The Reasons Why in the Waco News-Citizen, September 3, 1966. Anyone have a better photo of the group?
The Reasons Why cut one of the top Texas records in the ’60s, “Don’t Be That Way” on Sound Track ST-2000. I don’t own a copy, but I found this article on the group from the Waco, and since I don’t remember seeing this photo of the group before.
Members of the Reasons Why were:
Frank Kalenda – rhythm guitar and vocals John Inmon – lead guitar and vocals Johnny Schwertner – organ and vocals Ronnie Miller – bass, vocals – replaced by Tommy Langford Donny Dolon – drums and vocals
The article is very informative, noting “The group has just completed a session at the Delta recording studios in Fort Worth” [Delta Recording Center].
“W.F. Temple, president of Sound Track Records, was in Waco recently to audition this popular group and was so impressed that he immediately offered The Reasons Why, a recording contract.
The group is from Temple, and has been playing together for seven months. Their name comes from the first three words of “I’ll Feel a Whole Lot Better”, a recording by the Byrds.”
Most of the group attended Temple Junior College, except John Inmon: “Before joining the group John had played with bands on the west coast. He is a student at Temple High School.”
Carl Sachs managed the band and brought them to the Sound Track label. Bill Temple and Mickey Moody produced the single, released on Sound Track in late 1966 with a SoN 39531/2 mastering code.
“Melinda” was the A-side, written by Denis Jones who does not appear to have been a band member. Dennis Jones seems to have been a song-writer published through Sound-Age or Soundage, Bigtop and Le Bill Music. I suppose Bill Temple had publishing on “Melinda” and had the Reasons Why do the song. Luckily the Reasons Why were allowed to put their own song on the flip side.
Bassist and vocalist Ronald Miller wrote “Don’t Be That Way”. He seems to have left the group shortly after the single’s release, as most photos I’ve seen show Tommy Langford instead.
Top: Frank Kalenda, John Schwertner; bottom: Tom Langford, John Inmon, Donnie Dolan. Promo photo reproduced in Not Fade Away #3 Not Fade Away #3 had an interview with John Schwertner:
“The Reasons Why played … Fat City in Kilgore, Catacombs in Houston, LouAnn’s in Dallas, Pussy Cat a Go Go in San Antonio, and the New Orleans Club, Swingers a-Go-Go and Jade Room in Austin.”
John Schwertner is quoted:
The Beyersville SPJST was a great club, all the bands from Austin and Temple would play there: the Wig, Baby Cakes, Elevators … and all these kids from all the little towns in the area would pack the place.
John described the Baby Cakes:
We had always looked up to them ’cause they were the first band I remember to play English style rock and roll. A real scruffy looking band, sort of the Texas Rolling Stones I guess. They helped us get some bookings and they’d come to our shows and tell us how to improve our band, really helped us alot.
1967 recordings at Robin Hood Brian’s studio in Tyler have never been released.
In the fall of 1967 Frank Kalenda left the band and John Schwertner joined the Lavender Hill Express as vocalist. Other members of the Reasons Why changed their name to the Feast of Stephen. Not Fade Away states that others joined the South Canadian Overflow, a band I’ve found notices for as early as November, 1967.
Schwertner, Donnie Dolan and John Inmon would later form Plymouth Rock.
In the 1970s, Inmon joined the Lost Gonzo Band.
At the Austin Aqua Festival ’67 Battle of the Bands, from left: Tom Langford, John Inmon, Donnie Dolon and John Schwertner; photo reproduced in Not Fade Away #3
Sound/Age Music published both songs on their Sound Track single. The only other single I know of with Dennis Jones’ credit is the Industrial Image “Living in the Middle Ages” by D.A. Jones on Epic 5-10096, published by Bigtop Records & Soundage Music. The Industrial Age were from the Glen Rose, Texas area, and had been known as the Heartbeats. One member may have been Larry Witt.
Thank you to Matthew B. for helping me access the news clipping, and to Enrico Benassi for scans of the Not Fade Away article.
The Sensations, from left: Mark Steele, Lee Cochran, Stephen Moody, Joe Willis and Brown Carr.
The Sensations were 12 and 13 year-olds from Middlesboro, Kentucky, a rural town in Ball County, close to the Tennessee border and about 60 miles northeast of Knoxville. Members were: Mark Steele, Lee Cochran, Stephen Moody, Joe Willis and Brown Carr.
They did not record as far as I know, but the article in the Middlesboro Daily News from January, 1965 notes that “Mark has written two of the groups songs: ‘Stay Away from Me’ and ‘I’m in Love.'”
If the group did record or if the members went on to other bands, I would be interested in hearing about it.
