"i've Got It"

[Guest]

THE "I'VE GOT IT" STORY!

I don't know for sure but I don't think any individual 45 rpm record has ever commanded the price that "I've Got It" has in the past two or three years. And trust me, nobody is more surprised than I, the guy who wrote, arranged and essentially had more to do with its creation than anybody else that an old 45 could sell for in excess of $4000! So from its inception and to the best of my recollection, this is how the record came to be.

In the mid-70's, I was a fledgling songwriter, producer, arranger and guitar player in New York City. And that meant that every day, I was in Midtown either writing - or hustling something I'd written to try and get that all-too-elusive hit record.

But I also wrote at home alone and one night composed a pop/r&b track, a guitar duet recorded by bouncing cassette tracks together. The next day I played it for Dorian (my co-writer on "I've Got It") and we began. Writing with Dorian was a nightmare! He was a wild drunk (who drank "Orange Mist" for breakfast) with no work ethic. I truly loved Dorian but too often our writing sessions ended up in wrestling matches, mostly because I got so frustrated with his deliberate (euphemism for slow/slacker) pace.

I can't remember much about sitting with Dorian to write "I've Got It." But I do remember that I didn't like the lyrics and hadn't the strength (emotionally) to fight Dorian. Somehow, we managed to piece together a skeleton of a presentation and no doubt moved on to something else the next - or even - that day.

Shortly after writing the song, I found my way to Art Polhemus, a studio owner with a hit record ("We Ain't Got Nuthin' Yet" by The Blues Magoos) who showed some interest in me as an artist! I thought he was crazy (I didn't consider myself a singer/artist at all) but of course brought my friends in to cut some tracks free of charge.

Quickly, we both realized that the best tracks required a real r & b singer. So Art suggested that Willy Collins (a guy I didn't know but who had worked with Art on a Bareback Record) would be the perfect vocalist for "Bumper To Bumper" and "I've Got It," our two strongest tracks. And he brought in Carl Hall of Brodway fame to do the background vocals. Carl did a brilliant job and for me made "I've Got It" come alive. Before that, I had no interest in the track. But when I heard his contribution, I knew he'd brought a dimension that just might overcome the inherent banality of the lyrics. And so did Art. He actually hired ten philharmonic string players and told me to write a string chart (something I'd never done before). I didn't exactly want to tell him I didn't know how to write for strings, so I grabbed an ancient arranging textbook and did the best I could. "I've Got It" contains the first string chart I ever wrote! And in retrospect, they actually sound pretty good - though very poppy compared to my later work.

Next came the flutes! "The Hustle" was a big hit at the time and I wanted to capture that lilting Pied Piper thing that made that record so popular. When finally mixed, the flutes can only be heard for thirty seconds in about minute 3 of the record. I wasn't the producer and thus, I didn't have much say as to how the mix would go.

In the meantime, "Bumper To Bumper" was shaping up as the A side - as "Shake" (subsequently recorded with Carol Williams) fell by the wayside while we concentrated on the two compositions we thought had the best chance in the marketplace. But all was not well within "the family." Willie was fighting with Art. Whatever...we had tapes of the session and were playing the songs for whomever would listen.

I dropped the tape off at Mercury Records (unannounced) and miraculously, got a call from Steve Katz (original guitar player for Blood Sweat And Tears). He wanted to know who I was and how I could make a record as good as "I've Got It" with no name or credits. I went to see him and whatever happened, Mercury passed.

Then Willy found his way to Jeff Lane, who had The BT Express and Brass Construction, and was really the guy who could have fast-laned us (no pun intended) to stardom. Jeff loved "Bumper To Bumper" but wanted to be the executive producer. Art, a control freak, turned the deal down knowing he couldn't call the shots if he went with the program. Willy and I were NOT happy! Christmas was coming and we wanted our share of the money Jeff offered us ($6,000 in advance).

I told Art if he gave us the money that would have been our share of the six grand, I could understand his point of view. When he poo-poo'd me, I went broke for the Christmas of 1978 and understandably (at least in my mind) departed from Art. I called Willy to tell him the news: "We're on our own. From now on when you play the tape, tell them the record has to be recut as we cannot deal with the original guy who fronted us the studio time." Though Art had control of "I've Got It," "Bumper To Bumper" had been previously recorded by the BT Express (though not released), and was hence out of his jurisdiction.

