John Cowsill and The Dwight Twilley Story

Dwight's site appears to be gone or not currently working, so here's the text thanks to Jo.

This is the very convoluted but wonderful true story of two boys who met around ages 15-16, wrote, produced, and recorded their own original songs, dreamed of becoming pop stars, and against all odds and through an incredible plague of bad luck and circumstance, actually achieved that goal. Along the way you'll hear about thieving managers, the mafia connection, Jaws, Dick Clark, Elvis, The Beatles, the rain, the park, and more. And most of all, you'll read many details of some of the finest rock'n'roll songs ever written (released and unreleased), in this writer's opinion. The story will be told here in more detail than ever before, as it deserves....

Dwight Twilley and Phil Seymour met around 1967 in Tulsa, Oklahoma, at an afternoon screening of A Hard Day's Night. Dwight had taken his kid brother and Phil had taken a neighbor, each for the same reason: it was 'bring a kid and get in free day' at the theatre, and both were Beatle fans. Being the two tallest people in line, they noticed each other, talked, and discovered they had a mutual friend, who had just moved away. It was one of the most fortuitous meetings since the church picnic at which Paul McCartney met John Lennon.

That same day, they went back to Twilley's house and began to record songs together that Twilley had written; from the very beginning, they conceived a partnership with both singing lead vocals that would take them to the top of the charts. Both of them were already proficient multi-instrumentalists and singers. For the next several years, they continued to record literally hundreds of songs together, sometimes with assistance from a lead guitarist, Bill Pitcock IV. Both also performed live in various combinations with other Tulsa musicians who would figure later in their careers.

They developed a close two-part harmony sound derived from The Beatles, with influence from many other top chart acts. The band christened itself 'Oister,' signifying two halves that made up a whole. Years later, after signing a record deal, Shelter Records honcho Denny Cordell rechristened them The Dwight Twilley Band, but the name Oister was used on the records as Twilley & Seymour's production team name. Right from the time they met, Dwight and Phil would get together in Dwight's room and/or at the Seymours' house and record songs, with Dwight overdubbing piano, guitars, and vocals, and Phil adding drums, and vocals. All would be mixed onto a AKAI 2-track deck. They recorded constantly, and even put together their own little 'concept' records.

Oister Presents Swirling Clouds was the first concept album recorded by the duo, pressed on really thin, cheap acetates, and sold in a limited run of about a dozen to their school classmates. It included "All My Love I Send To Her," "Listen," "I Am Here," "Do You Have Appointments," "Going There Again," "Season of the Body," "Melody For Melanie," "I'm Only A Tree," "Second Time," "I Have A Window," "Bye Bye," "Ride On Lonely Cowboy," and "White Patches." Still in high school, the band had nevertheless made one of the first DIY/indie albums for their 'debut.'

Oister's Greatest Hits was a second home-pressed acetate Dwight and Phil made to sell to friends in school, in another limited run of about a dozen copies. It's unknown if any survived, because they were made to only last for a few dozen plays. The songs do still exist on tape, however. This time around they basically cut live with acoustic guitars to 2-track tape the songs they considered their best at the time, including: "Titanic," "Cold Weather Woman," "Lay Down The Sun," "Bitty Bacon," "Gwen," "Western Sun," "In the Falling Rain," "All Of My Life," "Stella Wisdom," "Save My Dog," "If I Had A Bird," "You're Still A Child," and "Captain Cardboard."

Extra Oister tracks from the early high school years include titles such as: "Yes, I Have A Photograph," "Marilyn," "April Fooler," "It's A Beautiful Day," "Happy Birthday," "Oh Girl," and "Landlady."

Recording continued throughout junior high and high school, still mostly at Dwight's and Phil's houses onto mono tape and 2-track. For the most part, Dwight has described the songs as being very much in a Simon & Garfunkel/Everly Brothers/early Beatles vein. Other titles recorded during these years (two of which were re-recorded in the late '70s) were: "Daydream Lady," "Counting The Whiles," "When The Lights Went Out," "Someone Sleeping," "It's True," "Linda Jones," "Tumbleweed," "When Two Stars Collide," "Aubin My Ozone," "Sing You A Song," "Want This Girl," and "Seven Dollar Man." Among the less folky titles were: "Please Understand Me," "Good Evening And Friend," "Broken Man Blues," "The World You've Never Lived In," "Allegheny," "She Isn't Lonely," "To Wait Is To Waste" (which shares a line with the later and more familiar song "I Wanna Be A Rebel" from the B Album), "Different," "Hello," "My Mother Was Shot - In An Elevator in New York," "What Is The Time of Day," "A Long Time Ago," "Swandial," "Dahnant," "She's All My Light," "And So Do I," "Me and Melanie," "Sometime," "Interaction," "Who Wields Me Wields The World," "In The Light of a Street," and "Uncle Scavenger."

