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Don Norman and the Other Four
Low Man / Mustang Sally - 7"
Sir John A - 1966
Michael Panontin
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When Don Norman left the Esquires in the summer of 1965 after a successful run that included an album, a #9 hit nationally ('So Many Other Boys') and the first rock video ever shot in Canada (for their 1964 instrumental 'Man from Adano'), it was hardly on what you would call 'good terms'.
"I was kinda ambushed by the band one night at a rehearsal session," the Ottawa native recalled for CM. "They said, 'We're going to have a meeting first', but they just told me I was no longer part of the plan." Norman flew off into a rage and stormed out leaving the others "shocked...maybe even a little frightened".
Norman briefly considered dropping out of music altogether. But it wasn't long before he was corralled by former Esquires guitarist Gary Comeau and they began performing as Don Norman and the Esquires. Which only served to widen the already sizeable rift between him and his former bandmates. Norman was promptly issued a letter threatening legal action if he continued to perform under the Esquires name. And so, on the advice of his father's lawyer, he wisely decided it was better to switch than fight, and the group became known as Don Norman and the Other Four.
In May 1966, they issued their first single, a punchy, sax-infused version of the Olympics' 'The Bounce' with Norman's Dylan clone 'All of My Life' over on the backside. The record did well enough but was hardly what you would call groundbreaking music at the time. But things were about to change. For one thing, Comeau left the band to join the Townsmen and was replaced by Art Kirkby. Another was Norman's decision to channel his love of Wilson Picket into his songwriting, in this case the sizzling 'Low Man', which has to be one of the finest garage singles of the sixties.
John Pozer, who managed the group and who also co-owned the Sir John A label, booked recording time at the RCA Victor studio in Montreal. The guys hopped in their cars and headed to the big city. But mechanical problems - and perhaps a little Mafia muscle - led to a slight change of plans. "Because of car trouble we were late starting and had only recorded the first song when [francophone singer] Jenny Rock showed up for the time she had booked," Norman explained. "The RCA engineer told us we could finish when Jenny left but unfortunately she went on endlessly. At one point Pozer approached her manager and asked if her session could be wrapped and apparently he pulled back his suit coat to reveal a shoulder-holstered 38!"
By the time Rock had finished up, the poor engineer was too tired to go on but arranged for the group to continue recording at another studio in town. "We hadn't even heard of Stereo Sound but it turned out to be a terrific studio and so after being up all night we began recording 'Low Man' at 9 AM and the rest is history." That history was made by Norman singing and playing distorted lead guitar, along with rhythm guitarist Keith Richardson, Ron Greene on Vox organ, bassist Bill Helman, drummer Brian Dewhurst and tambourine player John Matthews. "Art Kirkby was supposed to play that distorted lead but was injured during the attempt so I was forced to step in."
Kudos, it would appear, also go out to Stereo Sound's engineer Paul-Emile Mongeau. "I have to tip my hat to him. He was awoken in the middle of the night and welcomed us to his wonderful facility. And he was a wizard in his studio."
'Low Man' was issued in November of 1966, but like many records at the time, it struggled to be heard nationally. The single entered the RPM Top 100 Singles chart at #95 on February 25th, 1967 and by March 11th it had already peaked at a rather anemic #68 position. But the song hasn't gone unnoticed over the years, having found its way onto prestigious comps like Boulders and Nightmares from the Underworld, as well as on the uber-sought-after Ottawa Rocks - The Sir John A Years CD. Decent copies of 'Low Man' with its tough-to-find picture sleeve will set you back upwards of $700 USD these days.
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