August 28, 2006
BARRY WHITE 9/12/44 – 7/4/03
“The first time I met Barry White he was sitting behind my desk at A&M’s publishing company, Irving/Almo music, amused at the dance floor a 12 year old Michael Jackson convinced me to put in my office. I had been trying unsuccessfully to set up a meeting with Barry to play some songs, when one of my assistants, Gloria Sequoia, got her old friend to drop by the office. From then on he dropped in whenever he could. He even spoke at one of the writers meetings I used to hold on the sound stage at A+ M. He was truly a gentleman and the more successful he became the more humble he was.
I doubt if there was any other artist who assisted in more conceptions than Barry White….but what I admired most about him was the positive way he promoted love and devotion in his music during a time of rampant promiscuity. When he talked…you listened. When he sang… you knew he was for real!!”
From my forthcoming book, “I Did It For A Song”
Copyright 2009 by Artie Wayne
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August 23, 2006
Sebastian Prooth’s brilliant video of Alan O’Day and the late Johnny Stevenson classic, “Rock and Roll Heaven”, featuring Ronny Kimball, has been played thousands of times on eleven internet sites in the past 24 hours! If you haven’t seen it scroll down to my previous post and click onto Elvis’ triangular eye!
If you like to read about some of my “Brief Encounters”with some of our late rock heroes including Jimi Hendrix, Janis Joplin, Jim Croce just click onto http://artiewayne.com/pg9.html
July 23, 2006
On July 30, 2006 Top of the Pops, which has been on the air in the U.K. for 42 years, will broadcast its final show. I only saw the show once…when I went to London for the first time 40 years ago…
In 1964, when I became disillusioned with the music business
in the U.S., my friend Paul Simon [then known as Jerry
Landis], convinced me that I should go to London, where I
just had a top ten hit with Helen Shapiro, “Queen for
Tonight” [Raleigh/ Wayne]. At the time I was trying to get
some club work in New York’s Greenwich Village, Paul
introduced me to the folk scene and backed me up on guitar
at the Bitter End and Gerdes Folk City. He was tired of
plugging other people’s songs at E.B. Marks Music, and was
hoping his debut accoustic album with Artie Garfunkle,
“Wednesday Morning 3Am”, would put him on the map. His
producer at Columbia, Tom Wilson, disappointed with the
public and label’s response to the album, went in and
overdubbed the same electric group he used to record Bob
Dylan, which caused a controversy among folk purists!. I
remember, Paul shaking his head and telling me how much they
respected his music in the U.K. and how he longed to go back.
It didn’t take much to convince me that I too, needed a
change. My Liberty single “Where Does a Rock and Roll Singer
Go” [Wayne], had bombed out, money was slow coming in from
my songs, and Amy records, for whom I produced “Midnight
Mary” [Raleigh/ Wayne], was trying to take the Artist, Joey
Powers away from me, because I didn’t have any subsequent
As I was about to leave for London, I came down with the
chicken pox and had to postpone my trip. It was during the
next few weeks that I met Bess Coleman, one of the Beatles
Press officers, and started writing some songs with her.
When she said that she was friendly with the road manager
of the Rolling Stones, and Mick Jagger was going to be
staying at his apartment, I jumped at the chance to write
for the group.
We wrote a few songs…made a few demos…and Bess gave her
friend two songs to pass along to Mick. One of them, “It
Ain’t Me”, is the song I eventually sued over.
I knew the Stones were slated to record in Chicago, at the
legendary Chess studios, before they went to Hollywood,
where they filmed the “TAMI” show…so we crossed our
fingers and hoped we had made the session. We didn’t hear
back from anybody…so we uncrossed our fingers and went on
with our lives.
My co-writer, Bess Coleman, started preparing for the
Beatles to come to New York and introduced me to Jackie
DeShannon, who was the opening act for the Fab Four. As we
all hung out, it was Jackie, who re-ignited my desire to go
to London. She said she was going there on a promotion tour
in a few weeks, and it would be a perfect time me me to go.
I figured that I could still meet up with Paul Simon, and
play whatever clubs were left on his tour. When I arrived
at Paul’s publisher’s office, however, I found a note from
him saying that he had to go back to the States to promote
the reworked single of “Sounds of Silence”.
I wasn’t too upset, since It gave me the opportunity to go
to recording sessions and TV shows with Jackie and her new
co-writer, Jimmy Page. I had time to hang out and jam with
the Animals and the Moody Blues, play guitar with “Howlin’
Wolf” and “Sonny Boy” Williamson, participate in a
“kidnapping” of Cilla Black, from the Palladium, by her
pals, Mike Millward and Billy Hatton, of The Fourmost, and
go on the “Beatles for Sale” promotional tour.
It was at “Ready, Steady, Go”, while chatting up one of the
dancers, I heard a few familiar lines being sung by the
Rolling Stones. It sounded like the song Bess and I had
given their road manager to pass along to Mick. They were
celebrating the success of “Little Red Rooster”, which was
their first number one record, and this was the b-side,
“Off the Hook”. After the performance, I went over to Mick
and told him how much I enjoyed the way he did my song…he
just looked at me somewhat astonished and just walked away,
without saying a word!
The next day, when I bought a copy of the record, “Off the
Hook” and I saw that it credited Nanker Pheldge [Jagger and
Richards] as the writers! I hired David Jacobs, one of the
Beatles’ lawyers, to put a temporary injunction against the
single. This came as a shock to everyone, bringing a volley
of threats against me.
I decided it would be safer for me to keep a very low
profile for the remainder of my trip to London…and I hid
out with a couple of “Birds” who lived on the floor below
Charlie Watts in Ivor Court.
I heard that a lot of unsavory characters were out looking
for me, but I managed to escape the U.K. and get back to
New York unscathed. For the next five years I spent
thousands and thousands of dollars seeking justice in the
U.S. courts, but ultimately lost the case. It seems that
the defendants claimed they wrote their song a week before
I wrote mine and sang it to an engineer friend, which in
the U.K. constutes a common law copyright! Although my case
prompted a change of the U.S. copyright law, I was
devestated, traumatized and lost my will to write. This is
when I started working for an array of publishers, showing
other people’s songs.
It was years before I was able to write again…but now,
forty years later I can talk about it… and hardly feel
Regards, Artie Wayne http://artiewayne.com