Once again, thank you to Matthew B. for helping me access this news clipping.
The Remaining Few, from left: Robby Glodt, Frosty McKee, Joel Mulkey, Robby Specht, and Mike Jones
Librarian, musician and record collector Claus Rosenblad, who interviewed Bob Jabour of the Cavemen last month, returns with a detailed interview with Robert Specht, lead guitarist of the Remaining Few.
Robert Specht and Mike Jones wrote the incredible “Painted Air,” released on Askel Records AK-112 in October 1968. Sprecht also wrote the flip side, the lesser-known but still very worthy “In the Morning.” Askel Records released other legendary garage singles, most notably the Chevelle V “Come Back Bird” and the Outcasts “I’m in Pittsburgh (and it’s Raining).”
Where did you grow up?
My father’s work required us to move several times while I was growing up: I was born in Illinois in 1950 then moved to: Minnesota, Oklahoma, Houston Texas, El Paso Texas, Dallas Texas then San Angelo Texas.
What was your musical background and did you play any kind of instruments as a child?
I began taking guitar lessons at the age of 13 or 14 while I lived in Dallas, but nothing before that.
How and why did you get involved in the music scene, and what was your first band?
I took guitar lessons in Dallas at the Fred McCord School of music in the 60’s when rock was really getting big. After a few months of lessons, my teacher told my father I was a “potential flamenco genius” and so I was largely schooled in that type of music, but I was always trying to pick up on rock. We moved to San Angelo in 1965 and I began taking classical guitar from a truly amazing musician named Frank Trevino. After taking from Frank for a while, I met a guy in school, Robert Glodt – a drummer, who convinced me to come by his house and hear the band he was in practice. That was my first “band” experience.
How and when did the Remaining Few get together?
The Boys, before changing their name to the Remaining Few
When I went to listen to them (Glodt and his friends) they suggested that I go get my guitar and join in. It was a rag-tag event: the drummer had a bass, a tom-tom, a snare and one cymbal, the bass player (Chuck Brooks) played a regular guitar that had the speaker built in to the guitar, and the other guitar player (Mike Jones) had a dirt cheap guitar and a tiny, tiny amp. I had a Sears Silvertone guitar that had the amp and speaker built right in to the guitar case.Since I was the only one to have had any training, after about 5 minutes of playing they asked me to join them as the lead guitar player. We needed a name for the group and chose the name we had been given by parents and neighbors as they’d always yell at us “You boys turn that noise down!” – we became The Boys.
The bass player departed the group, the victim of a conspiracy by two unnamed members and was replaced by a really good bassist, J. Frost (Frosty) McKee, and we added a singer, Joel Mulkey, an acquaintance from school. At this point we became The Remaining Few.
Our drummer (Glodt) left for college and J. Frost suggested that we have Jim Yankovich sit in. He was awesome and became part of the group until he left for college and then Charles Usery became our drummer and Larry Logan became our organist.
Later things fell apart due to the draft, the war in Vietnam (Joel and Larry served in Vietnam and I ended up in ROTC), wives, and well, just life. At the end, Mike left to play for the Cavaliers, and with Larry in the Army, Joel, Frosty, Charlie and I played as a three piece with a singer for a while and then we disbanded. It has been reported at various websites that we moved to San Francisco, but that never happened.
What other big acts were your musical inspiration, (or genres) please name some of it?
Beatles, Stones, Yardbirds, Byrds, Paul Revere and the Raiders, Motown, Vanilla Fudge, and Cream were strong influences on us, later we became more heavy acid rock influenced with some blues thrown in.
What year did the Boys evolve into the Remaining Few? When are you born?
It was around late 1966 when we changed to the Remaining Few.
Who were the members and what they play?
The Remaining Few, V1:
Robert Glodt – drums Mike Jones – rhythm guitar Joel Mulkey – vocals J. Frost McKee – bass Robert Specht – lead guitar
The Remaining Few V2:
Jim Yankovich – drums Mike Jones – rhythm guitar Joel Mulkey – vocals J. Frost McKee – bass Robert Specht – lead guitar
The Remaining Few V3:
Charles Usery – drums Mike Jones – rhythm guitar Joel Mulkey – vocals J. Frost McKee – bass Larry Logan – organ Robert Specht – lead guitar
The final version is the one that recorded “Painted Air” and “In the Morning”.
Where did the band practice take place?
Until Larry Logan joined as organist, we practiced in someone’s garage. But Larry’s dad owned a lumberyard and we practiced in the warehouse there.
