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

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Bobby Jameson

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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

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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

THIS IS WHY I GOT ON THE INTERNET IN 2007

Tuesday, August 14, 2007

Message from Bobby Jameson (via Eagle Wolf)


A Message from Bobby Jameson/Chris Lucey


To Whom It May Concern:


In 1985 I finally gave up trying to be in the record business. I couldn't get paid, and I couldn't get anyone to release anything of consequence regarding my work.


It was always "commercial" crap. After getting thrown out of ASCAP's office, having been told to get a lawyer, I made one last attempt and spoke to Martin Cohen, who had represented Frank Zappa. I told Martin that I had never received any payment from any record company, publisher, or any other company or collection agency, for any song I had ever written or any record I had ever made.


His response was, "That's impossible!" I told him again, but he refused to believe me. I argued and he still refused.


Completely demoralized, I realized that if I did not leave LA and the "music business," I would either finally commit suicide, or kill some dumb shit "record company" executive out of complete frustration.


The list of records and songs I have written is longer than you know, but what went into my pocket was always short.


You may be asking how could this happen? Well, I'll try to explain:


I didn't start out thinking about the "music business" in business terms. I was just a kid who wrote songs and wanted to make records. If someone said, "Let's go in a studio and cut a record," I said, "O.K."


The trouble is that these recordings kept ending up as "records," and got released. They're still being released, and I am still getting nothing. Not one penny.


It's not like I got paid before, and now I want to get paid again; it's I never got paid.


The only reason I am even talking about this now is because of the internet, and the attention I have been getting regarding my past and some of the records I have made.


My life for the past 40 years has been a series of ups and downs, mostly downs.


I've been sober and clean for 31 years, and that's an up, but my life, truthfully, has been hard as hell.


I've been sick for about 10 years, and that's due to hard physical labor for nickels and dimes. It's O.K. to work hard, but when I gotta go out and kill my body while some son-of-a-bitch in an office collects money off my music and I get nothing—I get a little pissed off, if you know what I mean.


After leaving L.A. , I ended up in San Luis Obispo , CA , where my mother and brother live, and I've been here ever since. Nobody here knows anything about my past and that's the way it stayed for almost 20 years, until Steve Stanley (he wrote the Mojo Music Magazine article) found me via my social security and a private detective.


He just called me up one day and asked if I was "Bobby Jameson." I told him I was, and asked him who he was.


"I'm Steve Stanley, and I represent a record company in England named Revola Records, and we have re-released the 'Chris Lucey' album."


Well, I gotta tell you I had no comeback whatsoever—I thought it was a joke.


We talked for an hour or more, and he assured me I could count on royalties from the release, and said they'd like to release other records of mine.


Like the foolish child of old, I believed everything he said.


To date, I have received one (1) copy of the Chris Lucey CD, and one (1) copy of the Mojo Magazine article—nothing else.


There are many songs I have written and recordings I have made over the years that I have kept away from record companies. If there is any interest in these songs and recordings, I would be curious to know.


If you didn't like what I have said here, all I can say is, it's pretty hard to switch from nobody to somebody after all these years.


The other day, I went to a local music store and paid $16 for the recently released "Jameson, Color Him In" CD that I learned about on the internet. I walked in a nobody and left a "celebrity" after the guy in the music store found out who I was. What a trip!


I probably don't need to say this again, but I'm going to. The "Jameson, Color Him In" CD was released by another English record label, Fallout Records, and I—you guessed it—have gotten zip!


Just in case people don't know this, I released a couple of records under the name, Robert Parker Jameson, in 1977 on RCA.


* * * * * *


Now about Eagle Wolf: Eagle and I have never met. We communicate by telephone and e-mail. His mother, Donna Wolf (now deceased), is someone I knew well in the sixties around the Sunset Strip. Eagle was raised to believe I was his father. As of yet, we don't know the answer, but sooner or later we will. In the meantime, I will do my best to honor what he believes to be true.


If anyone has any questions, post them on this site, and I will try and respond as best I can.


P.S. If anyone is interested in helping, please e-mail Revola Records in England, and Fallout Records, also in England, and ask them why they release the recordings of artists and pay them absolutely nothing, while selling these same recordings world wide.


My deepest thanks,


Bobby Jameson/Chris Lucey

"PEACE"
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Below are comments to the original post above

John

Rev-Ola properly licensed their CD release from the UK owners of the material, which is Ace Records. I'm told my Rev-Ola's founder/director Joe Foster that he will look into why Bobby is not receiving any payment, which he says must come from Ace since that is who to whom Rev-Ola paid up front licensing fees. Joe noted that Rev-Ola also pays all the monthly royalty fees due under UK law, but again it is Ace that is supposed to be paying Bobby. NOTE one thing more: did Bobby maintain ownership of his songs and performances, or did he sign away those rights years ago to some manager or label? That becomes the key issue in a lot of these cases when newer labels do small quantity reissues. Those like Rev-Ola who do try to operate fully above board have to deal with the legal owner of the material, and in some cases that is complicated by past dealings the musicians may have had with "manager types" who may indeed have been dishonest or at least sly. I don't know the specifics of what happened with Bobby; but I do know that it is hard to expect a label like Rev-Ola to be able to sort out past problems over ownership of material!

