Sure, email away. Nothing was ever corrected, as there is only the one printing. Its sad, the editors changed a lot of stuff, without backchecking with CB/JK.

Best,

JR

Karnbach is a fantastic fan and collector, but unfortunately his book is plagued with mistakes. Annoyingly, even info about much bootlegged shows is wrong, like dates and set lists.

Mathijs

Hello,
My name is Bobby Jameson and I stumbled onto you forum about "ALL I WANT IS MY BABY" I noticed the questions regarding the guitar solo and I thought I'd add my two cents. When I made this record in 64 the basic track had already been recorded with the guitar solo on it. I have always been under the assumption that JIMMY PAGE did the solo and had been borrowed, by Andrew, from a group known as The Poets, but the Rolling Stone archive lists KEITH RICHARDS as the player. I will add that the way they state it is "probably" Keith Richards. I know this does not clarify the subject but I thought it might be of interest to you to hear it from me anyway.

Thanks, Bobby Jameson [www.myspace.com]

[www.myspace.com]

Thanks Bobby .... great ta have you here....Thanks for the input



ROCKMAN

Wow! I concur great to have you here Bobby!!

Andrew Loog Oldham - Pages 132-133 - 2 Stoned



ROCKMAN

BOBBY JAMESON AGAIN,
The way I got to England to cut ALL I WANT IS MY BABY was I received a letter from ANDREW LOOG OLDHAM stating that if I should ever come to London he would be interested in working with me. I got this letter in the midst of an American release on Talamo Records that was a hit throughout the midwest and Canada in 1964 called "I'M SO LONELY". TALAMO stands for T. Alamo or TONY ALAMO, he was my manager at the time and discovered Jesus. He became an insane born again christian and I wanted as far away from him as I could get, hence the letter from OLDHAM was followed up on that basis. KIM FOWLEY, who I have known since 1963, had nothing to do with it, even if it says he did in Andrew's book, Andrew and Decca never paid me one penny for making the record to this day.

Bobby Jameson

Please Bobby ....If it's not a hassle do you mind
sharing what you can remember from the actual recording session..



ROCKMAN

yes please Mr Jameson - we would love to hear your recollections of the session -
thank you for stopping by this forum - welcome!

Hi Chris Lucey, I've your record Songs of protest and anti-protest, nice example of psychedelic mixed to folk-blues. May I know reason of changing the name? An what's the reason behind chhosing the picture of Brian on the cover?
I like this record a lot but I'm afraid was not promoted enough.
Whatever information you have, I'll apreciated it.
Gentlemen, have a look to the record and its price:

[cgi.ebay.it]


BTW, amazingly I bought a copy of the demo version of All I want is my baby on Decca last week and the seller is based in Cyprus (!!)



Edited 2 time(s). Last edit at 2008-06-25 14:54 by straycat58.

Quote
Bobby Jameson
Hello,
My name is Bobby Jameson and I stumbled onto you forum about "ALL I WANT IS MY BABY" I noticed the questions regarding the guitar solo and I thought I'd add my two cents. When I made this record in 64 the basic track had already been recorded with the guitar solo on it. I have always been under the assumption that JIMMY PAGE did the solo and had been borrowed, by Andrew, from a group known as The Poets, but the Rolling Stone archive lists KEITH RICHARDS as the player. I will add that the way they state it is "probably" Keith Richards. I know this does not clarify the subject but I thought it might be of interest to you to hear it from me anyway.

Thanks, Bobby Jameson [www.myspace.com]

[www.myspace.com]

Great to have you here Mr. Jameson! Unfortunately it will be hard to pinpoint the player of the solo guitar. What we know from those days is that Jimmy Page and Big Jim Sullivan did about 98% of all those sessions, including sessions that later turned up on a Stones record. Keith Richards hardly did any of those sessions as a player, but Oldham did use Jagger's and Richards' name to draw more attention. The solo doesn't sound like Keith at all, but also not very mucg like Page, who had more technique already in 63/64. But if you don't know for sure, it's going to be hard to say!

Please share your stories with us if you wish, it's great to hear.

Mathijs

Yeah, thanks for the contribution Mr Jameson!

Now... Andrew? Jimmy? Keef?

