After a few months of rehearsals and gigs with our new members, Danny and Marshall, Alice, our manager, announced that she had arranged an audition for a female singer for the band. No consulting the boys on this one; it was full ahead. Alice had good ideas, so we rolled with them. She thought some familiarity would add depth and make us more audience-friendly, since we were a bunch of surly young men with longish hair and the attitude to accompany our looks.
She knew someone who had a neighbor who knew another neighbor of a family who lived next door to a lady who attended church with a woman who had a daughter who sang in the choir at school and did solos at church, so Alice, one step ahead of us, escorted her into the practice room and announced, ” Boys, this is Miss Janelle.”
In walks this teenage girl with a full-grown woman’s head of long hair piled up in a big bump on top, then falling down past her shoulders. She was a dead ringer for Bobbie Gentry. But could she sing?
A TV dinner tray sat by Marshall’s organ, used for drinks and lyric sheets, so the auditioning singer pulled from a Coppertone beach bag a few record albums, a book of lyrics, a TAB cola, and a framed 8×10 autographed photo of Bobbie Gentry. Now we knew why she looked so much like Bobbie Gentry…she dug the gal.
Danny asked Miss Janelle what songs she knew. ”
Do ya’ll know any Dusty Springfield, Petula Clark, Diana Ross, LuLu, Sonny and Cher, Marianne Faithfull, April and the Flowers, Dione Warwick, Lesli Gore, Ronnie Spector?” she asked.
Danny said, “Nope, we are a rock band, not the Ed Sullivan Show.
That kind of busted her bubble a little bit. “Well,” she says, ” How bout some Bobbie Gentry? I just love her, and she is my favorite singer in my whole life.” We had already figured that out from the picture and the hair-du.
Our inquisitive drummer, Barry, interrupted her: “Isn’t that the song where she and the boyfriend throw a baby child off a bridge into the muddy river?”
Miss Janelle whirled around and yelled, ” No, moron, she didn’t throw no itty-bitty-baby off a bridge; it was a bouquet of Mississippi wildflowers to solidify her big love for her man Billy Joe Macallister, but then he got caught dating his auntie’s pet sheep, causing him to jump off the old bridge into the muddy Tallachee River. Bobbie sent me a letter, along with this picture, explaining the whole song, but I promised to keep it a secret. We’re friends, you know.”
She thinks hard for a minute, then says, ” The only Rock-N-Roll song I know is Gracie Slick’s Somebody To Love. Ya’ll know that one?” We sort of knew it, so we gave it a go.
The lass let loose and was jumping around like Tina Turner, hair flying everywhere, strutting and shimmying, doing the Bug-a-loo, the Monkey, the Watusi, and a few others while singing. When we ended the tune, Marshall, our organ player, was staring her down with those big pansy-boy watery Puss-N-Boots eyes. He clearly had a severe case of the “Hubba Hubba’s” for this gal. Danny told us that this happens about once a week, and he will be alright once he gets home and eats his mama’s hot supper. Alice announces she is marvelous and is now part of the band. Okey-dokey.
At the next rehearsal, Miss Janelle comes in with red eyes and mascara trails down her cheeks. All sniffily and weepy, she says, ” My boyfriend said I can’t sing with a bunch of degenerate rock musicians. We are in love, big-time, and I must quit the band now.” Still in the grip of the Hubbas-Hubbas, Marshall puts a consoling arm around her shoulders and tells her, “It can’t be all that bad.”
She barks at him, ” Shut up, Moon Doggy….It’s my party, and I’ll cry if I want to.”
And with that, she packed her Coppertone beach bag with her albums, lyrics book, TAB cola, and the autographed picture of Bobbie Gentry and left, leaving the air heavy with teenage perfume, hair spray, and juicy fruit gum. Then…..More to come in my series.
“So you want to be a rock and roll star? Then listen now to what I say Just get an electric guitar Then take some time and learn how to play”…The Byrds 1967
After the family moved from Fort Worth to Wichita Falls for six painful months and then to Plano, Texas, I met a classmate and fellow guitar player who was also bitten by the “rock-a-rolla” bug. He knew another guy on his block who played guitar and owned a Fender Bassman amp, which automatically made him a band member, and he knew a neighbor across the street who was a drummer with a snare and one cymbal. He also knew a kid with another cheap Japanese guitar who would part with it for $10.00. I snatched it, bought his Sears amp for another $15.00, and was back in “the biz.” Hours of practice produced twenty songs, which we could repeat at least once or twice by shuffling them around and changing singers and keys. Our first gig was at the Harrington Park Swimming Pool, Plano, Texas, in the early summer of 1965.