Now, concerning Fallout, they are a UK operation (not Italian) and from what I understand they have paid some bands but not most, and they have to be considered basically a bootleg label. Joe Foster told me that he feels embarrased by labels like Fallout that just make things that much harder for him and Rev-Ola to gain the trust of musicians like Bobby who've been ripped off so many times. Joe went to the trouble of checking with Universal Music (which owns the rights to the "Jameson: Color Him..." album) to see if Fallout had properly licensed the music, and they have not.

Hopefully, if Bobby does indeed still retain some measure of legal rights to his material, he will at least receive some payment from Ace from the CD that Rev-Ola licensed and released.

John Berg, Seattle area

Posted by John on Friday, August 17, 2007 - 2:16 PM
[Reply to this]
Eagle5471

eagle wolf


Hi Bobby,

I don't know exactly how it's done because I've never done it, but I think the way to get your material to people nowadays without record company influence is via the internet!! I'm sure there are ways you can get your music on a website and have people pay you directly for it. I'd be happy to look into it for you, maybe with Eagle's help since we're both in LA? I personally would love to hear what you've got!!

I'm honored to somehow be a conduit for this issue to be opened up for you.

Warm regards,
Tita

Posted by tita on Sunday, August 19, 2007 - 11:22 PM
[Reply to this]
Eagle5471

eagle wolf


Hey, John, it’s interesting that you are in a position to speak with Joe Foster at Revola; he has never spoken to me.

Ace Record’s license agreement with Revola, that you refer to, is not much good for two reasons: (1) Ace acquired the Chris Lucey and other masters from Randy Wood’s secretary after his death. It is questionable whether she had the legal authority to sell anything to Ace Records. (2) There is not, and never has been, an artist or writer’s agreement between Surrey Records and Randy Wood with Bobby Jameson for the Chris Lucey album. Surrey Records and Randy Wood had all of its agreements only with the original album artist, Chris Ducey. Randy Wood is dead, so he can’t speak, but Abe Summers, attorney, was present with me and Randy in 1965 when I refused to sign the agreement they offered me. Randy released the album anyway due to prior commitments he had made in Europe .

You state that Ace Records is supposed to pay me, but for five years they have not. Revola knows how to get in touch with me, so why didn’t they tell Ace Records? Steve Stanley, who is listed as co-producer on Revola’s Chris Lucey CD, has been to my house, (see article about me in Mojo Music, June, 2004, pp. 24-25). Steve wrote the article and is pictured standing beside me in my home. I think if either Revola or Ace Records wanted to be sure I got paid, it would have been easy.

As far as ownership of my music and performances is concerned, I couldn’t have given up ownership if I never signed an agreement regarding the Chris Lucy album. It is Revola’s responsibility to reasonably know that what it licenses from another party has not been obtained illegally.

Your reference to Fallout Records, via Joe Foster, as being a bootleg label, is laughable considering what I said above about Revola’s acquisition of the rights to the Chris Lucey album. As to “Color Him In,” the only reason Joe Foster wanted to know about it is that he wanted to release it himself. I know this because I have a paper I wrote giving Steve Stanley the right to speak for me with Verve Records about it. I also withdrew that right from Mr. Stanley soon after it was given. I also possess a Revola contract that was sent to me in the hope that I would sign away rights to other recordings I have made, which I did not do. If I should choose to post these documents on the internet, I do not think the position I am taking would be challenged. I don’t think either Revola or Ace Records had any intention of ever paying me. Record companies don’t pay artists and writers unless they are forced to, or see it in their own interest to do so.

Anyone who reads this can go out on the internet and find a lot of Bobby Jameson songs and recordings, and if it has my name on it as artist or writer, one thing will be true: I didn’t get paid—ever! I have never received a record royalty statement in my life, or any statement from anybody regarding any song I have written. I said in my last remarks posted on this site. I was kicked out of ASCAP’s office. It was because they told me they had money of mine, but they weren’t going to give it to me. I objected loudly. They told me I had to get a lawyer to get my money, and to leave their office or I would be thrown out. That’s the “music business”—keep everybody’s money until legally forced to pay.

I am not alone in this. There are thousand of singers, writers, and musicians who just wanted to make a record, write a song, or play the guitar. They know exactly what I’m talking about, and now, because of sites like this one, they can have a voice and tell it like it is. The “music business” is based on a collective unspoken conspiracy to withhold as much of other people’s money as they can for as long as they can. Damn the little guy!

Bobby Jameson/Chris Lucey

Peace

P.S. If anybody wants to help, please e-mail Revola, Fallout Records, and Ace Records, and ask them why they don’t pay their artists.

Posted by Eagle5471 on Sunday, August 19, 2007 - 2:53 PM
[Reply to this]
Terri


Thank you message to Fallout Records from Bobby Jameson:

Thank you, Steven Carr, director, Sound Links Music Ltd. and Fallout Records, for your personal telephone call. I received a box with 50 CDs of “Color Him In” and a bank draft for $1000 as you promised. I look forward to any further conversations we may have in the future.