In archetypal Twilley fashion, his home got a name as if it were a studio: Zunis, named after the street it was situated on. It was a little white house across the street from an icehouse, and on some songs (like "Round and Around," released in 1999 on Between the Cracks, Vol. 1) you can actually hear the rattling of the icehouse on the tapes. The duo's first 'professional' recording in a real studio was at a tiny indie recording studio called BJ Recording just across the state line in Van Buren, Arkansas, in the foothills of the Ozarks south of Branson. The first version of "Sky Blue" (one of the most often recorded yet unreleased Dwight Twilley compositions) was the only song cut in Van Buren.

When Dwight and Phil decided to pool up their money and drive to the nearest recording studio, they headed out towards Nashville, figuring New York and L.A. were way too far to drive in their beat-up old Chevy station wagon. Crossing the bridge over the Mississippi, they headed down Union Avenue in Memphis. They'd decided to stop at the first recording studio they saw, and miraculously, that turned out to be 706 Union Avenue, a little place called Sun Records. Going inside, they played a tape for Sam Phillips' brother Jud, who suggested they meet Ray Harris. Harris was an original Sun rockabilly artist ("Come On Little Mama" and "Where Did You Stay Last Night" being his best-known cuts), and he'd gone on to considerable R'n'B/soul success as co-founder of Hi Records. The boys then played Harris a couple of songs on their acoustic guitars, sounding very like Simon and Garfunkel. A rather red-faced Mississippi good ol' boy, Harris immediately told them 'ya'll sing like pussies, you need to sing like you're throwin' bricks at cars' but then scared them half to death by following with 'let's cut some sides!!!' He told the boys they needed to 'get some taters and grits under your belts.' Not knowing what to make of this, and rather intimidated, the boys slunk back home to Tulsa.

Soon after, they called Harris, asked if he remembered them, and he said 'you the boys drivin' that '58 Chevy? Come on down and let's cut some sides!' He had a studio in Tupelo, Mississippi, so the boys made the long drive down to Tupelo, where under Harris' tutelage, they started to learn about the real roots of rock'n'roll, and to be immersed in Sun rockabilly. It was an education that would serve them well, and ultimately help to make them sound like no one else on the '70s music scene. They recorded with Harris in a studio near the Natchez Trace Inn, the Trace and Statue. Here's a list of some songs recorded in four of the sessions, some of which you'll recognize from later versions. The first session produced "Lay Down The Sun," "Cold Weather Woman," and "Misty." The next session produced "You're My Lover," "6th of June" (which is Dwight's birthday, of course), "Runaway," "You Never Listen To My Music," and "Only People In The World." A third session produced "Lizzy Walker," "Let It Rain," "In Changing From A Car," "I Won't Buy," "Second Time," and "Like Last Night." The final Tupelo session featured "29 Times," "Help Me Jesus," and "Sunshine."

During this time, they were immersed in the mythical Source of rock'n'roll itself - the Sun Records sound of Elvis Presley and Jerry Lee Lewis; prior to meeting Harris, the teens thought Elvis was just a guy who made movies. They learned that his music was the veritable heart of rock'n'roll. And, quite by accident, they developed a sound that was composed of equal parts of Elvis Presley and The Beatles, and that had never been heard before in rock music - a sound that was uniquely and identifiably their own.

But these weren't nearly all the songs Dwight and Phil recorded in the early '70s. A blossoming friendship with Bill Pitcock IV, already an outstanding Tulsa guitar player, had led them to hook up with Bill Pitcock II, his granddad, who owned a 'funky old shop' called Pitcock Electric. The elder Pitcock supported the boys with advice and free space, allowing them to set up their own recording studio above Pitcock Electric with egg crates nailed to the walls. They soon dubbed it 'The Shop.' Twilley and Pitcock played together in a cover band in high school called 1950, and used the money earned at gigs to buy recording equipment. The recordings were made on a Teac 3340 4-track deck, sometimes with Dwight and Phil, occasionally Dwight on all instruments, and often with Pitcock IV contributing lead and rhythm guitars.