San Angelo Battle of the Bands with the Distrakshuns, the Epics, the Inmates, the Intrepids, the Missin’ Links, and the Remaining Few. Image from Not Fade Away #4. The Epic Five from San Angelo cut the great “I need Your Lovin'” on Sully – same band?
Where did you play live, and what was your best gig (and your worse)?
We played at rental venues, where we rented a hall, advertised on local radio and hoped what people would come and pay to listen and dance to our music. We became the sort of “house band” at a local bar/night club called “The Thirteenth Hour” – where we played many Wednesday, Friday and Saturday nights. We also played at high school dances for many of the surrounding towns in west Texas (places like Big Lake, Sterling City and Iraan Texas). We didn’t play much in San Angelo schools as the record we produced got us banned from playing in San Angelo schools. Most of the time, when we played in the surrounding towns, the local rednecks would threaten to kick our butts because we were “long haired hippy freaks”. We had to load up fast after the gigs and get out of town to prevent getting beaten up.
Did you do any battle of the bands?
We participated in the Tri-State Battle of the Bands (bands from Texas, New Mexico and Oklahoma) and placed second (see the trophy in the photo I sent) and I seem to remember playing at the local coliseum that showcased many of our local bands, but I don’t remember any declared “winner”.
Clockwise from bottom left: Mike Jones (in blue), Frosty McKee (in red), Robert Specht (in gold), Joel Mulkey (in black), Charles Usery (in light blue), and Larry Logan (in white). Taken at the “Tri-State Battle of the Bands” just north of Lubbock.
How did the record on Askel come to be made?
We wanted to record and Mike knew a guy who had turned his garage into a recording studio. We came up with several songs and recorded them. The two we chose to have put on 45’s were “Painted Air” and “In The Morning”. We took the tape to Ron Newdoll at Accurate Sound here in San Angelo (he produced the Cavaliers’ “Last Kiss”) and he produced the songs on his label.
Which studio did you record the songs in?
George Talley’s studio converted garage.
Any fun facts and stories from the making of the record?
There has been conjecture and argument at various websites about how I made the tones in “Painted Air”; what kind of guitar, what kind of amp – I guess so they could be duplicated. Many were convinced that I used a Fender Stratocaster and Fender something amp, but they are all wrong. I used, and still own, a 1967 Guild T-100D hollow body electric guitar, and I used a Kustom amp.
I used no effects pedals; the only effects available on the amp were reverb and vibrato. The only effects pedals I ever owned were a Fuzz Face fuzz tone and Maestro Wah Wah pedal. Today there is an amazing range of effects pedals and manipulations that can be done in recording studios, I can only imagine what we could have done with that technology.
Remaining Few vs the Chaiffon Clam from Munday at the Haskell Battle of the Bands, reported in the Abilene Reporter-News, October 24, 1968
How were the records received? Did they get any airplay, did you get any good/bad reviews?
We sent records all over. The local radio station said “It looks like the Remaining Few have a national hit on their hands” and then, nothing. Not for years, until in the early 1980’s people started calling me and asking about the song, the record and if we’d sell an original 45 or authorize re-release. People from Great Britain, Germany, various parts of Europe even from Austin, Texas contacted me; I was kind of shocked.
I saw that original 45’s were being purchased for almost $6,000 by collectors. The songs had been picked up and published on a couple 33 1/3 LPs, one called High in the Mid Sixties, which I have a copy of. Requests and interest keep coming to this day. I even heard that “Painted Air” was played along with a video in Los Angeles at some rock hall of fame type museum. Over time the records have been duplicated and digitized without our permission and sold with no royalties ever being paid to us. You can even go to Amazon and buy the recordings for like 90 cents (American), but I do not receive royalties from those sales. The recording also appears with added videos on YouTube and, again, not a dime has ever been paid in royalties.
What is the story behind the legendary tormented song “Painted Air”?
It was originally just a part of a longer song called “Death Angel” – pretty dark stuff. When we were considering songs to record, I proposed it. But it was way too long so I chose the part that was made in to “Painted Air” and Mike Jones worked with me to create the arrangement.
What other groups in that area did you compete with? Or make friends with?
Bands like The Prophets, The Centrics, The Mystics, The Cavaliers, The Inmates and The Pagans. At that time here in San Angelo, EVERYONE was in a band and they were ALL better than everyone else. There were more bands in this little town than you could count. And you couldn’t swing a dead cat without hitting someone who played the guitar – all better than everyone else in the entire universe and very arrogant about it. It was dog-eat-dog and cut throat competition. None of the bands were friends with each other.
Do any other unreleased recordings exist, besides the 45s? Live recordings, demos or acetates?
There are tapes of all the songs we recorded in the process of making the record. No one knows the location of those tapes.