Next came Salsoul Records who loved "Bumper To Bumper" and had no problem with me recutting the track (Jeff Lane did. He didn't want a similar rendition floating around and would not give us the six grand unless he got the master of the original recording). And so...I recut Bumper with all the same singers and players and actually made what I and most other people considered an improved version. Willy stayed on the track and the record came out, made a a little noise, and faded away ending the saga - or so I thought.

Fully four years after "I've Got It" was recorded, I got a call from Art. Apparently, after all that time, he'd sold the master to some guy in Harlem and had $500 for me. I was flabbergasted. I hadn't seen Art for almost four years and had virtually forgotten about "I've Got It."

He handed me the money and a couple of Rojac "I've Got Its" and I was on my way to Harlem to meet the boys. The boys were an old man (Jack Taylor) and the singer "OC." I didn't have a lot of hope for the record. I could tell the entire label was a rag-tag vanity deal and that it would never see the light of day. And I was right. After a gig or two and some heartfelt neckbones and rice dinners, I was on to the next fantasy. Clearly, "I've Got It" wasn't going to happen. It was time to move on.

Somehow, that Rojac Record of "I've Got It" made its way to a European distributor and against all odds became a cult classic. The fact that copies of the original Rojac pressing have sold for as much as $4806 is totally unbelievable. To think that I had 25 of them at one point.

I left the music business a long time ago bitter that "Cash Money," (another record I made) and "Bumper To Bumper" never got the chance they deserved. To think that "I've Got It" is the record that garnered so much status totally mystifies me. But when I listen to it now, I recognize that the disk sounds like it should have been a hit in its day, and for current fans of old time soul, represents an undiscovered period piece which the mainstream missed the first time around.

So a special thanks to the DJ's and collectors who via their excellent taste in 70's soul, have brought this long unrecognized work of art to r & b fans everywhere. Now go listen to "Cash Money" by Cholly Rock and The Avenue B Boogie Band. That's really the best record I ever made.

[Eddie Hubbard]

A brilliant insight to the way the record business works , from the inside .Many thanks for the info ,Best wishes ,Eddie

[Jordirip]

I'll second that, fantastic information Dollarbill, may be you might see some monitary recognition in some way for your work, that would be nice.

Jordi

[Dave Fleming]

I take it you must be the one and only "Bill Mersey",

many thanks for the history lesson,a great story to go with a great record,thanks again.

Dave f...........

[Ernie Andrews]

Thankyou for the insight into the background of the record.

May I suggest that you read alot about the cult of Northern soul and that might help you to understand why I got it ended up with the cult status you describe.

Its great that people like yourselves are norw wondering why such discarded records are now commanding such numerical monetary sums!

Cheers once again for the history!

[Guest]

Thankyou for the insight into the background of the record.

May I suggest that you read alot about the cult of Northern soul and that might help you to understand why I got it ended up with the cult status you describe.

Its great that people like yourselves are norw wondering why such discarded records are now commanding such numerical monetary sums!

Cheers once again for the history!

Yes, I'm acquainting myself with the rare soul phenomenon as we speak. And to the previous poster...I don't know about that "one and only" deal but yes, my birth certificate says "William Mersey."

BTW...that intro where OC sings "I've Got the girl I need, I found somebody who's right for me" was all OC. That was written as a bare musical intro initially.

[s7oul]

Hi Bill

Thanks for a truely wonderful insight into this great record. Can you please tell us anything about the unreleased version, nearly a minute and a half longer than the original 7'' version ?

Many thanks

Pat

[Simon M]

Hi Bill

Thanks for a truely wonderful insight into this great record. Can you please tell us anything about the unreleased version, nearly a minute and a half longer than the original 7'' version ?

Many thanks

Pat

Thats on UK 12 now

[Gasher]

All I can say Is

THANKS FOR WRITING SUCH A SUBLIME

INSPIRING MUSICAL MASTERPIECE.

This was my top want record for years and eventually " I've got it"

excuse the pun.

just musical bliss and sheer emotion at it very best.

