JERRY WILLIAMS, JR. / SWAMP DOGG DISCOGRAPHY
Updated 2009.August.3
Compiled, researched and annotated by David E. Chance: dchance@wustl.edu
Special thanks to: Swamp Dogg, Ray Ellis, Tom DeJong, Steve Bardsley, Pete Morgan, Stuart Heap, Harry Grundy, Clive Richardson, and my loving wife Asma.
======================================
======================================
NEWS
LINKS
Miscellaneous
Interviews
Videos
SINGLES/EPs
SINGLES/EPs - DETAILS
CDs/LPs
CDs/LPs - DETAILS
GUEST APPEARANCES
PRODUCTION & ARRANGEMENT
VARIOUS ARTISTS COMPILATIONS
VIDEOS
COVERS & SAMPLES
SONG COVERS
MISCELLANEOUS
SONGS IN MOVIES & TELEVISION
Movies
Television
SONG CREDITS
======================================
======================================
====
NEWS:
====
Swamp Dogg's Christmas CD is scheduled for release on August 18th.
AN AWFUL CHRISTMAS AND A LOUSY NEW YEAR (2009, S.D.E.G. 1968)
1. Santa Claus Has Fallen In Love
2. Santa Claus Is Coming To Town
3. An Awful Christmas And A Lousy New Year
4. Old Fashion Country Christmas
5. A Little Black Child At Christmas
6. What Christmas Means To Me
7. Silent Night
8. Jingle Bells
9. Santa's Just A Happy Fat Fart
10. Away In A Manger
From the press release: "Swamp Dogg has done it again! His first holiday album, chocked full of great original songs, rock 'n' rolling R'n'B with hints of country and funk, as only he can do. He is the grandmaster of his own exclusive genre; southern R'n'B funk. Once retailers hear this CD, they'll go beyond the call of duty to exploit it. Swamp originally wrote the title song (track 3) for Otis Redding in 1966. Otis liked it but never got to record it. The performance of it on this CD is very similar to what Swamp (Little Jerry Williams at that time) had suggested and imagined to Otis. Being diehard fans of South Park, Swamp and his wife, Beverly wrote track 9 with Eric Cartman and Terrence & Phillips in mind. S P fans will know why immediately. Tracks 1 & 2 are definite radio and club hits!!"
Swamp Dogg's new CD is now available. "GIVE 'EM AS LITTLE AS YOU CAN...AS OFTEN AS YOU HAVE TO...OR...A TRIBUTE TO ROCK 'N' ROLL" (2009, S-Curve 807315120122) includes cover versions of songs by Fats Domino, Chuck Berry, Jerry Lee Lewis, Elvis Presley, Bruce Springsteen, Bob Marley/Eric Clapton, The Beatles, The Temptations, Aretha Franklin, The Rolling Stones, and...himself!
1. Ain't That A Shame
2. Ain't That Loving You
3. Johnny B. Goode
4. Great Balls Of Fire
5. Heartbreak Hotel
6. Hungry Heart
7. I Shot The Sheriff
8. I Want To Hold Your Hand
9. My Girl
10. I Never Loved A Woman (The Way I Love You)
11. Satisfaction
12. Total Destruction To Your Mind 2009
=====
LINKS:
=====
MISCELLANEOUS:
Official Website: http://www.swampdogg.net
Record Store: http://store.fastcommerce.com/render.cz?method=index&store=sdeg&refresh=true
"Please Step Back", Swamp Dogg as "Rock Foxx", 2009 song collaboration with Ben Greenman for his novel Please Step Back: http://bengreenman.com/content/wp-content/uploads/2009/02/please-step-back-final.mp3
See also:
http://music-mix.ew.com/2009/05/living-legends.html
http://www.largeheartedboy.com/blog/archive/2009/04/ben_greenman_sw.html
http://bengreenman.com/content/?page_id=233
http://mhpbooks.com/book.php?id=199
Review - "Resurrection": http://www.newyorker.com/arts/reviews/recordings/2007/05/28/070528gore_GOAT_recordings_greenman
Song Samples: http://www11.brinkster.com/groovies1/Samples.html