When and why did the band split up?
You grow up and realize you’re not going to hit it big. We had the draft, Vietnam, wives and kids; lives to prepare for. I guess our final split was in 1972.
What happened to you and the other band members after the band split up?
Our first bass player, Chuck Brooks was never heard from again after he left.
Robert Glodt attended Texas A&M University, served in the Army and became and entomologist in the Pan Handle of Texas.
Jim Yankovich attended technical school and went to on to work for various companies. We are still friends and keep in touch on a daily basis.
Larry Logan succumbed to cancer some years ago. It is my understanding that he longed for a band reunion up until the last.
Charlie Usery pursued various jobs and, as I was told, collapsed at his place of work and died of heart failure.
Mike Jones, who had been my close friend, who shared the loves of photography, hunting, fishing, camping, and music with me for more than 43 years, was also lost to cancer.
Frosty McKee did some amazing things like getting in the Guinness Book of Records for feats of memory, even appeared on national TV (Leeza Gibbons Show, I think) to demonstrate his amazing skills. He is still with us.
Joel Mulkey still lives here in San Angelo and we keep in touch and have even jammed together a few times. He pursued a career in the telecommunications industry working at the same company I piloted for.
As for me, I graduated from college and earned a commission as an officer in the United States Air Force and then flew professionally as a pilot for almost 30 years. I changed lanes and became an IT manager for some 15 years and retired from that industry in 2015. I currently write songs and perform in a local band called The Rivertown Blues and for the praise band at a local church.
Do you have any kind of band pictures, scrap book clips, or concert annoncements?
Attached are the only three pictures I have. These and other information can also be viewed at our website, theremainingfew.com. There may be other photos out there, but I don’t know where.
On September 4, 1969, the Fort Stockton Pioneer announced a battle of the bands at the Large Community Hall.
Odyssey members were Blane Wilson, Steve Ham, Chris Strong, Stanley Woodard and Larry Pittman.
The Havoc (formerly the Sine) included Tim Castle, Mike Duerksen, Steve Hawkins and Paul Duerksen.
The Pioneer followed up a week later with a photo of “flashing psychedelic lights reflecting the movements of several dancers”, and announcing the Odyssey was voted the top band of the night. I don’t believe either band ever recorded.
If you have any photos or info on any local Texas bands of the ’60s, please comment below or contact me.
The Crystal City Sentinel published this piece on a battle of the bands at the Carrizo Springs armory on April 14, 1967. These towns are southwest of San Antonio.
The article notes that the Sound Tracks and Four Jays from Crystal City and lists their members:
The Sound Tracks:
Joe Peralez – lead vocals and rhythm guitar Cesar Perales – bass, vocals and harmonica Kenneth Hale – lead guitar Calvin Reily – drums Ben Martinez – rhythm guitar and vocals
The Four Jays
Jesse Garcia – bass and lead vocals Johnny Rodriguez – lead and rhythm guitar Joe Lopez – drums Emilio Fiscal – organ
I couldn’t find a follow-up on the results of the battle. I don’t believe either of these bands recorded, but I could be wrong.
Thank you to Matthew B. for help accessing the news clipping.
The Olney Enterprise of July 28, 1968 announced a battle of the bands at the Gray-Barr post of the American Legion featuring Fox and the Hounds of Graham and the Ragmen of Olney. These towns are about 20 miles apart; Graham is about 90 miles northwest of Fort Worth.
Neither band recorded to my knowledge.
If you have any photos or info on any local Texas bands of the ’60s, please comment below or contact me.
This is an odd single, an unknown group named Cliff White and the Dovers doing two non-hit Zombies songs “I Don’t Want to Know” (written by Chris White), backed with Rod Argent’s “Women”.
The group do a decent job on both songs, though neither cut has the magic of the originals. There’s a question of whether this is an English recording only released in the U.S., or if this is a U.S. act. I think the latter, as I found the English accent on “I Don’t Want to Know” to be contrived. Also, the production credit, M.J.B. Prod. for R.P.M. Ent. Inc. may give one clue, as RPM Enterprises was Charles Calello’s production company for some Lou Christie MGM recordings.
Released on 20th Century Fox 631 in the first half of 1966, the Mainstay Publishing credit is correct for the Zombies songs.
There was a Cliff White from London who was in a beat or R&B group in 1966, but went on to be a writer and reissue producer, but I don’t know if this is his recording. A suggestion that this was the Dovers on Miramar is laughable.
Located at 120 Holland Park Avenue, the London Cavern was a short-lived club in West London that operated during the mid-1960s.
