Mojo Music Magazine article June 2004 by Steve Stanley

My song "Girl From The East" by The Leaves

Me and the internet

Below is a list of records I made in the 60's. I received nothing for these records with the exception of $200 for Songs Of Protest in 1965.

Click on any pic to make larger

Vietnam Mondo Hollwood

1964 Billboard Magazine double page ad..Bobby Jameson campaign

Gotta Find My Roogalator...Penthouse 1966

Early 45's Bobby Jameson

My first single from 1963...labled as Bobby James.

Second Talamo single 1964

Bill Jameson Art Project by Bobby Jameson 2011

My brother Bill has been drawing and painting his whole life. He is a schizophrenic but continues to create art in one form or another to this day. In 1965 he wrote Too Many Mornings,"That's The Way The World Has Got To Be"(part 2) from the 1965 album Songs Of Protest And Anti Protest by Chris Lucey aka Bobby Jameson. These are his words set to music which I sang on that album. The pictures are his from various time periods.

Bill Jameson Art

Open Letter To Paul Williams....President of ASCAP....

The trouble with ASCAP is that it is run by people who are so successful that little people fall by the wayside, and are repeatedly unprotected and unpaid by the likes of ASCAP as well as BMI, and others. My personal experience with ASCAP and the others is so bleak....that I feel this message will be no more than a distant cry from the wilderness by one of those who has never been served, in any capacity, by the company you are now president of. The spotlight once again shines only on those who have been fortunate enough to be paid for their work, while others like myself have not...Bobby Jameson

John Savage article-The Guardian on Vietnam by Bobby Jameson

click Vietnam for story

Keith Richards refers to Bobby Jameson as P J Proby's valet

All I Want Is My Baby by Bobby Jameson 1964



"It is not the remark by Keith Richards in his book that bothers me...it is the context that the remark was made that is troublesome."

Richards was being asked about Bobby Jameson, who in 1964 recorded a couple of early Rolling Stones' songs, All I Want Is My Baby and Each and Every Day of the Year. In his autobiography, Keith Richards refers to Jameson as "PJ Proby's valet".

http://www.theguardian.com/music/musicblog/2010/nov/10/savage-song-bobby-jameson

Richards and Oldham wrote "All I Want Is My Baby" and Bobby Jameson sang the lead vocal on both sides of that single. Keith is listed as the musical director on the record, while Oldham is the producer, with Jagger, Oldham, and Jameson all singing back up vocals.

"The real problem I have with Richards remark is that I was never paid a penny for doing this record. It was released as a single worldwide on Decca and London Records, and can be found on multiple albums of Rolling Stones involved work since 1964.

In the last forty five years I haven't gotten anything for it, so it seems belittling me at this point, after I already got fucked over by Oldham, Richards, Jagger, Decca, and whoever else has had anything to do with the record is a little pathetic.

If you're going to badmouth another artist I would suggest that it not be one you screwed out of any money you might owe him Mr. Music Director."

http://www.blooddirtandangels.com/index.php/2011/02/11/proust-p-j-probys-valet-my-uncle-philip-keith-richards-and-me/

* * *


ME, MICK, and ANDREW IN THE STUDIO

After some time, everybody ended up in the studio with Andrew. I had not heard anything up until then about what he wanted to work on with me, so it was a burning question in my mind.

For a couple of months, before ever coming to England, I'd wondered about what we would do and now was the time! I was about to be told what Andrew's ideas were and what my part in it would be. He said he was going to play me a track that he'd already recorded called "All I Want Is My Baby".

He signaled the engineer to roll the tape and I listened intently to what came out of the speakers. It sounded a bit like a Phil Spector track, but not as well organized. In the middle of the song was a guitar solo on fuzz tone, that at that time was pretty off the wall.

You gotta remember this was before Jimmy Hendrix and the feed back guitars of a year or so later. I liked the guitar thing but the song didn't sound like anything remotely close to what I did. The tape came to an end and Andrew and Mick looked at me in anticipation of my reaction.