"Sorting Out The Swamp Dogg" by Ed Ward, WHYY radio, NPR Fresh Air show, November 15, 2007: http://www.npr.org/templates/story/story.php?storyId=16322903
INTERVIEWS:
May 8, 2009, Studio 360, interview by Kurt Andersen with Swamp Dogg and Ben Greenman discussing their collaboration on "Please Step Back": http://www.studio360.org/episodes/2009/05/08
February 24, 2008, The Right Track Soul Show, WFM 97.2, Wythenshawe, Manchester, United Kingdom, phone interview by hosts John Marriott, Harry Grundy and Stuart Heap: http://therighttrack.org.uk/jerry_williams.html
2008, The Sound Of Young America - Soul Music Legend Swamp Dogg, interview with host Jesse Thorn: http://www.maximumfun.org/blog/2008/01/podcast-soul-music-legend-swamp-dogg.html
2007 by Dylann DeAnna: http://www.bluescritic.com/swamp_dogg_interview.htm
2007: http://arts.guardian.co.uk/filmandmusic/story/0,,2102901,00.html
@March 17, 2007 by Robin Cook, South by Southwest Music Conference, Austin, Texas (5 parts):
http://www.popmatters.com/pm/features/article/32430/robin-cooks-sxsw-video-adventures-part-two/
http://popmatters.imeem.com/video/RzL9Wk6j/swamp_dogg_interview_at_sxsw_2007_part_five/
2002, The Sound of Young America: The College Years - "Guys In Their Underwear", phone interview (begins at 30:47) with hosts "Big Time" Gene O'Neill and Jordan Morris "Boy Detective", KZSC 88.1 FM, University of California at Santa Cruz, East Santa Cruz, California: http://www.maximumfun.org/blog/2007/05/podcast-college-years-guys-in-their.html
1999 with Billy Price talking about Swamp Dogg: http://www.post-gazette.com/magazine/20000121price1.asp
1998/2001, "A Dog's Tale", interview by Ray Ellis, published in Juke Blues #49: http://swampdoggpresents.blogspot.com/
1998: http://www.soul-source.co.uk/soul-words/jerry-williams-interview-and-review-big-mick.htm
1998: http://www.furious.com/perfect/swampdogg.html
1992: http://query.nytimes.com/gst/fullpage.html?res=9E0CE6DA1730F932A1575BC0A964958260&sec=&spon=&pagewanted=all
VIDEOS:
April 27, 2007 Main Hall, Paradiso, Amsterdam, The Netherlands: http://www.fabchannel.com/swamp_dogg
October 26, 2007 Caribbean concert promo: http://www.youtube.com/watch?v=w9XXHMTUiL4
"The Baby Is Mine", tribute: http://www.youtube.com/watch?v=JLFkHu95IT8
"Baby, You're My Everything" (March 1, 2008 Prestatyn Northern & Modern Soul Weekender, "Northern Soul" Room, Pontin's Prestatyn Sands, Prestatyn, Denbighshire, North Wales): http://www.youtube.com/watch?v=uIRBx5lhpPM
"Come On And Dance With Me", tribute: http://www.youtube.com/watch?v=ziX2TDhFsXQ
"Dust Your Head Color Red", tribute: http://www.youtube.com/watch?v=NrCPFMju_NI
"Got To Get A Message To You" (April 27, 2007 Main Hall, Paradiso, Amsterdam, The Netherlands): http://www.youtube.com/watch?v=rU-YK271dGU
"Hold On, I'm Comin'" - (March 1, 2008 Prestatyn Northern & Modern Soul Weekender, "Northern Soul" Room, Pontin's Prestatyn Sands, Prestatyn, Denbighshire, North Wales) with Jerry Williams, The Del Larks, The Precisions, Gwen Owens, Gloria Jones and Wade O. Brown: http://www.youtube.com/watch?v=PJfAT8xFVxE
"If You Ask Me (Because I Love You)" - copy 1 (March 1, 2008 Prestatyn Northern & Modern Soul Weekender, "Northern Soul" Room, Pontin's Prestatyn Sands, Prestatyn, Denbighshire, North Wales): http://www.youtube.com/watch?v=oeFdblrJiTM
"If You Ask Me (Because I Love You)" - copy 2 (March 1, 2008 Prestatyn Northern & Modern Soul Weekender, "Northern Soul" Room, Pontin's Prestatyn Sands, Prestatyn, Denbighshire, North Wales): http://www.youtube.com/watch?v=1cr72klgY20
