Subjects and recorded a version of the Pretty Things's "Don't Bring Me Down," which while in the process of becoming a local hit, became embroiled in a controversy involving Morton Downey, Jr., then a disc jockey at Miami's WFUN and later of talk show fame.

[1] [2][3][4] In the 1960s, the school served as a major breeding ground for Miami's thriving rock scene and hosted a number of fellow garage bands, such as Evil and the Shaggs, and had earlier been the Alma Mater of Charlie McCoy, who had by then become one of the most in-demand session musicians in Nashville, playing with a number of famous artists including Bob Dylan.

[1]"[2][3] Drummer Jeff Allen, later to play with Evil, would make occasional trips with this family to England and when there would check out many of the hottest bands such as the Fairies, Downliners Sect, and the Pretty Things, and upon his returns would bring back records and share his observations with fellow bandmates.

[3][8] The DJ was Morton Downey Jr., later of national television talk show fame, who was known in Miami at the time as "'Doc' Downey" (or sometimes "the Liverpool Loudmouth"), and was a transplant who had originally worked at WONE in Dayton Ohio, and later at KDEO in San Diego, and had been involved in the music industry, at times as a musical act himself, or in production and A&R, such as with his brief stint at Magic Lamp Records in Los Angeles, where he had been involved with surf rock records by the Chantays and the Surfaris.

[3][8][11] At the time it was not uncommon for deejays to host dances, and guitarist George Walden and drummer Jeff Allen would frequently visit WFUN and got to know the staff there.

[3][8] A censored version was released with the word "laid" replaced by a tone-generated beep, but it failed to quell the controversy, perhaps making the negative reaction even worse by inadvertently drawing even more attention to the suggestiveness of the lyric, especially when played on the radio, where listeners could complete the ad lib for themselves, sometimes in ceremonious fashion.

[2][3] In 1965, Danny Murphy replaced George Hall on bass and would also contribute lead and backing vocals as well as occasional guitar to the band's arrangements.

[2] In 1966 Don Ricketts, who had played in fellow Miami band the Modds would briefly join the group as a second bass player to provide additional support when Murphy was on guitar.

[2] The band went into the studio to record what has become perhaps their best known song, "You Can't Make Me," backed with an Otis Blackwell penned chestnut, "Daddy Rolling Stone," previously covered by the Who and released on the Themes label in May 1966.

Former bassist George Hall also served time in Vietnam, as well as John Mascaro of fellow Miami band the Modds.

The Montells re-united briefly with three of their 1960s members, Ragsdale, Weatherford, and Hall, augmented by Johnny Dalton, previously of Evil, on guitar and for Dewey Bond, formerly in the Modds, on drums for a Miami appearance at Geezerpalooza in 2008.

[13] The song, "You Can't Make Me" is included on the 1984 Back from the Grave, Volume 3 LP, put out by Crypt Records.