uncalled4

 

"NOT FADE AWAY"  by PJ Mullen  (edited by  James C. L’Angelle)    

     "...repertoire was immediately expanded in that Mullen could play the drums in “Not Fade Away” and other challenging compositions..."

     I.) The “Mop Tops” or “Fab Four” made their first public performance for Americans in February, Nineteen sixty-four. Ed Sullivan prided himself in previewing unique and/or unusual talent before a national audience each Sunday night. The Beatles unquestionably fit these parameters At this “pre-revolutionary” time in America the four young lads from Great Britain sported long hair (for the times), collarless jackets, and a strikingly uniform type appearance that challenged the acceptable convention of the times. They sang of love and happy events and harmonized well. As Elvis Presley shook his hips, the Beatles unique mannerism was the shaking of their mop-topped hair. America loved them--especially the screaming female teenie boppers that dominated the crowd. An avant-garde fad is predictably followed by conformists who attempt to exert their uniqueness.

     The paradox lies in the number of nonconformists who mimic the fad to the point of making it a mainstream event. Nomatter. Reno, Nevada had its share of “wannabes” who were seeking some clue in individuality. Many of them joined and adapted the look and mannerisms of the Beatles. Mr. Del Gado was such a person. He studied the reruns and news snippets of the Ed Sullivan show. He bought and read every teen magazine that contained news and pictures of the “Fab Four”. After mastering the look of this British Invasion group, Del Gado knew that silence in a crowd would only carry him so far. He needed to adopt a British accent. He needed to learn to play an instrument. Although he was able to master a few words with an acceptable British accent, his short and stubby fingers prevented him from attaining any success at playing the guitar. His average intelligence eventually directed him to Beatle member, Ringo Starr, and the drums. “Heck”, he thought, “anyone can beat a stick against a drum skin”. After a minimum investment at the music store Del Gado left with a pair of drumsticks in his back pocket and a record entitled “Drums in five easy lessons”. Now all he had to do was find a band.

     Jim Langelle sported a genius intelligence and a genuine revolutionary spirit. He was frustrated by the conformist world and was then one of a very few that saw through the plastic façade called the Beatles. He was playing guitar and writing songs months before the Beatles made their appearance on national television. While his High School classmates were preoccupied with sports, drinking beer, and chasing girls, Lan’gelle chose the quiet of his room in deep and concentrated thought as to expressing his inner self through music. He was the real deal of his generation.

      Ken Gotcher had been attending the same High School as Langelle. He didn’t like studying any particular subject and had a general uneasy spirit. He bored quickly as to most otherwise enjoyable pursuits by his classmates. Sports were o.k., but not worth the effort in mastering them. Even drinking had its limitations. He was in search of something meaningful. Chasing girls had no future. Crowds quickly bored him. Although he enjoyed working on the combustible engine and cars in general, this activity did not placate or satisfy what he truly was looking for. Gotcher was looking for a meaningful relationship--especially with a member of the opposite sex. One night stands were passé. Perhaps out of sheer boredom Gother picked up his first guitar and commenced on learning the notes and chords.

     Walt Knox was unquestionably a troubled and frustrated teenager. His genius I.Q. did little to assist him in earning any mark higher than a “C”. Knox had generated into drawing his frustrations on paper/canvass. By the time he was a senior in High School, Knox was already an accomplished artist. The unrest within overpowered him from time-to-time. Although he found alcohol he also discovered that no quantity of this substance would quell his restlessness. The result was a string of arrests for various assaults and batteries. His physical prowess was trumped only by his artistic abilities. During especially trying times Walt Knox would pick up the guitar and start to play music. Knox’s younger brother, Greg, was a diametrically opposite to his older brother. He was gentle in spirit and gracious to others. Greg had plunked around on the family acoustic guitar for months before the Beatles appeared on The Ed Sullivan Show. He definitely needed direction and lessons on his guitar skills but had the willingness and attitude to improve. Greg seized the moments he had to better himself. It was almost as if he sensed that his life would be cut short at a very young age. He knew that time was short.

