Come for a Record Deal

Within a month we got another call from Bob Gately hooking us up with a record producer in Phoenix. Jim Musil would put us in the recording studio to make an album. There was just one catch. We would have to change our name to Come. We really didn't like the idea, but we couldn't pass up the chance to make an album. Maybe we could convince him to let us keep our name after he met us and heard us play.

We loaded everything in a Ford van and headed west. Once we reached Phoenix, we began to feel like rock stars. Jim put us in a nice hotel and gave us a lot of freedom in the studio. That original master had some different tracks than the Dead Man album we would put out on Hookah. Dave played both his and Phillip's guitar parts on some.

When we left, everyone was pretty optimistic about the recordings and our new relationship with Jim Musil. But we couldn't change his mind on the band's name. For the next few weeks we would perform as Come. We came back to Houston knowing it would be after New Year before Jim could do any business with the record labels. But then we started to call him 2-3 times every week. He eventually released a 45 for us on his Dandelion label.

We took it to KRBE FM on a Saturday afternoon and knocked on the glass. The DJ saw us waving the record and let us inside. FM radio was a lot more open back then. He listened to a little of each side and then played it on the air for us. We really had a lot of support from Houston radio. That record opened a lot of doors for us.

In February we played our first major concert. We opened a coliseum show for four top acts: It's a Beautiful Day, John Mayall, Quicksilver Messenger Service & The Grateful Dead. Multiple headliners were not that unusual in the late 60s and early 70s. That was a magical time for music and for new bands, but we had played our first major concert using the wrong name.

Doug Tull & Ray Turner at Milby Park

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