"OC" certaiinly cuts the mustard, the voice of a god. Makes me shiver every time.

took me 10 years plus to get it and every time that needle hits the vinyl

IM IN HEAVEN

and worth every penny..of the $4000 plus price tag

regards gasher

Edited August 9, 2008 by GASHER

[Prophonics 2029]

Is there a clip on hear to listen to thanks.

Edited August 9, 2008 by Prophonics 2029

[Guest]

Hi Bill

Thanks for a truely wonderful insight into this great record. Can you please tell us anything about the unreleased version, nearly a minute and a half longer than the original 7'' version ?

Many thanks

Pat

Same record with a long fade. I wish I had some copies of the track as it was being produced but they're gone along with the 25 copies I orignally had. But I DO have the original 2 guitar demo, a cassette of Willy's version (not as good), AND an old cassette of Dorian, me and Tony Fox rehearsing some of the tracks that went on Tony's album. Tony's a story for another day. I thought he had a lot of talent but for me he sounded 50's in the 70's. But I loved "Searchin'" though it seems "Love And Be Loved" is the track that people reacted to.

Of all the guys in the Broadway "trying to make it crew," I thought Johnny Copeland was the best. Johnny was a hoot. I was in Dorian's apartment in Midtown one night when Johnny played a tape he was shopping called "Provin' Time." For me he sounded like Wilson Pickett - only better. Johnny used to say that everything about him was "Texas size." And at the time he was sexing up his manager who'd gone cold on him (probably because he was shagging 20 other women), and he was very indignant that she'd "gone all biznified on his ass."

To this day, I own an acoustic guitar that Johnny sold me at a very low price after mine had been stolen from Dorian's apartment. I never asked where it came from but I assumed it was even hotter than Johnny.

[Gasher]

Hi Bill

any chance of posting up the sound clips of what you have ?

please.

Id love to hear them.

regards gasher

Same record with a long fade. I wish I had some copies of the track as it was being produced but they're gone along with the 25 copies I orignally had. But I DO have the original 2 guitar demo, a cassette of Willy's version (not as good), AND an old cassette of Dorian, me and Tony Fox rehearsing some of the tracks that went on Tony's album. Tony's a story for another day. I thought he had a lot of talent but for me he sounded 50's in the 70's. But I loved "Searchin'" though it seems "Love And Be Loved" is the track that people reacted to.

Of all the guys in the Broadway "trying to make it crew," I thought Johnny Copeland was the best. Johnny was a hoot. I was in Dorian's apartment in Midtown one night when Johnny played a tape he was shopping called "Provin' Time." For me he sounded like Wilson Pickett - only better. Johnny used to say that everything about him was "Texas size." And at the time he was sexing up his manager who'd gone cold on him (probably because he was shagging 20 other women), and he was very indignant that she'd "gone all biznified on his ass."

To this day, I own an acoustic guitar that Johnny sold me at a very low price after mine had been stolen from Dorian's apartment. I never asked where it came from but I assumed it was even hotter than Johnny.

[s7oul]

This information get's better Bill, please keep it comin'

Pat

Edited August 10, 2008 by s7oul

[Gasher]

I dont know if its just me Bill but

I cant for the life of me hear the flutes..

IVE JUST WENT THROUGH THE 3 MIN BARRIER 6 TIMES AND STILL CANT PICK THEM UP?

I MUST BE DEAF....HAHA

CAN YOU POST THE 2 GUITAR VERSION AND WILLYS TAKE ALSO..PLEASE

LOVE THE MUSIC SHEETS..

THANKS...I JUST LOVE THIS STUFF..

I found the original charts. For those who read music, you can see how much flute stuff I wrote - and is ducked in the mix. I wish I had the old tracks to put out some different mixes.

[Guest]

I dont know if its just me Bill but

I cant for the life of me hear the flutes..

IVE JUST WENT THROUGH THE 3 MIN BARRIER 6 TIMES AND STILL CANT PICK THEM UP?

I MUST BE DEAF....HAHA

CAN YOU POST THE 2 GUITAR VERSION AND WILLYS TAKE ALSO..PLEASE

LOVE THE MUSIC SHEETS..

THANKS...I JUST LOVE THIS STUFF..