Among the songs stockpiled during the early days at The Shop were: "Only Child," "Summer Day," "I'm On A Dream," "Let's Go Home," "For Now On A Year," "Mercy Killer," "Dreamer," "Southern Girl," "Break Down Inside," "Lazy Boy," "Long Dry Spot," "So Many Times In The Past," "Ice Captain," "Parents," "Remember Me," "Earth Cut," "Dear December," "Real Live Baby Girl," "Never Can Tell," "C'lyn," "Take A Walk In The Snow," "Way Down The Road," and "Think It Over." It should also be noted that a few tracks cut during this era (and in the early Shelter days) included contributions from Tulsa friends like Randy Vincent, Jim Barth, Jerry Naifeh, Rob Armstrong, Roger Linn, Frank Prentice, Ronnie Dobson, and Rob Roach. An interesting trivia note is that some of these musicians were the very same people who served as The Dwight Twilley Band's extra touring musicians (appearing on Don Kirschner's Rock Concert, for instance) and were also featured on Twilley's 1999 comeback album, Tulsa. All these early recordings were produced by Twilley and Seymour.

After high school, Seymour played with a band called El Roacho, who scored a record deal, while Twilley attended college for a year. Twilley had made a deal with his dad: if he completed a semester of college with straight A's, his father promised to support him in his decision to try a career in the music business. Dwight fulfilled his end of the bargain, so his dad, George Twilley, agreed that Dwight could try to make it in the music business.

Dwight and Phil then reformed as Oister, with Phil simply bailing out of El Roacho right on the eve of recording their first album. Dwight and Phil with Bill Pitcock back at their side worked feverishly to polish up and rework many of Dwight's best songs, so that they could have a tape to play for record companies in Los Angeles, get a record deal, and fulfill their dream of being stars (listen to the lyrics of "I Wanna Be a Rebel," written around this time: "... I get the feeling I should split for the coast tonight/Hollywood, Hollywood/ I get the feeling that could be aw-aw-alright/do you good, do you good ..."). A friend, Jim Barth, was a sometime member of Oister on piano; he later engineered some Dwight Twilley Band recordings at The Church. It should be stressed at this point that Jim Barth was a very important component of the band; after all, how many bands actually had their very own engineer in the band?! It meant a lot when it came to learning how to get down the sounds they heard in their heads onto tape.

Because they had only one 4-track tape deck, they made a deal with a Tulsa singer named Dean Grider in which he would allow them to borrow his Teac 2-track deck to use in compiling their demonstration reels, and they would allow him to take one of Dwight's songs, wipe the lead vocal off, and record his own lead vocal on top of it, to use as his own demo when he went out to L.A. himself. The song was called "Love Is A Train" (see Teac A Tape, below). Dwight and Phil then used the borrowed tape deck to compile two reels of what they felt was their best material to date.

The first tape, labeled "TEAC A TAPE" contained the following songs: "You Were So Warm," "Rock Yourself, Son," "Come And See Me," "Love Is A Train," "Release Me," "No Resistance," "Look Like An Angel," "You're My Lover," "Hot Mama," "Just Like You Did It Before," "Miserable Lady," "Lovin' Me," and "Baby's Got The Blues Again." A remarkable ten of the 13 tracks were later re-recorded for Dwight Twilley Band and Dwight Twilley solo albums. In 1999, Dwight revisited "Baby's Got The Blues Again" with a band of vets who all appeared live with the Dwight Twilley Band, and the new version was included on Tulsa.

The second tape, labeled "TEAC B TAPE" contained eight songs, of which only "Sky Blue" would subsequently be re-recorded: "Pop Bottle," "You Just Might Make It," "Lightning," "Little Stars," "You Can't Remember It," "Didn't You," "Sky Blue," and "It's Ruff." Other songs that were in the running, but not actually included on either tape were "Let Me Down," "Silenced," "The Daze of Swirling Clouds" (no relation to the Oister acetate album, although I'd argue it's one of Twilley's very best lyrics, a mini-epic like "Sleeping" or "Looking for A Dreamer"/"Look Like An Angel"), "May Never Will Be," "Dead," "Story Never Told," "Suzie Glider," "Through the Window," "Before It's Too Long," "I Don't Even Know My Name" (original demo), "Eli Bolack," (on Between The Cracks, Vol. 1) and "The Planes." Two of these would also be rerecorded years later.