"Well whatta you think Bobby, is that fucking great or what, man?" asked Andrew. I was stuck. I didn't want to say the wrong thing, but I didn't want to be forced to lie about my opinion either. "Yeah, well that's pretty cool, Andrew, and I really like that guitar part, but I don't know if it's my kind of song, I mean something that I'd do."

There was an uncomfortable moment. "Well let me play it again and show you how the vocal's supposed to go so you can get a better idea of what I want," said Andrew. "Ok," I said reluctantly.

I felt the world shifting again and I didn't know what to do except go along with him. I eyed Peter and Lee to look for support but they seemed unaware of my growing discomfort with the song. Andrew again signaled for the tape to roll and the song boomed out again through the studio.

Andrew had the lyrics and started singing them for me and Mick was filling in with back up chorus stuff. It was quite a spectacle. I tried hard to concentrate on what Andrew wanted and eyed the lyric sheet trying to sing what he was singing. I felt like shit inside and that old, "I don't want to do this," part of me was kicking my ass.

I just kept bearing down on the work in front of me trying to latch on to the feel of the song, but it was no good. I waved at Andrew to stop the tape so I could talk to him and the studio went quiet. "What's wrong Bobby?' he asked.

"Look Andrew, I said, "I don't think this is my kinda song. Can't I play you a couple of things I wrote so you can get an idea of how I sing?"

He looked at me and said "No. I'm not interested in hearing your songs right now. I need you to concentrate on this song and get the vocal right, because I know you can."

He had said no and challenged me at the same time. He was trying to get me to go along with him, so I said "Ok play it again." The song played over and over and over. It got better, but I never thought it was much good. My vocals were just disconnected. I was jet lagged and miserable.

I was ready to walk out but stayed. Andrew suggested cutting my vocal with the track so I could get a better idea of what it sounded like by hearing it. I agreed and we pushed on. At one point Mick and Andrew teamed up on background vocals, as I sang the lead. After hours of working Andrew finally said that was enough.

"What a relief," I thought. I felt exhausted. Andrew seemed pleased about what we had done, but I was not. We had also worked on the b-side for awhile just to change the pace.

The song was Mick's and was called "Each And Every Day" and was easier to learn and sing than "All I Want Is My Baby", which Keith Richards had written. As we gathered our stuff together I shook everybody's hand and told Andrew that I was starting to get it and with a little more work we could probably record it.

He smiled and agreed and I felt somewhat better as Peter, Lee, and I departed. I don't remember if I ever talked to Andrew again after that day, but the rough track I was told was just for rehearsal was released on Decca records, as is, with a whole crap load of publicity and there was nothing I could do about it.



Each And Every Day by Bobby Jameon 1964

REV-OLA QUITS

click to enlarge

Bobby Jameson

click

I began the bobby jameson blog by accident. I just started writing down the facts of my life one day, because they didn't exist anywhere except in my head. There wouldn't have been a reason to write down those facts if there hadn't been so much said about me that was inaccurate on the internet. I felt compelled, as I still do, to give my attention to the real history of Bobby Jameson.

In doing this, I opened myself up to being bombarded by all manner of things. By being here, it became apparent that there were people who wanted to make contact with me for a multitude of reasons. I should preface this by stating clearly that I crawled here to this blog by myself through hell.

I had no friends, no job, no health, no money, no support, no nothing. I had long since given up on human beings and their recklessness, which always came couched in the words "I care." My experience is that people care to the extent that they benefit from their caring, and that when, and if, their benefits are not fulfilled they quit caring. "I'll love if you love me back."

In the past I had been crushed by my need for human contact and understanding.... Over the years and decades that followed I learned to depend less and less on other people. I became a hermit of sorts, living day to day on whatever I could make work. I asked for little and received little. I worked at hard labor mostly and got paid for it.

I gave up on the fairy tale of Bobby Jameson pop star, singer/songwriter, and recording artist. I was a day laborer. I had no girlfriend, and for that matter, no friends at all to speak of. It had become crystal clear to me that my past was just that, my past, and had nothing to do with who I had become.

I left L.A. in 1985, a complete washout and has been, and migrated to San Luis Obispo County simply because my mother was there, and I had nowhere else to go. There were no friends, fans, or lovers left to seek out and rely on. The world had passed on me and I knew it. I was faced simply with surviving.