I actually found not one - but two versions of Willy in their entirety and incredibly, one has all the flutes. The problem is they're on cassette so I have to go somewhere to modernize them to put them up here. But I'm gonna have to do that anyway because I have all kinds of unreleased material that Jazzman needs. So have patience.

Trust me...you won't have a problem hearing the flutes in the Willy version. I also found a cassette recorded after the initial rhythm date. No vocals, horns, flutes at all - just two guitars, piano, bass and drums. Flip (the bass player from The Fatback Band) had a clam or two - and he was out of tune on the A string. He was a funky mother fucker but not a great reader - so he always struggled. It wasn't that I wrote difficult charts for the musicians. It's just that he really couldn't fucking read. But he played great once he was comfortable.

And I didn't sound that tight either. I would NEVER post that tape anywhere. Hearing the parts with no EQ and none of the supporting orchestra was like taking a swig of really fresh grape juice. I was wincing. For real...I haven't heard that tape for at least 20 years.

[Gasher]

Cant wait my friend

BRING IT ON.

another 2 versions and a

Bare bones version..now that I must hear

[Prophonics 2029]

Cheers thanks for that great tune.

I know it now from the Tolbert name.

Edited August 10, 2008 by Prophonics 2029

[Guest]

THE "I'VE GOT IT" STORY!

I don't know for sure but I don't think any individual 45 rpm record has ever commanded the price that "I've Got It" has in the past two or three years. And trust me, nobody is more surprised than I, the guy who wrote, arranged and essentially had more to do with its creation than anybody else that an old 45 could sell for in excess of $4000! So from its inception and to the best of my recollection, this is how the record came to be.

In the mid-70's, I was a fledgling songwriter, producer, arranger and guitar player in New York City. And that meant that every day, I was in Midtown either writing - or hustling something I'd written to try and get that all-too-elusive hit record.

But I also wrote at home alone and one night composed a pop/r&b track, a guitar duet recorded by bouncing cassette tracks together. The next day I played it for Dorian (my co-writer on "I've Got It") and we began. Writing with Dorian was a nightmare! He was a wild drunk (who drank "Orange Mist" for breakfast) with no work ethic. I truly loved Dorian but too often our writing sessions ended up in wrestling matches, mostly because I got so frustrated with his deliberate (euphemism for slow/slacker) pace.

I can't remember much about sitting with Dorian to write "I've Got It." But I do remember that I didn't like the lyrics and hadn't the strength (emotionally) to fight Dorian. Somehow, we managed to piece together a skeleton of a presentation and no doubt moved on to something else the next - or even - that day.

Shortly after writing the song, I found my way to Art Polhemus, a studio owner with a hit record ("We Ain't Got Nuthin' Yet" by The Blues Magoos) who showed some interest in me as an artist! I thought he was crazy (I didn't consider myself a singer/artist at all) but of course brought my friends in to cut some tracks free of charge.

Quickly, we both realized that the best tracks required a real r & b singer. So Art suggested that Willy Collins (a guy I didn't know but who had worked with Art on a Bareback Record) would be the perfect vocalist for "Bumper To Bumper" and "I've Got It," our two strongest tracks. And he brought in Carl Hall of Brodway fame to do the background vocals. Carl did a brilliant job and for me made "I've Got It" come alive. Before that, I had no interest in the track. But when I heard his contribution, I knew he'd brought a dimension that just might overcome the inherent banality of the lyrics. And so did Art. He actually hired ten philharmonic string players and told me to write a string chart (something I'd never done before). I didn't exactly want to tell him I didn't know how to write for strings, so I grabbed an ancient arranging textbook and did the best I could. "I've Got It" contains the first string chart I ever wrote! And in retrospect, they actually sound pretty good - though very poppy compared to my later work.

Next came the flutes! "The Hustle" was a big hit at the time and I wanted to capture that lilting Pied Piper thing that made that record so popular. When finally mixed, the flutes can only be heard for thirty seconds in about minute 3 of the record. I wasn't the producer and thus, I didn't have much say as to how the mix would go.

In the meantime, "Bumper To Bumper" was shaping up as the A side - as "Shake" (subsequently recorded with Carol Williams) fell by the wayside while we concentrated on the two compositions we thought had the best chance in the marketplace. But all was not well within "the family." Willie was fighting with Art. Whatever...we had tapes of the session and were playing the songs for whomever would listen.