The TEAC Tapes are a pretty remarkable accomplishment. For starters, remember that in 1973-1974, NO ONE was doing DIY recordings. Sure, Pete Townshend made his home demos, and there was McCartney's 1970 solo album, along with excellent one-man-band albums by Emitt Rhodes (1970) and Todd Rundgren (Something/Anything in 1972). But those were albums produced for a label in professional recording studios, and, most importantly, with a sizeable budget attached to the recording. The TEAC Tapes admittedly sound a bit rough and tinny - they were recorded in a home studio on 4-track, two decades before home recording was truly available and affordable for the masses - but the quality of the songwriting, the singing, and the arrangements was outstanding. Of the familiar titles fans will recognize from later studio versions done for Sincerely, the songs sound like blueprints. You can hear how great they'd be with better production values, and indeed they were. Several of the songs that were not redone for Shelter are as good as anything the band ever did, including "Pop Bottle" (with actual pop bottles used for percussion), the original of "Love Is A Train" (sung by Seymour), the rockin' "Hot Mama" (a quintessential Midwest rock song), and especially, "Lightning" with its haunting refrain "... a man can't live on lightning/with the woman out in the rain ...."

At this point, it might be a good idea to tell you exactly how the Dwight Twilley Band differed from nearly everyone else in the music business in the mid-1970s. Twilley and Seymour had developed an almost uncanny ability to sing together in impeccable harmony. By the time they decided they were ready to make a real record, they'd been practicing almost daily for nearly ten years, and had worked out a very distinctive sound. They had the ability to overdub layers and layers of vocals, trade off lead and harmony vocals (frequently one sang the lower lead melody, and the other sang high harmony above it, and both traded roles), then add intricate counterpart melodies on top of it. One of their engineers once swore to me that they could lay down a part apiece, then lay down the next layers of harmonies without even listening to the first parts back, and it would be perfect (Twilley says that's a bit of an exaggeration, but it's still incredible that an engineer would remember it that way!). In fact, in the history of great two-part harmony singers, I'd argue that there are Phil & Don Everly, John Lennon & Paul McCartney, Paul Simon & Art Garfunkel, and Dwight Twilley & Phil Seymour. Add to that the fact that they were capable of making a near-perfect and unprecedented melding of Sun rockabilly and Merseyside pop, factor in their genius in arranging and producing, and the ace in the hole super-guitarist Bill Pitcock IV, and you had a hit-making machine waiting to happen. And to top it off, Dwight Twilley had written over a hundred excellent songs before they ever went to a record company.

At long last, Oister was ready to sign a record deal and achieve the dream they'd had since meeting at the screening of A Hard Day's Night - to make records like the Beatles and become stars. The boys (with Bill) made the long drive out to L.A. in early November 1974 and found a decrepit little apartment to stay in. They were followed to L.A. by the aforementioned Dean Grider, who made a beeline to Shelter Records (owned by expatriate Brit Denny Cordell and Tulsan Leon Russell). While Dwight and Phil had never really considered talking to Tulsa-based Shelter Records (partly because nothing on the label sounded like their own music), Grider had gone in with the demo of "Love Is A Train" and played it for the Shelter execs. They'd loved the song, but had not been impressed by the singer. When they expressed interest in the song, and wondered if Grider had written it, he immediately volunteered that if they '... like[d] this song, the guy who wrote it has two full tapes with other songs this good.' And so, against all logic, within two weeks of their arrival in Los Angeles, Dwight Twilley and Phil Seymour were signed to Tulsa-based Shelter Records. The years of home recording and preparation were about to pay off in spades with a Top Forty single.

It's nothing short of remarkable that within two weeks of arriving in L.A., Dwight Twilley and Phil Seymour had achieved their lifelong dream of landing a record deal. And from the first company they talked to, at that. Years later, Twilley still expresses amazement and bemusement at the fact that it came so easily. Just barely over twenty (Twilley was a year older than Seymour, two years older than Pitcock), the boys were so naive that they really had no idea it was supposed to be hard to get a record deal. Even more remarkably, within six months time from signing the deal with Shelter, the newly christened Dwight Twilley Band would land in the Top Forty nationally with the first song they recorded for the label.