Survive I did. Over the course of eighteen years, none of it involving music or my past. Then in 2003 I was contacted by a total stranger who informed me that an old record of mine had been reissued as a cd. It was an album I had written and recorded in 1965 under an assumed name.

This single event caused me to come to the internet and try to correct what was being said about me. It took four years for that to happen, because it took four years to piss me off enough to get involved. In 2007 I showed up. One of the outgrowths of that was and is this blog.

Since then people who once knew me, and thought I was dead, have made contact with me through this blog. In some cases I have reciprocated by forming new bonds and relationships with them, and in other cases I have refused altogether. Some of these people are those who disappeared from my life in the 60's.

At the time I was not told where they went or why. I was left to figure it out for myself. I chalked it up to, "Well I guess I'm not too important to them." Now they are back, telling me how much they care, leaving me to fit the two halves together after forty years. I do the best I can with it, but obviously fail miserably at such a task.

Somehow I am expected to believe without question their current positions without any regard for the past, which is impossible. I flounder around trying to fit people into my life, a life of isolation and ill health. A life where my mantra has become "depend on no one but yourself."

There seemingly is not a lot of regard by them for how difficult a proposition this is to tackle. Not only do I not know how to to this, but wonder why I am even attempting it. With my past record of success with those who cared about me, this it seems is doomed to fail from the start.

I take full responsibility for any failure. I am the one who agreed to attempt this. Now that I am in the middle of it I see clearly how impossible it may truly be to do. I am not the person you remember. I am not Bobby Jameson from the 60's. I am Bobby Jameson forty years later. Bobby Jameson who died twice since you last saw me.

I am the person my history has made me. The person who learned to survive on nothing and no one. Without love, without tenderness, and without companionship. I am the person who was left for dead by everyone. I am the person who owes nothing to anybody at this point.

I got up and walked away from life. I left all that I had ever hoped for on some road to oblivion and just kept breathing. I closed the door on promises and dreams. I did this to survive. I turned myself to self-reliance and stayed sober through every bad thing that happened in thirty four years. For the most part, I did it alone.

I did not want to be alone, I just was. I looked for help and found none. I looked for love, and found none. I lowered myself down to the status of a common laborer because it was all there was. I learned to respect myself because of this. I was no one special just a worker...just a person.

Then strangers turned my world inside out because they wanted something. They wanted my work and they wanted me. Except they never asked if I wanted them. No one gave a good Goddamn about me and my life at that point. They just assumed they had the right to invade my privacy.

As I said, four years later I erupted in anger and came to the internet to object, and correct the record as it stood when I got here. Each subsequent event has been similar to the first. Little or no concern for my welfare. It mostly has been about them and not me.

Since then I find myself completely at odds with it all. I fight through each day simply surviving the latest crisis created by others. I sit for long periods trying to decide what it is I should do, say, and believe. I find myself dealing with ultimatums dropped into my life by others.

I who have learned at depth what to expect from human beings, am once again staring into the confusion and misery they have always created. I am guilty of each of the things I complain about... I am not innocent in any way. The difference between me and others is simply that I am aware of this human shortcoming, while others seem to deny it.

I know I am broken and bent, but I am faced with many who think they are correct and justified in what they do. I looked for no one.....I didn't believe anybody wanted to be found by me..... Those who found me, in some cases, were invited to join in my life, not to run it, or dictate to me how I should run it.

They are guests in my existence, because they chose to be.... I did not go out and round them up or pursue them in any manner. I was just here working...surviving and trying to create, for the first time, an accurate historical record of the life and times of Bobby Jameson.

Somehow by inviting people in to share in my endeavor, I again have made the same stupid mistake I made so many times before, trusting people. I trusted that they were aware of what was going on here. I trusted that they were here to help. I did not expect them to tell me what I was doing wrong, or how I was failing them. I am not failing anybody. I am here working day in and day out on the goal I set for myself.