"If You Ask Me (Because I Love You)" (@2007, unknown location): http://www.youtube.com/watch?v=tC9vIYmO0Vc
"If You Ask Me (Because I Love You)", tribute version 3: http://www.youtube.com/watch?v=Bguf-qCYMOI
"If You Ask Me (Because I Love You)", tribute version 4: http://www.youtube.com/watch?v=PpYKpZcgqxs
"If You Ask Me (Because I Love You)", tribute version 6: http://www.youtube.com/watch?v=aHd_48Xhr18
"If You Ask Me (Because I Love You)", tribute version 7: http://www.youtube.com/watch?v=9o_CFWp8ixk
"If You Ask Me (Because I Love You)", tribute version 8: http://www.youtube.com/watch?v=wsFpFmDP7T0
"If You Ask Me (Because I Love You)", tribute version 9: http://www.youtube.com/watch?v=MA4x5OmY8ok
"If You Ask Me (Because I Love You)" from The Strange World Of Northern Soul (@1997-98): http://www.youtube.com/watch?v=afmrSjsficM
"In My Resume" (April 27, 2007 Main Hall, Paradiso, Amsterdam, The Netherlands): http://www.youtube.com/watch?v=ZzG3Jf3EnVE
"In Time Of War, Who Wins" (April 27, 2007 Main Hall, Paradiso, Amsterdam, The Netherlands): http://www.youtube.com/watch?v=XpGca0IhBdk
"In Time Of War Who Wins" (March 17, 2007 South by Southwest Music Festival, Continental Club, Austin, Texas with McLemore Avenue): http://www.youtube.com/watch?v=B68QPq-GWZ8
"King Of Kings", produced 2006, from X-mas Balls - She Left Me For Randolph: http://www.youtube.com/watch?v=d0MP-IgKc9o
"My Heart Just Can't Stop Dancing", tribute: http://www.youtube.com/watch?v=STwdXpXRTRA
"Remember I Said Tomorrow", tribute: http://www.youtube.com/watch?v=0BHTbprAa68
"Sal-A-Faster" (April 27, 2007 Main Hall, Paradiso, Amsterdam, The Netherlands): http://www.youtube.com/watch?v=hEnC6QCMXkI
"Salty Dog", tribute: http://www.youtube.com/watch?v=v2yewEVyKbA
"Sam Stone" (April 27, 2007 Main Hall, Paradiso, Amsterdam, The Netherlands): http://www.youtube.com/watch?v=XCRN-5yU1pQ
"Synthetic World" (April 27, 2007 Main Hall, Paradiso, Amsterdam, The Netherlands): http://www.youtube.com/watch?v=hqcXNEgcdV8
"Synthetic World" (April 28, 2007 Waterfront, Rotterdam, The Netherlands): http://www.youtube.com/watch?v=IBu8Jy994eg
"Synthetic World", tribute: http://www.youtube.com/watch?v=8ksyFlnH870
"Total Destruction To Your Mind" (April 27, 2007 Main Hall, Paradiso, Amsterdam, The Netherlands): http://www.youtube.com/watch?v=_nt2tkKa0q0
"Total Destruction To Your Mind" (March 1, 2008 Prestatyn Northern & Modern Soul Weekender, "Northern Soul" Room, Pontin's Prestatyn Sands, Prestatyn, Denbighshire, North Wales): http://www.youtube.com/watch?v=VwzPQYT9qt0
"The World Beyond", circa October 1997, 2 Meter Sessions, The Netherlands, with accompaniment by Derwood Andrews: http://www.youtube.com/watch?v=91hPXgEnRGs
"The World Beyond", tribute: http://www.youtube.com/watch?v=6DB9gUZSORY
"Synthetic World" - performed by Electric Gypsy (Ron Torres - guitar & vocals, Scott Hester - bass guitar, Robert Galindo - drums), recorded and filmed in December 2008: http://www.youtube.com/watch?v=XAxYd8AT3tY
More band info: http://www.bandsofthebay.com/band/Electric+Gypsy
===========
SINGLES/EPs:
===========
1954 - HTD Blues (Heartsick Troublesome Downout Blues) / Nat's Wailing - Little Jerry
(Mechanic ??, 78 rpm single)
1957 - Sweet Sue / Nat's Wailing - Little Jerry
(Mechanic ??, 78 rpm single)
1960 - There Ain't Enough Love / Don't You Feel - Little Jerry
(Ember E-1081)