Quote
Bobby Jameson
BOBBY JAMESON AGAIN,
The way I got to England to cut ALL I WANT IS MY BABY was I received a letter from ANDREW LOOG OLDHAM stating that if I should ever come to London he would be interested in working with me. I got this letter in the midst of an American release on Talamo Records that was a hit throughout the midwest and Canada in 1964 called "I'M SO LONELY". TALAMO stands for T. Alamo or TONY ALAMO, he was my manager at the time and discovered Jesus. He became an insane born again christian and I wanted as far away from him as I could get, hence the letter from OLDHAM was followed up on that basis. KIM FOWLEY, who I have known since 1963, had nothing to do with it, even if it says he did in Andrew's book, Andrew and Decca never paid me one penny for making the record to this day.

Bobby Jameson

Dang, Mr. Jameson, WONDERFUL to hear from you. I Want Is My Baby is my fave....I love that mix, your phrasing, and the thick harmonies.

Thank you!!!!

JR



Edited 2 time(s). Last edit at 2008-06-26 15:34 by stone-relics.

I will try to answer both questions. When I went into the studio in London I still had jet lag. I had only been there for a few days. I knew nothing about the song and had never heard it. It was at that time that I first met Mick Jagger and his girlfriend Chrissy Shrimton, not sure of that spelling, I spent some time talking with mick mostly about America. He wanted to know about how big The Beatles were in the US and I told him, but I also told him that The Stones were becoming as big which he found impossible to believe. It was an interesting conversation because I was trying to convince him that his own popularity was far greater than he was aware of. The next part of this is where I went into the studio with Andrew and Mick and heard the song ALL I WANT IS MY BABY for the first time. Andrew was very excited about the guitar solo to the point where he thought the record would be a hit based solely on that solo, I did not agree, but went along with it. I had no idea that I was going to have to cut someone else's material when I got to England, that fact was dropped on me the day I heard the song. I did not like the song and found it difficult to sing, particularly with jet lag. We rehearsed the song for hours and I thought that's all it was, a rehearsal, but it ended up the record. I was told that we'd just make a tape so I could hear what I was doing but it was the final product. The b side EACH AND EVERY DAY went a lot better and I thought it should have been the a side. I complained about the songs to Andrew and asked him to listen to some of my material but he refused and said he was not interested. I was caught in a situation I had little or no control over, I was 19 years old and in a foreign country.

Bobby Jameson

The name Chris Lucey comes from the real name of Chris Ducey who made an album for Surrey Records in the US called "SONGS OF PROTEST AND ANTI PROTEST" in 1965. The cover shot of that album was Brian Jones. That picture was taken one afternoon in L A at a place called the Action Club when the Stones came to L A. It ended up as the cover just cause the company liked it. Chris Ducey and Surrey Records ran into contract problems and the album couldn't be released. All the titles of his songs were printed on the album jacket. So Surrey had a record they couldn't release with a cover that had all the song titles, but no songs. I was hired for $200 , when I returned from England in 65, to write new songs to those titles and record a new album which I did. The album jackets were rerun by the printer and part of the D in Ducey was colored over making the D into an L thus Chris Lucey. I am Chris Lucey as well as Bobby Jameson

And please Bobby may I ask what input Keith Richards
had in the recording session as in the "Musical Director" tag...

Was he also there when you done the vocals or is that referring more
to the production of the backing track?....Or?



ROCKMAN

Sorry, I should have made that clear. Keith Richards was never there when I cut the vocals. I think I met Keith Briefly later on. The back ground vocals were done by Andrew, Mick and me on the same day as the lead vocal, whether or not Andrew and or Mick added anything after that I couldn't say. As ROCKMAN has stated, Keith was responsible for the music track production with Andrew.

Thanks Bobby for the explanation and giving us your attention.
I seize the opportunity to strongly recommend to the IORR readers to grab SONGS OF PROTEST; just noted is also available on CD. It's a very good album.






Edited 5 time(s). Last edit at 2011-06-09 19:32 by straycat58.

Many thanks Bobby ...AND knowing how questions about
the past can sometimes rattle the skull you've done us very well....



ROCKMAN

wow - fascinating! thank you Bobby Jameson

Its Jimmy Page. Definitely seen it on various list compiled of his sesion work. It does sound like him as well I think. He wasn't only playing lighting fast solos as a session musician.If its not indeed Page, the most likely Big Jim Sullivan. Both used the fuzz-box regulary aroud this time and in fact, Sullivan has been cited as playing the first fuzz-box on a hit single. PJ Proby's, Hold Me in 1963.

One of the first examples of Page using one was on the Who b-side, Bald Headed Woman.