Rev-Ola's Use Of Diane Linkletter's Death

The issues discussed in the piece below pertaining to Steve Stanley have been resolved in a positive and constructive manner since the posting of this part.

In my hands is the paper fold out from Rev-Ola Records reissue of the Chris Lucey album-cd "Songs Of Protest" from 2002. This paperwork is in every Rev-Ola Chris Lucey cd issued. The text herein was written by Steve Stanley and published, manufactured, and distributed by Rev-Ola Records, Cherry Red Records, and ACE Records UK, who licensed, without my permission or knowledge, Chris Lucey "Songs Of Protest And Anti Protest" to Rev-Ola Records UK.

The entire deal, between these entities, is legally questionable, but what is significant here, and downright pathetic, is Rev-Ola's use of the Linkletter suicide, and my connection to Diane's untimely death in 1969.

I will quote verbatim what is printed here, and what I became aware of in my first reading of this text when I was sent a single used copy of the cd by Steve Stanley in 2003.

"Art Linkletter had a television program entitled "Kids Do The Damndest Things" and he couldn't have been more right about that on the night of October 5th 1969. On this date, his own daughter, Diane Linkletter (originally turned on to LSD by none other than Bobby Jameson) apparently took her own drug-induced leap into infinity.

Diane jumped out of the sixth floor kitchen window of her Shoreham Drive apartment in West Hollywood. This event occurred around the same time that Bobby made his own infamous leap off the Continental Hyatt House.

Interestingly, an autopsy report later revealed no traces of LSD in her system. It's likely that Linkletter was experiencing a flashback as she was famously known as the "mother of all acid trips."

Minutes before her leap, she complained to her brother, Robert, that her "brain was being destroyed" and she "had to kill herself."

What is exasperating about this, is even within the lines of what is written here, it states that an autopsy report showed no signs of LSD in Diane's body, yet the freewheeling use of my name, and the assertion that Bobby Jameson had provided the drug to a dead girl, was printed here anyway.

This was done purely for effect, by those responsible for making this publicly available at my expense, as well as Diane Linkletter.

The business decision, by certain individuals, that juicy tidbits make for good publicity, whether true or not, help sales, will forever be on the backs of Joe Foster, Rev-Ola Records, Steve Stanley, Cherry Red Records, and ACE Records UK, who claim to own outright the rights to my work, and have benefited financially as a result of the reissue.

Oh by the way, the one person who did not benefit from the release of the Chris Lucey cd was Chris Lucey himself, otherwise known as Bobby Jameson.

The information written into Rev-Ola's reissue package, was attributed to Kim Fowley, as the source according to Steve Stanley, when I asked him where this crap came from. Kim Fowley is the last person on earth who should have been asked about the facts of this incident.

Some of you wonder why I bring this up, so I will tell you: Rev-Ola Records used the linkletter suicide to help promote their product and increase sales of the Chris Lucey cd. I am at the point in my own story, where the Linkletter suicide is currently being written about by me, from the period of 1969 in my own life history. Because of that, the use of her death by Rev-Ola, is relevant to the telling of my own story on the Bobby Jameson blog.

I did not make the decision to use Diane Linkletter's suicide as a promotional gimmick to sell records. Rev-Ola Uk, and everyone connected to Rev-Ola's reissue of my work made that particular choice.

I am sure that friends of Joe Foster, Steve Stanley, Kim Fowley, and others, will all be up in arms at what I am writing here, and will scold me for talking about how what they did affected my life. It is clear to me, that my welfare is completely unimportant to these people, as it was in the past. Their feelings, and their good names, will possibly be tarnished by my words, but in fact mine have already been tarnished by this garbage.

This post was left in tact to preserve the original narrative of the overall blog. See Steve Stanley's posted email in (part 93), and my response in (part 94) of the Bobby Jameson blog.

Steve Stanley Email

LEGAL POSITION: CHRIS LUCEY SONGS OF PROTEST by Bobby Jameson 2010

There is, and has been for sometime now, a major disagreement over the album SONGS OF PROTEST by Chris Lucey aka Bobby Jameson. The argument is that Ace Records obtained, either through purchase or licensing, the master rights to the album Songs of Protest. Ace Record's director, Roger Armstrong, claims his acquisition of Songs Of Protest was legal and above board and the album is now his company's property, which I understand clearly as the premise of his position.