I dropped the tape off at Mercury Records (unannounced) and miraculously, got a call from Steve Katz (original guitar player for Blood Sweat And Tears). He wanted to know who I was and how I could make a record as good as "I've Got It" with no name or credits. I went to see him and whatever happened, Mercury passed.

Then Willy found his way to Jeff Lane, who had The BT Express and Brass Construction, and was really the guy who could have fast-laned us (no pun intended) to stardom. Jeff loved "Bumper To Bumper" but wanted to be the executive producer. Art, a control freak, turned the deal down knowing he couldn't call the shots if he went with the program. Willy and I were NOT happy! Christmas was coming and we wanted our share of the money Jeff offered us ($6,000 in advance).

I told Art if he gave us the money that would have been our share of the six grand, I could understand his point of view. When he poo-poo'd me, I went broke for the Christmas of 1978 and understandably (at least in my mind) departed from Art. I called Willy to tell him the news: "We're on our own. From now on when you play the tape, tell them the record has to be recut as we cannot deal with the original guy who fronted us the studio time." Though Art had control of "I've Got It," "Bumper To Bumper" had been previously recorded by the BT Express (though not released), and was hence out of his jurisdiction.

Next came Salsoul Records who loved "Bumper To Bumper" and had no problem with me recutting the track (Jeff Lane did. He didn't want a similar rendition floating around and would not give us the six grand unless he got the master of the original recording). And so...I recut Bumper with all the same singers and players and actually made what I and most other people considered an improved version. Willy stayed on the track and the record came out, made a a little noise, and faded away ending the saga - or so I thought.

Fully four years after "I've Got It" was recorded, I got a call from Art. Apparently, after all that time, he'd sold the master to some guy in Harlem and had $500 for me. I was flabbergasted. I hadn't seen Art for almost four years and had virtually forgotten about "I've Got It."

He handed me the money and a couple of Rojac "I've Got Its" and I was on my way to Harlem to meet the boys. The boys were an old man (Jack Taylor) and the singer "OC." I didn't have a lot of hope for the record. I could tell the entire label was a rag-tag vanity deal and that it would never see the light of day. And I was right. After a gig or two and some heartfelt neckbones and rice dinners, I was on to the next fantasy. Clearly, "I've Got It" wasn't going to happen. It was time to move on.

Somehow, that Rojac Record of "I've Got It" made its way to a European distributor and against all odds became a cult classic. The fact that copies of the original Rojac pressing have sold for as much as $4806 is totally unbelievable. To think that I had 25 of them at one point.

I left the music business a long time ago bitter that "Cash Money," (another record I made) and "Bumper To Bumper" never got the chance they deserved. To think that "I've Got It" is the record that garnered so much status totally mystifies me. But when I listen to it now, I recognize that the disk sounds like it should have been a hit in its day, and for current fans of old time soul, represents an undiscovered period piece which the mainstream missed the first time around.

So a special thanks to the DJ's and collectors who via their excellent taste in 70's soul, have brought this long unrecognized work of art to r & b fans everywhere. Now go listen to "Cash Money" by Cholly Rock and The Avenue B Boogie Band. That's really the best record I ever made.

My sincere thanks to you for sharing the story with us : your story Bill , is why the whole rare / old time soul scene is so special to me and others .........

Malc Burton

[Guest Paul]

Hello Bill

Thanks for the info. I hope you get some rewards from the song.

Best wishes,

Paul Mooney

www.millbrand.com

[Steve Plumb]

Fantastic story Bill

Many thanks for sharing it with us all

Cheers

Steve

[Guest]

Fantastic story Bill

Many thanks for sharing it with us all

Cheers

Steve

Here's a couple of shots of me and Dorian from the 70's. His was a photo booth job. Mine was taken in 1977 (I think) on Lake Champlain. I was on the road with The Shirelles and the drummer, also a photography buff, took the shot.

Dorian moved on a long time ago. He looked great at his funeral. BMI paid the bill (his final advance against royalties) and dressed him up nice for the open casket! I popped a beer at the edge of his coffin - but he didn't react. That's when I knew he was really gone (Damn! I was sure that would work!)