The Dolphins: left to right: Jarry Boy Davis, Warren Whitworth, Ron Miller, Jay-Roe-Nelson, Phil Strawn
Guitar tuners hadn’t been invented yet, so we used a pitch pipe and got as close as possible to A440, and apparently it wasn’t close enough; we sounded like hammered Raccoon crap on grandma’s china plate. It was a humiliating experience. In my playing frenzy, I broke my B string and had to play with five strings. Then our amplifiers went south because the outside temperature was over 100 degrees and we were in the direct sun. Then, the drummer’s head on his snare split, his cymbal fell over and cracked, and Jerry Nelson, another guitar flanger, tripped on an extension cord and fell flat, damaging his Silvertone guitar. Our third guitar player, Warren, came into contact with water splashed from the pool onto the concrete while touching the strings of his electrified, ungrounded guitar, resulting in a bad electrical shock. Hair frizzed out, smoking from his ears, and burns on his fingers; he finished the gig, not knowing who or where he was. The grand debut ended with sympathetic applause, and the pool manager refused to pay us, even though our contract stipulated free burgers and shakes. Warren, our previously electrocuted guitar player, got into a fight with our drummer, and the two rolled around in the gravel parking lot for a while with no clear victor. We thought Warren was a trooper, considering the amount of electricity that had almost fried him an hour before. Bad music tends to piss folks off. The final curtain was when my pal Jarry discovered his Mustang had a flat tire, so we had to call our parents to rescue us. Welcome to the rock n’ roll music business.
From 1966 into 1967, the band continued with better gear, a new drummer and bass player, and a different name. We were now known as “The Orphans.” A strange pick since we were all middle-class guys with full sets of parents, but Barry Corbett, our drummer, thought it sounded tough and a bit rebellious. Barry may have been the biggest rebel of the four members, listening to Frank Zappa and Spike Jones and teaching himself to play the Sitar. George Harrison’s influence led him into the realm of Indian music, which he fully embraced to the point of obsession. He developed a strange Peter Sellers-type accent, wore a red dot on his forehead, and had two high school girls follow him around town, wearing white robes and playing with small cymbals attached to their fingers. He was also a rudderless musical genius and would soon lead us into the semi-big time and the really big show.
Alice Davis, Jarry’s mother, was now our official manager and did a wonderful job. She knew people and had connections and was not afraid to use them or to press a business contact into hiring her band. We were booked around Dallas and Fort Worth most Friday and Saturday nights. We made some good cash from high school kids, but spent it all on new equipment and clothing. Band members were in constant rotation. Teenage musicians proved to be an unreliable commodity.
Our keyboard and bass player left us for high school football, again, leaving three of us. Calls went out, Alice worked the phones and contacts, and we auditioned two musicians from McKinney, Texas. Danny Goode, a bass player/singer and former member of the Excels, and Marshall Sartin, church organist, classically trained pianist, and blues guitar player. We played a few songs as a five-member band and almost passed out. It was as if the ghost of Phil Spector had brought us into that practice room at this appointed time in the universe, which was strange because Spector was still alive and kicking in Los Angeles.
The Orphans. Left to right front: Jarry Davis, Danny Goode. Left to right rear: Barry “Lil Spector” Corbett, Phil Strawn, Marshal Sartin
Miss Alice was religiously overcome with musical emotion and experienced a spell of the rock n’ roll vapors that led to seating herself with a double Jack Daniels and branch water. Barry, our drummer and musical genius, had an epiphany and went to work on arranging our music and vocal parts, showing Marshall how to play them on his Farfisa Organ, which was another strange thing; Jarry and I didn’t know Barry could play the piano, or, as we soon found out, the guitar, the trumpet, the sax, or the vibes. We dubbed him “Lil Spector” in honor of the famous Wall of Sound producer.
After the Miss Janelle Bobbie Gentry-infused tenure that ended in a puff of hairspray and perfume, the band took a vote: no females allowed. Marshall was still recovering from a severe case of the Love Fever Hubba Hubba’s, and we needed him in good condition for our upcoming gigs.
Miss Alice grew weary of working the phones, dealing with clubs and booking gigs, her realty business was suffering and needed her attention. She arranged for us to be managed by an upstart agency called Mark Lee Productions of Dallas, Texas. Mark was a go-getter and had more connections than Bell Telephone. His one and only main band, Kenny And The Kasuals, had just released a great 45 that was climbing the charts, so we were excited about working with him. We signed on the dotted line of a ten-page contract that not one of us read. Why bother? We were young and full of piss and vinegar: point us in the direction of the stage and plug us in!
Within twenty-four hours, The Orphans were booked into some of the hottest venues in the DFW: The Studio Club, LuAnns, The Pirates Nook, Phantasmagoria, Teen A-Go-Go, and The Box in Fort Worth. Mark Lee was turning down gigs because he had only two bands. We wouldn’t have Friday and Saturday nights free for two years, and even less free time in the summer, when bookings took up most of each week.
We were booked to play a Christmas party for Parkland Hospital at the famous Adolphus Hotel in downtown Dallas. Pulling up to the front in our 57 Caddie Hearse caused a stir. The bellman politely told us the bodies were picked up at the rear. We got the joke and proceeded to the loading docks. The party turned out to be for the doctors, nurses, and administration folks. In the next ballroom, Braniff Airlines was having its Christmas party, but with no band. It didn’t take long before the airline parties spilled over into the hospital party, and that’s when it got crazy.
These people, supposedly responsible adults, were dancing on the tables, had a conga line going on the bar top, and we had our own go-go dancers on either side of the stage. Three of us were under the age of 18, but that didn’t stop the inebriated partiers from pumping us full of hooch in the form of cute little airline bottles. By the last set, we had gone from charming and talented to stupid drunk and were glad the gig ended. We couldn’t locate our keyboardist, Marshall, so we loaded up his gear and headed out. He showed up a few days later with some dumb-assed story he couldn’t talk about: the Hubba-Hubba’s got him again.