Unlike my nonrelationship with Revola Records, who released the Chris Lucey CD five years ago, and its director, Joe Foster, speaking to you was a pleasant surprise for me. In the last five years, Revola and Ace Records have made 0 attempts to contact me, even though they found out I was actually alive.

Steve Stanley is the only person to ever contact me about Revola and Ace, and he maintains that he does not work for them, even though he has credit as Co-Producer on the Chris Lucey CD.

In fact, a couple of days ago, I got a call from Steve Stanley regarding some money Ace and Revola wanted to send me, but they needed my address. I asked him “How much is it—50 bucks?” He answered, “$168.” After five years of selling “Songs of Protest and Anti Protest” they had managed to sell 1600 copies world-wide, and were giving me a royalty of 10 cents a copy. Wow! Revola, you really know how to sell records! It sounds like Joe Foster needs the money more than I do. I’ll let those reading this decide whether this passes the smell test.

I told Steve Stanley that I could have sold more CDs in five years out of the trunk of my car than Revola did, but Revola never gave me any CDs, like Fallout has. Thanks again, Fallout and Steven Carr.

In ending, I would like to give a special word of appreciation to John Berg of Seattle, Washington, for helping me and Fallout connect.

By the way, if you are a singer or writer, had some connection to a recording released by Fallout, and you never got any money for your work, contact Steven Carr at Sound Links Music, Ltd., Cherry Orchard House, 43 Cherry Orchard Road, West Molesey, Surrey KT8, 1QZ, England. E-mail: Scarr@btconnect.com. Tel. No.:
011 44 8941 0594. Give it a try. You may be treated with a little respect.

Thanks,

Bobby Jameson/Chris Lucey

Peace



Posted by Terri on Sunday, September 16, 2007 - 9:38 AM

JOE FOSTER AND ROGER ARMSTRONG--LIARS AND THIEVES

Joe Foster

Joe Foster

Joe Foster Director of Rev-Ola Records UK


Roger Armstrong Director of ACE Records UK- Photo by Michael Daks



A much younger Roger Armstrong Ace Records

I have not previously been as blatant as I will be in this post, regarding my opinion of Joe Foster of Rev-Ola Records UK and Roger Armstrong of ACE Records UK. There are too many who come to me and voice their support for Foster, Armstrong, Alec Palao (consultant for Ace Records), and others, such as Cherry Red Records UK, who have all been involved in the theft and reissue of SONGS OF PROTEST AND ANTI PROTEST by Chris Lucey aka Bobby Jameson in 2002.

I am the last person anyone should come to and voice that opinion. At this point Joe Foster and Roger Armstrong are both shiny suited record company and publishing executives of the worst kind. They have long since faded from true creative endeavors, and have become the money hoarders and new power brokers, of the UK Reissue Empire.

Roger Armstrong and Joe Foster have grabbed, and continue to grab, as much money, publishing, and master rights as they possibly can to pad their own wallets. While Joe sits in Glasgow living a comfortable life, provided to him, in part, by money he has refused to pay to those to whom it is owed, but who are ill equipped to force him to do so, Armstrong provides himself with an even more lavish life style in London and other parts of the UK.

Joe is part of a group of people, which includes Roger Armstrong and others, whom he confers with on an ongoing basis. They advise each other on matters regarding the protection of themselves and their assets. Joe deals with Ace Records, Cherry Red Records, Rev-Ola, and a number of others, as a means of keeping viable his ongoing reissue slot machine and publishing interests. Joe Foster's company, Sterling Music, and other entities, such as Little Nemo Music and Poppy Disc Records, feed his pockets and ego. The same is true for Armstrong.

Through publishing, reissue exploitation of other artists' work, and motion pictures, Joe Foster and Roger Armstrong, and a host of other questionable characters, collect money through the placement of songs, and the reissuing of masters, for which the writers and artists are seldom paid. Their word means nothing. Their promises are lies dressed up in future hopes. They extend themselves as little as possible to gain whatever control they can over the music and recordings of artists and writers.

They use the names and likenesses of those artists and writers, and sell their work to the world. A little money in front and promises of royalties down the road, which rarely happens, is the name of their game. Once in control of the music and master recordings, Joe Foster and Roger Armstrong are as ruthless as any executive from companies around the world.

There is never an accounting by Foster, with regard to the number of units sold by Rev-Ola UK. The same is true for Armstrong and Ace Records UK, as well as Cherry Red Records UK, and Fallout UK. They all rely on the fact that most will find it impossible to audit their company from a foreign country, because of costs and legal jurisdictional differences. It is the fucking UK Reissue Empire.

In 2007 I offered both Alec Palao, who was representing Ace Record's interests with me, and Joe Foster of Rev-Ola, a deal that would have settled our problem for good. I suggested to both Palao and Foster, that ACE and REV-OLA get together and pay me a minimal amount, so we could all move on. Both Alec Palao/Ace, and Joe Foster/Rev-Ola, refused to accommodate this simple fix, saying, "They owe me nothing."