[Munchkin]

Here's a couple of shots of me and Dorian from the 70's. His was a photo booth job. Mine was taken in 1977 (I think) on Lake Champlain. I was on the road with The Shirelles and the drummer, also a photography buff, took the shot.

Dorian moved on a long time ago. He looked great at his funeral. BMI paid the bill (his final advance against royalties) and dressed him up nice for the open casket! I popped a beer at the edge of his coffin - but he didn't react. That's when I knew he was really gone (Damn! I was sure that would work!)

brilliant thanks a lot for the stories..........

[Tabs]

Fascinating insight.

Thanks for sharing.

[Guest]

All I can say Is

THANKS FOR WRITING SUCH A SUBLIME

INSPIRING MUSICAL MASTERPIECE.

This was my top want record for years and eventually " I've got it"

excuse the pun.

just musical bliss and sheer emotion at it very best.

"OC" certaiinly cuts the mustard, the voice of a god. Makes me shiver every time.

took me 10 years plus to get it and every time that needle hits the vinyl

IM IN HEAVEN

and worth every penny..of the $4000 plus price tag

regards gasher

Got to agree with your sentiments, sends shivers down my spine every time I hear it.

[arnie j]

my favourite thread on here ever ! thank you

[Gasher]

ditto

and doesnt Bill look like...

My name is EARL

best gasher

my favourite thread on here ever ! thank you

[Bjorn Nilsson]

Thanks for a great story!

Haven't noticed the "Hustle" flutes before. I love stories about how the music we love was made!

[Guest Demotron]

Thanks a bunch for the story, always great to hear it from the creator of the music. So did you have a hand in Tony Fox's record on Blaster too? "Love and be Loved" is an all-time favourite of mine. How come it's so hard to find on 45?

[sister dawn]

Theres nothing better than getting the history from the original source, Thanks Bill brilliant to read and fantastic music to boot.

[Guest]

Thanks a bunch for the story, always great to hear it from the creator of the music. So did you have a hand in Tony Fox's record on Blaster too? "Love and be Loved" is an all-time favourite of mine. How come it's so hard to find on 45?

Yes, I was Tony's arranger for the album. I hired the musicians. None of the rhythm players (except me on guitars) was the same as the "I've Got It" guys. But the string and horn players were the same - more or less. And as arranger, I wrote the string and horn parts. And this time, I wrote the background parts, too. I believe it was Tony's song.

Blaster was Tony's vanity label and he paid for the recording and the pressing with the help of two guys. He actually drove a cab to pay a lot of the bills. The only Blaster record put on 45 was "A Tear Fell." I don't think "Love and Be Loved" ever made it to a single.

At the time, I had a friend with a distribution deal at Atlantic, who put out "A Tear Fell" and "Givin' It All Up Tonight" on a label called Emerald City. I have no idea where Tony is now. We lost touch a long time ago.

A lot of the mixes on the album are very busy - because Tony did the mixing and wanted to include every track he'd paid to have recorded - whether it was appropriate or not.

Tony had an odd quirk of sounding brilliant when we rehearsed with his voice and me on guitar - but sand sharp in the studio. If you listen to some of the tracks you'll notice him going off pitch a few times. But he had a lot of old timey feeling in his voice and soul and like Dorian, was a little crazy.

[Jordirip]

Blaster was Tony's vanity label and he paid for the recording and the pressing with the help of two guys. He actually drove a cab to pay a lot of the bills. The only Blaster record put on 45 was "A Tear Fell." I don't think "Love and Be Loved" ever made it to a single.

"Love let love" did come out on a 45, I had a copy and I know someone else who has a copy. Did Tony Fox record under another name at any time?

Jordi

[Guest biyoune]

EXTRA EXTRA THX FOR YOUR STORY

so rare actually !!!

A REAL PIECE OF LIFE !!

and i was thinking about the tony fox record's artwork ... one of the most beautiful cover i ever seen !

who was the artwork arranger ?

He actually drove a cab to pay a lot of the bills

and you ? still in music business ??

[Guest]

"Love let love" did come out on a 45, I had a copy and I know someone else who has a copy. Did Tony Fox record under another name at any time?

Jordi

Ya got me here. I don't think I ever saw the 45 on "Love And Be Loved." I met Tony when he was part of a 4 guy singing group whose name I don't remember. His real name was Larry Capel and I don't know much about before ar after he hired me to be his arranger.