1961 - (I'll Always Remember) Chapel On The Hill / I'm So Mad - Little Jerry
(Aldo AL-502)
1962 - Let's Do The Wobble / You Call It Love - Jerry Williams
(V-Tone V-501)
1963 - Hum Baby / She's So Divine - Little Jerry
(Academy 113)
1964 - I'm The Lover Man / The Push Push Push - Little Jerry Williams
(Southern Sound SS 118)
1964 - I'm The Lover Man / The Push Push Push - Little Jerry Williams
(Loma 2005)
1965 - Detroit / The 1965 Kingsize Nicotine Blues - Jerry Williams
(Southern Sound SS-123)
1965 - Baby, You're My Everything / Just What Do You Plan To Do About It - Little Jerry Williams
(Calla 105)
1965 - Baby' You're My Everything / Just What Do You Plan To Do About It - Little Jerry Williams
(Cameo-Parkway C.100)
1966 - Baby, Bunny (Sugar, Honey) / Philly Duck - Little Jerry Williams
(Calla C-109)
1966 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(Calla 116)
1966 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(Exit 2501-B)
1966 - Your Man / Give The Disc Jockey Some - Jerry Williams
(8730 Records 102)
1967 - What's The Matter With You Baby / What Do You Plan To Do About It - Jerry Williams
(Calla 121)
1967 - Run Run Roadrunner / I'm In The Danger Zone - Jerry Williams
(Calla MU 1285)
1967 - Run Run Roadrunner / I'm In The Danger Zone - Jerry Williams
(Musicor Records MU 1285)
1967 - I Got What It Takes (Part 1) / I Got What It Takes (Part 2) - Brooks and Jerry
(Dynamo D-114)
1967 - I Got What It Takes (Part 1) / I Got What It Takes (Part 2) - Brooks and Jerry
(CBS/Direction 58-3267)
1968 - Shipwrecked / Sock It To Yourself - Jerry Williams
(Cotillion 45-44022)
1969 - It's Still Good / Come And Get It - Jerry Williams
(Cotillion 45-44039)
1970 - Mama's Baby--Daddy's Maybe / Sal-A-Faster - Swamp Dogg
(Canyon 30)
1970 - Total Destruction To Your Mind / Synthetic World - Swamp Dogg
(Canyon 53)
1971 - Total Destruction To Your Mind / Redneck - Swamp Dogg
(Contempo CS.2046)
197? - Total Destruction To Your Mind / The World Beyond - Swamp Dogg
(Vogue Group/Vogue International Industries DV 11209)
1971 - These Are Not My People / I Was Born Blue - Swamp Dogg
(Roker 505)
1972 - Everything You'll Ever Need / Synthetic World - Swamp Dogg
(Discos Beverly Ltda./Canyon Records Inc. BCS 135 [Brazil])
1972 - Swamp Dogg
(Discos Beverly Ltda./Canyon Records Inc. BCD-737 [Brazil])
1972 - Creeping Away / Do You Believe - Swamp Dogg
(Elektra EKS.45721)
1973 - Sam Stone [stereo] / Sam Stone [mono] - Swamp Dogg
(Cream 1021, promotional copy)
1973 - Sam Stone / Knowing I'm Pleasing Me And You - Swamp Dogg
(Cream 1021)
1973 - Wife Sitter / Please Let Me Kiss You Goodbye - Swamp Dogg
(Stone Dogg 804)
1973 - Mighty Mighty Dollar Bill / Choking To Death (From The Ties That Bond) - Swamp Dogg
(Stone Dogg 805)
1973 - Buzzard Luck [stereo] / Buzzard Luck [mono] - Swamp Dogg
(Brut BR-818, promotional copy)
1973 - Buzzard Luck / Ebony And Jet - Swamp Dogg
(Brut BR-818)
1973 - Don't Trust A Woman / The Pelican - Slick 'n' The Family Brick
(Swamp Dogg Presents SD-500/SDP-SFB)
1973 - Straight From My Heart / [blank]
(Swamp Dogg Presents ???, 12" single)
1973 - Straight From My Heart / Don't Throw Your Love To The Wind - Swamp Dogg
(Swamp Dogg Presents #501/SDP-SD01)
1973 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(Out Of The Past ISC-030)
1973 - If You Ask Me (Because I Love You) / Yvonne [mono] - Jerry Williams
(Calla C-116A, reissue)
1974 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(International Soul Club ??)