Here's the story behind that remarkable first hit, a song which some consider to be among the greatest rock'n'roll singles of all time (in fact, The San Francisco Chronicle dubbed it 'the best debut rock single from a band, ever'). The trio were staying temporarily in a dilapidated duplex with no furniture, a few blocks from Shelter's offices. Just before Thanksgiving, when they were to return to Tulsa, ostensibly to cut some demos of old tunes the label already liked, Twilley walked to a little park down the street from their apartment called Lemon Grove Park and wrote a new song with a catchy hook, "... you ain't, you ain't, you ain't got no lover ...."; he called it "I'm On Fire." The floating chorus refrain of "I'm On Fire" was inspired by Lou Christie's "Lightning Strikes Again," but the song sounded absolutely unique, not directly like anything that had come before it in rock'n'roll.

Back at the apartment, the three worked up a tight arrangement of "I'm On Fire" with all the layered harmonies and guitar parts fully worked out. What became a trademark Twilley distorted guitar sound was influenced by the only 'amp' available, a tiny radio speaker into which Pitcock managed to plug his guitar.

Returning to Tulsa for Thanksgiving, the trio entered The Church Studio on November 27, 1974, where Shelter head Denny Cordell teamed them with fellow Brit Roger Harris as an engineer. No stranger to the music biz, Harris had started his career as a gofer for the legendary Joe Meek, and had just moved up from Texas, where he'd worked with Freddy Fender and Huey Meaux (he engineered some of Fender's classic hits). Out in the hallway before the session, Seymour pulled Twilley aside and said "... let's don't just do demos, let's cut a hit record right now ...." So, much to the surprise of the Shelter execs, who assumed they were just going to work up more polished versions of the songs they'd already heard and loved on the Teac Tapes, the trio went in and cut "I'm On Fire," written only a few days earlier. The band gave it their all, since, as Pitcock put it, they didn't know if they'd ever get a chance to make a record again. The trio played all the instruments, and Twilley & Seymour produced the song as well. Amazingly, the song marked Phil's debut as a bass player on record, and from then on, he'd be the primary Dwight Twilley Band bassist in the studio.

As a first session, it was remarkably productive. They also recorded the track which was to be the non-LP B-side, the Jerry Lee Lewis-inspired Sun rockabilly rave-up, "Did You See What Happened?" (variously called "Did You C What Happened?," but not on the original single). A third track, "Lovin' Me," was a new recording of one of the best Teac A Tape tracks (which you'll remember is what they were supposed to be cutting), and is arguably one of the band's finest moments. That it was not released until 1991 was a tremendous shame, since it, too, sounded like a hit single had it been released at the time.

The band continued to record songs both at The Church, at Leon's 40-track studio in Tulsa, and also in Los Angeles. Among the tracks recorded in 1975 were "Please Say Please" (earmarked as the B-side of the unreleased 2nd single, "Shark" - see below for details), "I Can't Get No," "Shark (In The Dark)" (first version), "Sky Blue" (40-track version), "I Wanna Be A Rebel," "Shakin' (In The Brown Grass)" (two versions, one cut at The Church, and one cut in April on the 40-track home studio at Leon Russell's house, which was considered 'best'), "Tiger Eyes," and "Tulsa Girl." Although each was among the band's greatest songs, none would be released at the time. Trivia note: the near-buried vocal in the bridge of "Shakin'" says "... she likes Perry Como/she don't know, she don't know ...." "Shakin'" is one of Twilley's all-time best rockers, alongside "Betsy Sue" and "TV."

In March 1975 they journeyed to England, where they spent four to six weeks recording at Trident Studios in London. With Robin Cable producing, they recorded a whole album's worth of material: "England," "Look Like An Angel" (really a medley of the song of that name from the Teac A Tape and a separate song called "Looking For A Dreamer"), "Rock Yourself, Son," "Shark (In The Dark)" (a very good second version never released anywhere), "I Don't Even Know My Name," "Miserable Lady," "No Resistance," "Dancer," and a heavily produced Spectorish version of "Sky Blue" (which Dwight to this day doesn't like, although it's a personal all-time favorite of mine). Additionally, Cable remixed the earlier Tulsa recording of "You Were So Warm" (which would ultimately become the 2nd single, and an album track on the first album). The sessions were a great success, but it didn't take long for both Denny Cordell and the band to rethink the decision to use an outside producer. The majority of the tracks would not see the light of day for over fifteen years. Why? Because after the unprecedented and enormous success of "I'm On Fire," which had been produced solely by Oister, everyone involved felt like Dwight Twilley Band material was best when produced by Dwight and Phil.