      Patrick Mullen was a hard-working and serious student in his Junior year at an across-town competitive High School. Mullen learned to play drums when he was fourteen years old. He took lessons and religiously practiced each and every day. By February of sixty-four Mullen had been playing drums in various honky tonks around Reno and for sundry Western music bands. He floated between musicians and was not particular as to the genre of music he was requested to perform. Whether a polka or a cowboy crowd, Mullen performed his job well. Unfortunately, however, Mullen looked to his performances as “work”, as opposed to entertainment. He was not content. He had a deep and abiding feeling within that his many years of effort in mastering the drums should have produced a more meaningful result. At times the circuitous path of fate proves that matters turn out exactly as they were intended to be. In the matter of the Uncalled Four this proved prophetic.

      A geological wonder is presented in a modern and large building adjacent to Cannon International Airport, Reno, Nevada. The building and its contents were owned by Mr. Charles Steen. He was a self-made millionaire who discovered a massive uranium deposit in the deserts surrounding Moab, Utah. The fact that Mr. Steen had previously worked for Union Carbide and had surveyed that same area in his job capacity was not relevant at the time. Shortly after he quit his job, Steen made his wealthy discovery. Let the court’s deal with appearances of impropriety. For the present, Mr. Steen had millions of dollars. He also had three sons. Jonny Steen was a few years older than Langelle, Knox, Greg, Gotcher, Mullen, and Del Gado. Being a millionaire’s son, Jonny possessed the finest equipment for music. His guitars were “Les Paul” and “Gibson”, and his sound equipment was stereo. The latest and finest instruments were placed within Charles Steen’s geological building.

     Like moths are attracted to flames, so too are musicians attracted to acoustics. This building proved to reverberate sound like a bathroom shower. Fate dictated that Langelle would come to be present at Charles Steen’s “recording studio”. He and Jonny Steen compared “licks” and each other’s familiarity with popular songs. Jonny was proficient in playing the Beatles. Langelle was already predisposed away from this particular genre. In turn, Langelle had been attracted to a motley group of British guys who entitled themselves “the Rolling Stones”. Their style of music seemed to beckon his rebellious spirit. This jam session proved to be fruitless as to some compatibility in music. However, this also proved to be the “missing link” to complement a band on its journey in history. Jonny disclosed the name of a percussionist to Langelle of whom he represented was accomplished in his art. “Patrick Mullen is the best drummer that I’ve ever played with”/ “From what his sister says, he is tired of playing one night stands”.

      Del Gado proved disastrous to the newly formed group known as the “Tribunes”. He looked like a Beatle. He even talked like a British person. His persona failed when it came time for him to demonstrate his depth in music. He made noise on the drums but did not compliment the band or the music. He had to be replaced. Del Gado was a perfect example of the moral of the song “Streets of Laredo”. The verse cynically says “get yourself an outfit and be a cowboy too”. In other words: dress the part and act like the person you are emulating. However, don’t let people see you in the active role of pretending to be who you dressed like. Del Gado’s “jig was up”. There is no possible way to fake playing a musical instrument. That is, at least to the band with whom you are playing music.

II.) 

      The original band named the “Tribunes” consisted of Langelle, Knox, Gotcher, and Del Gado. It had been playing gigs around the Reno/Sparks area for approximately four months before Langelle and Jonny Steen jammed near the airport. All members, excepting Del Gado, were unanimous in wanting to replace the drummer. It was decided, therefore, that the remaining group would audition this supposed drummer from the across town High School. This occurred in Mullen’s bedroom during the Fall of Nineteen sixty-four.

     The Tribune’s repertoire was immediately expanded in that Mullen could play the drums in “Not Fade Away” and other challenging compositions. The four musicians exploded with competence during each practice session. A growing mutual belief solidified in each member that this group was destined for greatness. Storm clouds were brewing over the lofty Sierra Nevada mountain range. In the valley below most were unsuspecting of the weight and effect of this coming maelstrom. “Change was inevitable. The Degree and amount of change unpredictable. Although the “words of the prophets were written on the subway walls, and tenement halls..” few elders paid it heed. “These times they are a changing“ rang true through the youth of the nation. This was so even if the listener‘s were unable to put their thoughts to paper or their emotions to progress. We knew the truth when we heard it. Dylan, Seeger, and even Peter Paul and Mary sang it. Unknown and unrecognized authors for these nation changing songs went unrecognized. Nomatter.