The flaw in Armstrong's legal claim is that Ace's acquisition of Songs Of Protest was never legal. Why do I say this? It is a simple explanation and is the singular fact that Roger Armstrong, and Joe Foster of Rev-Ola, either don't understand, or do, but will not admit to as a reality.

My understanding is that Songs Of Protest was sold to or leased to Ace by Betty Chiapetta who was one of the original partners of Surrey Records. The problem was, and is, that Surrey/Chiapetta never had a contract with me for the songs or the record itself. It was released by Surrey in 1965 with that problem as part of it's real history.

Even though I did not sign an agreement with Surrey the album was released on schedule, because it was the key property to a larger distribution deal by Surrey into Europe in 1965. Surrey knew no one would question them and no one did. I had no way to prevent the release and had no legal representation to fight for my rights at that time.

Some 40 years later Chiapetta and Ace Record's got together in a business deal involving numerous old masters that Chiapetta claimed to own, mostly old blues masters from Stax and Vee Jay which Chiapetta and Randy Wood bought when Vee Jay collapsed.

In the mix of old masters, that Ace acquired from Chiapetta in that deal, was Songs Of Protest, the old 60's master by Chris Lucey/Bobby Jameson. There was still no contract, and there had never been a single royalty paid to the writer/performer by anyone. In essence it was a disputed property, if not a stolen property, because of the facts I have just stated here.

The problem of ownership had always existed, but was so old that it was either unknown or not considered at the time of Ace's acquisition of Songs Of Protest. Ace Records, Chiapetta, and Joe Foster of Rev-Ola were all of the belief that Bobby Jameson/Chris Lucey was dead at the time of their collective agreement. They, in other words, didn't have any reason to be concerned that the creator of the property would suddenly turn up and complain, which is now the case.

Armstrong's position seems to be that his company, Ace Records, obtained the rights to Songs Of Protest in a good faith agreement with Betty Chiapetta. My position is that his acquisition of Songs Of Protest from Chiapetta, or her representatives, was never legal whether Armstrong knew it or not. Stolen property, or property which is disputed, with regards to who really owns it, does not become un-stolen or undisputed property simply because a new agreement has been reached between parties, other than the party who created the original property, Bobby Jameson.

To further muddy the water Ace Records in turn leased the property to Joe Foster's Rev-Ola label, whose first Cherry Red distributed release, was in fact Songs Of Protest in 2002, indicating the importance of the album, at least to Rev-Ola and Foster.

The game here is that the property has been moved through three parties, and is still the same disputed/stolen property it has been since 1965. This information has subsequently been made clear to both Rev-Ola and Ace Records who have done nothing but make the claim over and over that they all have legal contracts which stem from Ace's illegal agreement with Chiapetta. If in fact there are contractual agreements regarding Songs Of Protest, I, Bobby Jameson, believe I have the right to see these documents.

Supporters of both Ace Record's acquisition of Songs Of Protest, and Rev-Ola's reissue of the album seem to thrive on belittling my claims, by leaving out the material fact that Ace's agreement with Chiapetta was illegal, and without my consent or knowledge. Their position strips me of any and all rights or claims of any kind to the property that I created.

Ace Records and Rev-Ola's claim to a legal deal are only justifiable if you omit the factual part wherein Chiapetta had no legal right to sell or lease Songs Of Protest to anybody, without first securing from me, some form of legal agreement. Chiapetta's obligations to Bobby Jameson did not disappear simply because she decided to reach an agreement with Ace Records and Roger Arstrong. By the same logic Ace Records is not obsolved of the obligations to Bobby Jameson simply because Roger Armstrong came to an agreement with Chiapetta.

If Ace's agreement with Chiapetta is a disputed legal premise, which it is, by me, than Ace's agreement with Rev-Ola is likewise disputable as legal, again, by me.

If those of you who incessantly badger me about this subject have further remarks you feel compelled to make, I would suggest that you consider all the facts rather than leaving out key parts for the sake of making your argument work, which it only does, if the whole history of the album is not known or made part of the record.