Yeah If Andrew says it's JP and what with the fuzz etc it's most likely going to be him.

Welcome aboard Bobby, great to have you here and thanks for sharing your memories!

Big Al,

an do you know something about the solo included in I wanna be your man from 16 Hip Hits?

Quote
straycat58
Big Al,

an do you know something about the solo included in I wanna be your man from 16 Hip Hits?

I'm not sure what song your on about in all honesty!

I used to be quite into Pages session work when I first started listening to Zeppelin. I found the idea of someone being so prolific and important, yet being known to so few, fascinating. There are several decent compilations of Pages session work around.

Between 1964 and 1966, Pages was probably the most prolific session guitarist in London. He took over the mantle from Big Jim Sullivan, although he wasn't too far behind Page in popularity amongst producers. His work actually became quite limited towards the end of the decade. He signed a contract and ended up only playing on hits with the likes of Tom Jones etc.

Another 'first' was Big Jim Sullivan's wa-wa guitar on Dave Berry's, The Crying Game from 1964. Often cited as a Page contribution, but in fact he only contributed rhythm.

IWBYM from Oldham 16 Hip Hits:

[www.mediafire.com]

This is cool stuff. Thanks to Memo From Tina Turner for bringing this up, and thanks to Bobby Jameson for his comments.

-------------------
Keep On Rolling

This one has Essex/ M Andes as the music publisher ...no doubt now owned by ABCKO.
Whilst shamefully Bobby Jameson "never received a penny" no doubt Messrs Oldham/Richards/Klein continue to get income.
That's show biz!

Quote
jlowe
This one has Essex/ M Andes as the music publisher ...no doubt now owned by ABCKO.
Whilst shamefully Bobby Jameson "never received a penny" no doubt Messrs Oldham/Richards/Klein continue to get income.
That's show biz!

The Small Faces didn't receive any royalties from their 60's hits until a few years ago via court order. Steve Marriott didn't live to see any of that money. Apparently, by the time ALO's Immediate Records dissolved in 1970, much of the company's revenues were siphoned away to offshore bank accounts. It's unclear if ALO was personally involved in this swindle, but he has lived very comfortably since then without having to work (granted, the bulk of his fortune probably comes from his dealings involving the Stones). There's a side of me that wants to like ALO for all he did (ie. making the Stones a sensation, discovering Marianne Faithful, supporting bands like the Small Faces, helping organize the Monterey Pop Festival, etc.), but I just can't . . .

[sv.wikipedia.org]


the .se groúp did a cover of it

Quote
neptune

Quote
jlowe
This one has Essex/ M Andes as the music publisher ...no doubt now owned by ABCKO.
Whilst shamefully Bobby Jameson "never received a penny" no doubt Messrs Oldham/Richards/Klein continue to get income.
That's show biz!

The Small Faces didn't receive any royalties from their 60's hits until a few years ago via court order. Steve Marriott didn't live to see any of that money. Apparently, by the time ALO's Immediate Records dissolved in 1970, much of the company's revenues were siphoned away to offshore bank accounts. It's unclear if ALO was personally involved in this swindle, but he has lived very comfortably since then without having to work (granted, the bulk of his fortune probably comes from his dealings involving the Stones). There's a side of me that wants to like ALO for all he did (ie. making the Stones a sensation, discovering Marianne Faithful, supporting bands like the Small Faces, helping organize the Monterey Pop Festival, etc.), but I just can't . . .

I tend to agree.The irony for me is that Oldham got tied up with Allen Klein who made his reputation by managing to extract from record companies what was "due" to recording artists...the late great Sam Cooke being perhaps the most obvious example. This was probably done through audits/aggression /sheer persistence and being prepared to litigatat will.
The irony would have been if the Small Faces etc. had hired Klein to fight their corner. I don't think Klein was ever directly involved with Immediate but the whole period seems very murky, business wise. I was hoping that his memoirs-Stoned 3 or whatever would have shed some light, may be the lawyers thought better.
Certainly the story of Immediate should be told in full. Oldham clearly had a low opinion of the establishment figures in the business at the time, from record heads to his old partner Eric Easton (described as a plain crook to quote) but he doesn't appear (in public at any rate) to have shown much contrition regarding the fortunes (or lack of them) of the Immediate artists. Maybe he is in denial.
Tony Calder was ALO's plugger in chief/right hand man and he seems to have stayed pals with ALO. I can't honestly believe they weren't aware of where the money was going-and not going.