   

     Word was out. “We will no longer accept, and be a part of, a nation that ignores its own children‘. Popular music echoed and reinforced this discontent. Something was wrong.. We were being drafted into fighting a war against an enemy of whom we had no quarrel. Women were denied equal rights under the law. Previous slaves to our forefathers continued to be persecuted. Hadn’t we fought a civil war? Wasn’t the blood of those killed by bullets and cannon fire equaled with the blood of that spilled under the lash by African Americans during the dark days of slavery? The answer came back to a confused yet resilient young generation. The answer was a resounding No. Langelle and Knox knew this pulse. Mullen felt an uneasiness that could not be denied. Gother had, at long last, surrendered to what he considered inevitable. That being, that change was in the wind and that we, as prophets, would communicate this idea through our music. The “Stones” sang of discontent.

     The “Uncalled Four” sang and emulated change. The “uncalled Four” was at the very cusp of those substantive changes effected in the sixties. No matter that it was a nameless band within the confines of Reno, Nevada. The heart of each band member was strong and it reverberated though out the Reno/Carson Valley. Communication of a movement requires one hell of a lot more than parodying a song on stage. Groups have come and gone while playing a “cookie cutter” resemblance of what was heard on the radio.

Stayin power rests with the ability olf a band to communicate the “feeling” of its generation. The Uncalled Four discharged this challenge. Regardless, one finds humor in viewing past events with twenty-twenty hindsight.

III.)  I commenced taking drum lessons from an accomplished musician when I had just turned 14 years of age. I remember Steve Robison as a very stern and no-nonsense instructor. When I first approached him he agreed to take me on as a student provided that:

     1. I practice my lessons for a minimum of ½ to 1 hour daily;

     2. That during my practices I could not have any distractions such as the television and/or the radio playing;

     3. And that I pay to him the sum of $5.00 each week for lessons. Little did I then realize that this formula for learning would be a intrincal part of my course of study of anything new and of which I was interested in during my entire remaining years. I strictly put into effect those rules of my teacher and I started showing some remarkable progress within a few months of learning the drums. In fact, I started playing drums publicly after only 8-months of lessons.

     Of course the group that I was playing with included a simple 3-4 “cowboy” beat for Country and Western music. I surmise that I was somewhat shy and withdrawn at that time. I remember finding comfort in the large cymbals that fronted my bass drum. I could bend down a bit and hide my face behind those cymbals. Being only 14-15 years old I was restricted from playing in many of the local bars that abounded in the outer sections of Reno, Nevada. However, the band leader usually struck up a compromise wherein it was agreed that I could remain on the stage provided that I not frequent any of the areas in the building where drinking of alcohol occurred. I had no problem with these restrictions since I did not consume alcohol at that age in any event. However, I was able to observe the actions of those who imbibed. Heck, I had a ringside seat to these activities. As such, I can remember several incidents involving bar room fights, arguments, imbalances, and other such “non adult” behaviors. I could not understand how or why a person would overindulgence alcohol to the point of making an absolute ass of himself! My conscious thought quite often was that “I know that I will never allow myself to get that bad”! Oh, how wrong I was.

     During my Senior year in High School I auditioned as the percussionist for a local rock and roll band that was just starting up. By this time I was fashioned as one of the premiere young drummers in the entire Reno area. Lucky for me the members of the newly formed band agreed. This started my deep and abiding friendship with Jim L’Angelle, Walt Knox, and Ken Gotcher. This was the inception of our band named: “The Uncalled Four”. This also started my walk on the wild side. As a fence sitter I found it quite handy to “dip my toes” on one side or the other. Remember, this was during 1964-65. All of the racial, gender, religious, and patriotic conflicts were rearing their ugly heads. As the drummer of a band that adopted the Rollin Stones as its figurehead, I was able to protest through the music that we played.

