45 Wishy-Washy WomanThe b-side “Wait and See” is dark and less catchy, but pretty good too. Both of these were written by Lindsey-Kirkland-Rambo, arranged by Bob Rambo and produced by Bob Sanders.

Next came the bluesy “Wishy Washy Woman” from July of 1965, written by Ron Price. “Wishy-Washy Woman” reached #31 on the KLIF charts thanks to Jimmy’s connection with the station. It’s a formulaic blues, but gains momentum a little over halfway through as Jimmy sings just over the drums, with the other instruments coming in at the end of each measure.

The flip side is “My Girl”, credited as a Price original but really more a version of Willie Dixon’s “My Babe” with some different lyrics.

Jimmy Rabbit Southern Sound 45 PushoverJimmy Rabbit Josie 45 Wishy-Washy Woman

Positively 13 O'Clock photo
Positively 13 O’Clock lineup, from left: Dave Stanley, Bugs Henderson, Jimmy Rabbit and Jerry Howell Jimmy Rabbit: “The picture of Positively 13 O’Clock was taken while we were playing at the world famous Lou Ann’s Teen Club.”

Positively Thirteen O'Clock HBR 45 Psychotic ReactionHis biggest hit came in 1966, with a buzzy cover of “Psychotic Reaction” under the name Positively Thirteen O’Clock, recorded at Robin Hood Brians studio in Tyler, Texas with members of Mouse and the Traps: “Bugs” Henderson and Ronnie “Mouse” Weiss on guitars, Ken “Nardo” Murray drums, David Stanley bass, and Jerry Howell organ.

The solo has a frantic, trebly quality that’s a trademark Texas sound. The band ends the song with a final burst of fuzz rather than coming back into the verse as in the Count Five’s original, itself an imitation of the Yardbirds’ raveups. This abbreviated version clocks at a tidy 1:59!

High Yellow film still photo

Mr. Rabbit wrote to me:

The Dallas records [“Pushover” & “Wishy Washy Woman”] were a totally different thing than the Tyler recordings [“Psychotic Reaction”]. When Bobby Rambo and I teamed up in late ’64 we were a part of a new kind of music “thing” in Dallas-Ft. Worth.

We all came out of rockabilly music and we all used to hang out at the Sand-Lin Recording Studio (Bob Sanders and Lewis Lindsey) and played at, among other places: LouAnn’s and The Cellar in Dallas. This was right when the change from American to English music was taking place. We really tried to become/sound English! (like my friends in The Sir Douglas Quintet).

High Yellow promo bookI was a teenager with a Beatle haircut who was the number-one d.j. on KLIF Radio. I had brought the Beatles on stage when they played Dallas [fascinating write up was at http://www.radiodailynews.com/rabbittchapter12.htm but can now be found at https://web.archive.org/web/20120329141938/http://www.radiodailynews.com/rabbittchapter12.htm] and played in several bands, so we all got record deals at different times. There were several bands that hung out and listened to and recorded music. At any given time, there could be a band called ‘Jimmy Rabbit and the Karats’, ‘Jimmy Rabbitt with Ron (Boston) and Dea’ (Kirkland), ‘The Rowdies’, ‘The Bobby Rambo Rock-Kings’ and on and on.

The songs “Pushover” and “Wait and See” were recorded in 1965 and were featured in the movie, High Yellow. The band included Bobby Rambo, Lewis Lindsey, Dea Kirkland, Rex Ludwick, Ron Boston, and others who have been long forgotten!

Bobby Rambo, Rex Ludwick and I (and others) became Jimmy Rabbitt and Texas (on Atco Records) and later Jimmy Rabbitt and Renegade who recorded an album for Capitol with Waylon Jennings producing in 1977. Of all the records that I have made over the years, the only song that Bobby Rambo didn’t play on was “Psychotic Reaction”.

Check out Jimmy Rabbit’s website at www.jimmyrabbitt.com.(defunct)