Melody Maker lists The Dukehounds as regular Thursday band during May/June 1965. The following dates are all from Melody Maker unless otherwise noted.
18 May 1965 – Initial 4 (every Tuesday)
25 May 1965 – Initial 4 (every Tuesday)
1 June 1965 – Initial 4 (every Tuesday)
3 June 1965 – Dukehounds (every Thursday)
8 June 1965 – Initial 4 (every Tuesday)
15 June 1965 – Initial 4 (every Tuesday)
22 June 1965 – Initial 4 (every Tuesday) Not listed after this date for a while
2 July 1965 – Initial 4 Kensington Post also lists The Dae ‘B’ Four
3 July 1965 – The Cardinals (Kensington Post)
4 July 1965 – Top group (Kensington Post)
5 July 1965 – Themselves and The Effect (Kensington Post)
6 July 1965 – Dae ‘B’ Four and The Tribe (Kensington Post)
9 July 1965 – Initial 4
12 July 1965 – Bern Elliott & The Klan with Initial 4
16 July 1965 – Initial 4
18 July 1965 – Dave Whittling & Uncalled Four plus John Spencer and Guest Artists
19 July 1965 – The Five Dimensions and Initial 4
20 July 1965 – Group Survival
According to the Kensington Post, 3 September issue, Marshall Scott Etc played every Sunday, so presumably that includes 5 September 1965.
The Middlesex County Times on 24 September and 1 October both list The Eyes as resident band on Tuesdays. That would include 28 September 1965 and 5 October 1965.
According to Boyfriend magazine, The Four Pennies played at the club on 11 October 1965.
I’d be really grateful if anyone can add their own confirmed shows at this club plus any memories. Please get in touch as well if you know any local papers that advertised shows here as Melody Maker didn’t advertise the gigs very often. The following (incomplete list) is from 1966 and was taken from Melody Maker:
3 March 1966 – Blues Ad-Lib
4 March 1966 – The Lincolns with supporting group
5 March 1966 – Marshall Scott Etc with supporting group
6 March 1966 – Fives Company
10 March 1966 – Blues Ad-Lib
11 March 1966 – Hamilton King & The Blues Messengers with supporting group
12 March 1966 – The Pieces Fit and Blues Ad Lib
13 March 1966 – Fives Company
17 March 1966 – C-Jam Blues
18 March 1966 – Five’s Company with supporting group
19 March 1966 – Jo Jo Gunne with supporting group
20 March 1966 – The Peasants
24 March 1966 – C-Jam Blues
25 March 1966 – The Lincolns
26 March 1966 – Hamilton King & The Blues Messengers
27 March 1966 – The Peasants
29 March 1966 – The Syn
30 March 1966 – The Pieces Fit
1 April 1966 – The Pieces Fit and The JRS
3 April 1966 – The Syn
7 April 1966 – The Herd
8 April 1966 – Sky Fever
9 April 1966 – Norman St John Show and Hamilton King & The Blues Messengers
10 April 1966 – Marshall Scott Etc
11 April 1966 – Jo Jo Gunne
22 April 1966 – Dee Dee Warwick and The Sloane Squares
The Victoria Advocate featured a photo of the Gay Lords on September 18, 1966. The Gay Lords won second in a battle of the bands in Corpus Christi, losing to local legends the Zakary Thaks.
Members were:
Don Halk Glen Christian Jerry Cockerham – drums Mike Rippamonti Kenny Lange
The microfilm quality makes it impossible for me to be sure who is playing guitar and who is on bass. I don’t believe the Gay Lords recorded.
If you have any photos or info on any local Texas bands of the ’60s, please comment below or contact me.
The May 25, 1967 Burnet Bulletin gave a description of the Deacons, a local group invited to a battle of the bands in Colorado City, TX, 230 miles to the northwest, on June 3.
Members were:
Eddie Fariss (Farris?) – drummer and lead singer Larry Boyd – lead guitar Joel Mann – lead and rhythm guitar Don Baker – rhythm guitar Larry Dunlap – bass guitar
All were students at Burnet High School. I don’t believe the Deacons recorded.
If you have any photos or info on any local Texas bands of the ’60s, please comment below or contact me.
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
I am dedicated to making this site a center for research about '60s music scenes. Please consider donating archival materials such as photos, records, news clippings, scrapbooks or other material from the '60s. Please contact me at rchrisbishop@gmail.com if you can loan or donate original materials
The Reasons Why cut one of the top Texas records in the ’60s, “Don’t Be That Way” on Sound Track ST-2000. I don’t own a copy, but I found this article on the group from the Waco, and since I don’t remember seeing this photo of the group before.