     As important, I was able to mingle and be accepted by the “long hairs” and other free-thinkers. How liberating my time with the group proved to be. I could “let it all hang out” on Friday and Saturday nights and rejoin mainstream society back in college during classes on Monday mornings. The problem with my dual life came in the form of alcohol. I had avoided booze up to this point in my life. However, it became quite natural to sip on beers during practices with the Uncalled Four. In addition, we braced ourselves up prior to playing any gig on the weekends. After a time the predictable happened. We had just concluded playing a Sorority dance at the Top of the Mapes Hotel when we bought a significantly larger amount of Ripple Wine and Budweiser Beer than was our normal practice. Being male teenagers we visited the local drive through eatery. That is, Knox, L’Angelle and me made this trip. Gotcher was “P.W.“ and with his girlfriend. We were very intoxicated when we stopped in Walt’s car for food. I’m not clear on what the dispute was, but Walt Knox exited the drivers seat of his car while muttering some profanities and then rushed into the cooking area of this restaurant.

     We witnessed much running and confusion and heard glass breaking and shouting. Walt returned with a chief’s hat sporting his head. He gave us all one of his knowing grins and stated: “that should take care of him and his undercooked hamburgers”. I shouted “let’s get out of here!” We were just driving out the exit when I observed a Reno Police squad car screeching into the entrance of the parking area. “Hit it“, I screamed. With our headlights shut off, we disappeared into the night. After squealing around a corner someone yelled for all of us to throw the alcohol out the windows. We all complied and a shattering and loud breakage of glass resulted. At that very moment I observed the police squad car rapidly negotiating the same corner with its overhead lights ablaze. We pulled over a short distance later. Knox remained seated behind the steering wheel and calmly queried the breathless officer who literally ran from his patrol car to Walt’s car window “is something wrong officer?” We were told to exit the vehicle and were then promptly pat searched. “Not to worry”, I thought. “We are all drunk but the cops did not have any evidence of alcohol on either our persons or in the car. “Smooth move”, I smugly whispered to myself. Think again buckeroo!

     As it turned out, L’Angelle was too tightfisted to throw his gallon of Ripple wine out the car window. After all, he had just scored it. Instead, he shoved it down into the back seat. Of course it was discovered and of course we all were arrested. Profane language in Public, Assault and Battery, Minors in Possession of Alcohol, Disturbing the Peace, and Drunk and Disorderly Conduct were the charges. Into the drunk tank of the Reno City jail we went. It was either my mother or my uncle who bailed me out later that night. When we came back to the Jail for arraignment the Municipal Court Judge advised us to plead guilty to the charges and promised to suspend our sentences. I pleaded “not guilty”. Knox and L’Angelle accepted the judge’s advice and admitted to the charges. After I entered my plea both the prosecutor and the judge gave me very questioning and suspicious looks. The prosecutor even shrugged his shoulders with the comment “well, I guess that is his right”. It was then that I determined that I had really stepped into it again, and I asked if I could change my plea to guilty and accept the court’s deal. What a mistake!

     The court was true to its word and imposed suspended sentences for each of us sorry looking band members. The problem arose when the judge imposed a jail sentence for each one of us for a term of six-months! Even though this jail sentenced was suspended, the court placed each one of us on unsupervised probation for a period of one-year. It was at this point that the judge cautioned that if anyone of us was arrested again and convicted of any criminal wrongdoing whatsoever that we would be automatically re-incarcerated--this time for a period of six-months.

     Since this was a different time, and further since there was a Viet Nam War on, the judge accepted L’Angelle’s representation that he intended to join the Marines. Knox then exclaimed that he had already received his draft notice and would, therefore, also be a member of the armed forces within the immediate future. “If any of you serve your country then, and in that event, I will dismiss all of the charges”, the judge ordered firmly. “Great”, I thought. “I had not done anything wrong (excepting being drunk) and I was going to bear the guilt for L’Angelle and Knox”.

     In fact, that was the way it turned out. L’Angelle joined the United States Marines, and Knox joined the United States Army, 82nd Airborne Division. Both had the charges dismissed. I was left holding the bag for both of them. This incident faded in my memory after I returned to the University to continue my undergraduate studies. I quickly escaped back into my fence sitting and seemingly safe attitude. I hadn’t a clue that when the dust settled on my Reno Municipal Court exposure the final impact was yet to come roaring back with the force of a freight train. WHAT GOES AROUND COMES AROUND--JUSTICE AT LAST