Unlike OC, Dorian and jack, he's probably alive somewhere. I spoke to Willy Collins and Billy Nichols recently and they're definitely still alive and kickin'.

Tony's artwork was probably a pressing plant template.

[Soulfool]

I'll second that, fantastic information Dollarbill, may be you might see some monitary recognition in some way for your work, that would be nice.

Jordi

I'll third that (if I can?) and agree wholeheartedly with the 'monetary recognition' part too. A fantastic tune way, way, way .....out of my price range

[Guest Beeks]

First time hearing it for me...what a fantastic track

[Philly]

Thanks for sharing your story Bill, it was fascinating, as for the track......brilliant. As someone else mentioned, it is great to hear from guys like yourself, who had part in making this music that we all love.

THANKYOU

Kind regards

Phyllis

[Guest rachel]

What great stories, thanks so much for sharing them with us. And fantastic to see the sheet music, as a flute player (albeit a rather out of practice one), I can't resist printing that off and giving it a go.. though not right at the moment as the neighbours might complain

[Guest Karen Heath]

Thank you Bill for some fantastic back room tales about a fantastic record-one of my favourites too!

[Karlm]

Tony's artwork was probably a pressing plant template.

Thanks for an interesting read!

I can confirm that the artwork was a pressing plant template, seen it used a couple of times once on a bootleg compilation of late 60's soul hits.

[Guest biyoune]

Thanks for an interesting read!

I can confirm that the artwork was a pressing plant template, seen it used a couple of times once on a bootleg compilation of late 60's soul hits.

ok

any chance , do you remember what is it ?

[WendyTinley]

Superb story, thank you for sharing your recollections with us... it made me feel quite humble about what you and others went through to create great music and to get it published so others could listen too...

[Mak]

Just keep reading this thread over and over and over again, there is so much love and history in it .Thank you Bill .Maybe , just maybe you may know of other musicians who could thrill us with there knowledge.

Tony

ps I adore the record , I wish I was rich

Edited August 12, 2008 by MAK

[Guest Netspeaky]

Thanks for the music and the info Bill, the hard work, the hope and then the disappointment and then finding out years later people do care for your creation.

[Reg]

What a fantastic thread, I just love old stories like this especially when so eloquently told..I am a fan of the track too (ordered one the other day)... so makes it even more interesting to read!! I sincerely hope there's more where that came from

[Guest]

What a fantastic thread, I just love old stories like this especially when so eloquently told..I am a fan of the track too (ordered one the other day)... so makes it even more interesting to read!! I sincerely hope there's more where that came from

Interesting that the last two people's avatars are of Chubby Checker and Joe Bataan. I knew them both. I sold a couple of copyrights (songs) to Chubby's manager and auditioned for Chubby's band at one point. I arrived sporting a Fender Telecaster and Fender Twin Reverb amp, sure that Chubby would be thrilled that in 1976, I had the original type equipment used by the guitar player on his hits. Instead, he asked me why my amp was so small and why didn't I have any Marshalls? There was another auditioner there, a black guy who played a righty guitar left-handed, who I thought was brilliant - who also got rejected. I didn't feel so bad. Jessie and I played jazz blues duets in the corner and then rode home together and became friends after the audition.

Joe Bataan was an artist mate at Salsoul Records. I thought that Ken Cayre, one of the three brothers at Salsoul, had a tin ear and was signing no-talent acts at the time. And I didn't like any of the records they were putting out as I waited my turn for "Bumper To Bumper" to be released. Then the international guy at the label played me "Rappo-Clappo," and I told him "You finally have a good record around here" (by 1980, Salsoul's glory days were already in their past and most of the records really were duds by that point).

Glenn (the international guy) came back with "That's funny. He likes your record, too." So he introduced me to Joe and we formed our little clique, bonding over the fact that the only two records we liked at the label were each others'. "Bumper" was supposed to be a big hit in the UK. RCA loved the record and put some juice behind it but when Willy (Collins) refused to do a live radio interview RCA set up (Willy wasn't happy that Salsoul was too cheap to sign him up as an artist and give him some real money for doing the vocal on the record), RCA dumped the project and its promotion - and that was effectively the end of "Bumper To Bumper" - until Salsoul recently put out a compilation album and used the track WITHOUT HAVING THE RIGHTS TO DO SO! Why would anybody think that music biz rip-offs had gone the way of the dinosaur?