I made this record, not you. Not Betty Chiapetta, Roger Armstrong, or Joe Foster. This property, SONGS OF PROTEST AND ANTI PROTEST by Chris Lucey/ Bobby Jameson, was written and performed by me. I have more right to object to what others have done with this property than anyone else on this planet. I will hold to my position and fight anyone for my rights. I will do this until hell freezes over.

You cannot make arguments without all of the material facts being considered, which is what you continue to do. All of the arguments made to date, by everyone, have left out the original material facts. This process is the only way Ace Record's and Revola's positions seem plausible. Your arguments are without merit and deserve to be questioned as legitimate.

REV-OLA'S BEGINNING

click

It is obvious by the text of this story from Billboard Magazine, that Rev-Ola's absolute maiden voyage, as a reissue label out of the UK, was literally launched on the back of my album "SONGS OF PROTEST AND ANTI PROTEST." So much for the downplaying of my work as just another run-of-the-mill release for Joe Foster and Rev-Ola.

Chelsea Lee and Bobby Jameson going after Joe Foster and Rev-Ola

Chelsea Lee and The Cake and Bobby Jameson have now joined forces to go after Joe Foster and Rev-Ola Records for non-payment of royalties.. The albums in question are "Cake" on Rev-Ola and "Songs Of Protest" on Rev-Ola

The Cake Page on myspace




I AM NOW PERSONNALLY 'DOING' MY OLD BAND-THE CAKE-PAGE.PREVIOUSLY,BANDS WERE NOT ALLOWED TO BE MATES,WHICH I WAS UNAWARE OF UNTIL I LOGGED INTO THE PAGE AND SAW THE FUCKIN SETTINGS.I CHANGED THIS AND YES,BANDS ARE QUITE WELCOMED.WHAT SHIT!! PLEASE BEAR WITH ME AS I TRY TO UPDATE THE PAGE WHICH I HAVE NEGLECTED SINCE I 1ST PUT IT UP YEARS AGO. MY PAGE IS BUSY AND I COULD NOT DEVOTE TIME TO 'THE CAKE' BUT THIS WILL CHANGE. LET ME GIVE YOU AN UPDATE.ALTHOUGH THE CAKE CD SELLS ON AMAZON,WE HAVE RECEIVED ZERO MONIES FOR IT TO DATE.JOE FOSTER OF REVOLA RECORDS HAS NOT LIVED UP TO THE CONTRACT OF THE 50/50 DEAL I SIGNED WITH HIM AND REVOLA RECORDS.I DON'T BELEIVE THAT AT MY FUCKIN AGE,I HAVE TO FIGHT HIM FOR THIS NOW! I DID THIS DEAL IN HONOUR OF JEANETTE JACOBS-WOOD(RIP),IN HER HONOUR-AND WILL NOT ALLOW HIM TO SHIT ON HER GRAVE.BARBARA MORILLO IS IN NEW YORK CITY AND SINGS WITH HER ACAPELLA GROUP AND IS QUITE WELL AND HAPPY.I WILL BE POSTING HER VENUES ON THE CAKE PAGE .WE ARE GRATEFUL TO ALL THE CAKE FANS AND WELCOME OUR NEWEST FAMILY MEMBER-NICK CAPALDI.THE NAME SOUNDS FAMILIAR?YES,HE'S RELATED TO JIM CAPALDI(RIP).JEANETTE JACOBS MARRIED CHRIS WOOD FROM TRAFFIC-SO BECAME JEANETTE JACOBS-WOOD.FOR A YOUNG GIRL WHO WROTE ''RAINBOW WOOD' TO MARRY A WOOD-STRANGE!! WE HAVE ALWAYS BEEN A PART OF THE 'TRAFFIC' FAMILY AND WISH THE BEST TO OUR NICK CAPALDI.
PLEASE GIVE US A CHANCE TO GET 'THE CAKE' PAGE UPDATED-I AM ONLY ONE OLD LADY TRYING TO DO ME BEST!
CHEERS,
CHELSEA