Released in April 1975, "I'm On Fire" immediately rocketed up to #16 on the Billboard charts, with virtually no promotion and without the band ever having played a live gig as The Dwight Twilley Band. The song also came with a picture sleeve with shots taken in a photomat, Dwight with mirrored shades on one side, Phil sticking out his tongue on the other. It came out on what might have been the first-ever 12" single, with photos from the photomat shoot along the edges. The hit got the group an appearance on American Bandstand on July 26, 1976. For the show, the duo elected to perform their hit, and a previously unreleased number called "Shark (In The Dark)." Clark, remarking on their youth and incredible luck to have a hit with their first ever recording, asked them if they knew what would happen when the bubble burst. It was to prove a tragically prescient question. In another tragedy (at least for us fans), the show was accidentally bulk erased (along with many many others) from Clark's archives when an overly ambitious employee was bulk erasing episodes of another series, so far more fans have heard of the show than have ever actually seen it (Twilley's copy may be the ONLY surviving one, and it's never been transferred to VHS or any playable format).

On August 3, a second single was recorded, a new version of "Shark (In The Dark)" co-produced by Leon Russell on his 40-track home studio, one of the first in America at the time (and we should note that while I'd like for this song to have been recorded on Aug. 3 as the original master tape box clearly says - my birthday - it's the same version used on Bandstand, which was nine days earlier, so the Aug. 3 date may refer to a final mix or overdub). "Shark" was scheduled to be the single a-side, coupled with the earlier "Please Say Please" (continuing a tradition of Dwight on lead vocals on one side, Phil singing lead on the other). The song was already becoming a hit in several cities where DJ's had actually taped it off Bandstand and played it on the air, to terrific audience response. But disaster struck in the form of, well, one of the first landmark 'disaster' movies, Jaws, which was on its way to becoming the first true 'blockbuster' summer hit by August of 1975. Some unnamed nervous Shelter executive pulled the plug on the release of "Shark," fearing the band would be viewed in the film's wake as a novelty act (never mind that two versions of the song had been recorded well before the film's release). Had the record been released in August as scheduled, I've always maintained that it would've really changed things drastically in the Tulsa/Shelter music history, and certainly in Twilley's career. In all likelihood, "Shark" would've gone top ten, the album would've been out in the fall and been a massive hit, and it would've been Twilley who became a major star before fellow Shelter artist Tom Petty. Petty was a close friend, particularly of Seymour's in the Shelter daze. He was in the studio watching for many of the sessions that produced their debut album, and plays on a couple of cuts. Twilley and Seymour also sang on Petty's first album on "Strangered In The Night" and Phil's the main backing singer on Petty's first breakout hit "Breakdown" and on "American Girl"; and as Petty notes in the liners to his boxed set, it was Twilley who suggested that the guitar riff at the end of "Breakdown" be moved to the beginning, as that was clearly the hook. Ironically, "Shark" became the first recorded Twilley cover version in 1978 via an indie 45 by Gary Charlson (with an delightful parody of the "I'm On Fire" sleeve, and scratched into the vinyl, 'Twilley don't mind but Charlson don't care'). An '80s version recorded by a Midwestern group Blue Steel and produced by Noah Shark and Max also predated any Twilley version into the stores.

As it transpired, the scheduled September release of an album called Fire never even made the test pressing stage before the plug was pulled on it, too. The title was something the band never liked or agreed to, but a cassette from Seymour at the time contained these tracks, for posterity: "I'm On Fire," "England," "Looking For a Dreamer/Look Like An Angel," "I Don't Even Know My Name," "Lovin' Me," "Rock Yourself, Son," "Sky Blue" (the Cable version), "Shark (In The Dark)" (the Leon version), "Miserable Lady," "You Were So Warm," "No Resistance," "Dancer," and "Please Say Please." This is the genesis of the myth behind the "B Album," the Great Lost Dwight Twilley Band album that never was. By fall of 1975, in the very first articles that appeared on the band, even though they only had one single in the stores, writers were amazed at the enormous backlog of stunning material they had accumulated. A little known fact is that once the label declined to release "Shark" as a single, it would never again be considered for the debut album, and would forever after be consigned to the 'B Album' (Sincerely was of course the 'A Album').

Continued ...

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