Anyway...that's my Chubby and Joe Bataan story. I forgot to mention that Chubby recorded one of my songs ("Move It") and did one of the most soulless vocals I could ever imagine. I was not hired to play the guitar (which I took as a slight) and was not present when the tracks were cut. When Irving (his manager) proudly played me the song, telling me that the guitar player on the track was just some pick up guy - and didn't he sound good? - I exacted my revenge.

I told him "Your guitar player sounds like a pro. He's actually very good. But Chubby sucks out loud - and if you think that for a hundred bucks I'm gonna sign a publishing contract, you're wrong." You could see the fucking smoke rising out of Irving's ears. Anyway, Chubby's record came out on a label called Amherst Records which to my knowledge had two releases ever. One was Chubby, which sold like 500 copies. And the other was Johnny Guitar Watson's "A Bad Muther For Ya," which sold like a million.

Irving assumed the publishing rights (which he did NOT actually have) and collected over $1000 of my money on an American network TV appearance, and died before I could litigate. When I went to his successor and tried to collect, the guy said "Stand on line, buddy. Irving fucked a a lot of people." It didn't make me feel any better. Bad management and a bad artist had effectively killed my chance at having a hit with the song. And to add insult to injury, they'd beat me for a grand.

[Guest biyoune]

"Cash Money" by Cholly Rock and The Avenue B Boogie Band will be schedule on jazzman records ????

impatient to hear it

[Guest]

"Cash Money" by Cholly Rock and The Avenue B Boogie Band will be schedule on jazzman records ????

impatient to hear it

Not currently - but that 27 year old record was on a local (East Village, NY) radio station last week and when I contacted them to say thanks they set up an interview. The DJ's have the super thug look and a tag line that says "I'll snatch ya chain." The only chain I have weighs 12 pounds and secures my bicycle from being stolen. Wear that around your neck and you'll have a back ache within a few minutes!

I don't know if they're ready to see a white man in his 50's! I'll see.

BTW - I want to thank everybody on this site for all the positive feedback and good will. And while I sound bitter about the music business, I do make an excellent living as a writer/publisher/advertising salesperson in NYC. But I'd be lieing if I said I don't care that I never had a hit record.

I told one of my old cab driving buddies (yes, I drove a cab for many years) that a record I'd written 30 years ago turned out to be a collector's item which has sold for over $4000. And he said "Sounds like you should write some more music." From the mouths of babes! Food for thought! I actually have several tracks which are quite good which were never released.

[Guest Karen Heath]

Not currently - but that 27 year old record was on a local (East Village, NY) radio station last week and when I contacted them to say thanks they set up an interview. The DJ's have the super thug look and a tag line that says "I'll snatch ya chain." The only chain I have weighs 12 pounds and secures my bicycle from being stolen. Wear that around your neck and you'll have a back ache within a few minutes!

I don't know if they're ready to see a white man in his 50's! I'll see.

BTW - I want to thank everybody on this site for all the positive feedback and good will. And while I sound bitter about the music business, I do make an excellent living as a writer/publisher/advertising salesperson in NYC. But I'd be lieing if I said I don't care that I never had a hit record.

I told one of my old cab driving buddies (yes, I drove a cab for many years) that a record I'd written 30 years ago turned out to be a collector's item which has sold for over $4000. And he said "Sounds like you should write some more music." From the mouths of babes! Food for thought! I actually have several tracks which are quite good which were never released.

Keep us posted, especially on the prospective radio interview, (with or without bicycle lock,) as we are coming to New York in a couple of weeks and I can listen out for you on the radio!

[Sean Hampsey]

Enthralling stuff this Bob.

BTW: Did you ever come across or work with David MacDonald, a white guitarist who worked at "Fat Man" Jack Taylor's Tayster / Rojac?

His story is also a fascinating one.

Sean

[Mark B]

Just like to say thanks, probably the best thread on here for long time.

anyone told Soul sam about it as it was probably his biggest record for the last couple of years.

hope something eventually comes your way, you deserve it.

mark