1974 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(Pye Records International/Disco Demand DDS.102)
1974 - The Mind Does The Dancing While The Body Pulls The Strings / God Ain't Blessing America - Swamp Dogg
(Island USADJ 1001)
1974 - Did I Come Back Too Soon? / I Wouldn't Leave Here - Swamp Dogg
(Island USA 002)
1974 - I Wanna Life Time Of Loving You / Did I Come Back Too Soon (Or Stay Away Too Long) - Swamp Dogg
(Island IS028)
1976 - The Mind Does The Dancing While The Body Pulls The Strings [edited version] /
The Mind Does The Dancing While The Body Pulls The Strings - Swamp Dogg
(Island WIP 6278)
1976 - The Other Man / Believe In Me, Baby - Swamp Dogg
(DJM Records DJS 10684)
1977 - Believe In Me Baby (Part I) / Believe In Me Baby (Part II) - Swamp Dogg
(DJM Records DJM 19004/DJS 19004)
1977 - I Did It All / I Sure Love To Ball - Swamp Dogg
(Wizard 1306)
1977 - My Heart Just Can't Stop Dancing / Silly, Silly, Silly, Silly Me - Swamp Dogg & The Riders Of The New Funk
(Musicor MUS-6306, 7" single)
1977 - My Heart Just Can't Stop Dancing / My Heart Just Can't Stop Dancing - Swamp Dogg & The Riders Of The New Funk
(Musicor DV-MUS-6306, 12" single, 45 rpm)
1978 - MADLEEN KANE - I Want You, Need You, Love You / SWAMP DOGG - Salty Dog
(Victor LWG 1186 [Japan], promotional single)
1979 - Salty Dog / Come On And Dance With Me - Swamp Dogg
(Victor Musical Industries VIP-2738 [Japan])
1979 - Come On And Dance With Me / Salty Dog - Swamp Dogg
(Atomic Art 301, 7" single, 45 rpm, transparent orange vinyl)
1979 - Come On And Dance With Me / Salty Dog - Swamp Dogg
(Atomic Art 334, 12" single, 33 1/3 rpm, opaque white vinyl)
1982 - Right Arm For Your Love / Come Get It - Swamp Dogg
(Ala Records ALA-112)
1983 - This Is It / All She Wants Is Reggae Music - Swamp Dogg
(Rare Bullet 102-12, 12" single)
1985 - Shut Your Mouth / Mouth Music - Swamp Dogg
(Rare Bullet RB 12-2021, 12" single)
@1988 - GENE PITNEY - Run Run Roadrunner / JERRY WILLIAMS - Run Run Roadrunner
(Stardust URS 062)
19?? - THE INCREDIBLE BONGO BAND - Bongo Rock / JERRY WILLIAMS - Baby, Bunny (Sugar, Honey)
(Hickory St. 100)
1989 - I'd Lie To You For Your Love / Happy Dog Day - Swamp Dogg
(S.D.E.G. 89-505)
1991 - She's Built To Kill / Surfin' In Harlem - Swamp Dogg
(Volt VOM-34, CD single)
2004 - When You Move, You Lose / That's The Groove - Jerry Williams
(Grapevine 2000 G2K 45-151)
2006 - Is This A Woman's Way? / Where Can I Find Love? - The Detroit Magnificents
(Grapevine 2000 G2K 45-161)
2008 - When Dreams Come True - Swamp Dogg ...and Introducing Lucciana & Divine
(S.D.E.G. SDE EP #2008)
=====================
SINGLES/EPs - DETAILS:
=====================
1954 - HTD Blues (Heartsick Troublesome Downout Blues) / Nat's Wailing - Little Jerry
(Mechanic ??, 78 rpm single)
The first Jerry Williams, Jr. recording at the age of 12 on a vanity label. "We brought this guy and his disc recorder in from Mechanicville, NY who put up a microphone and encouraged me to wail away; something for which I didn't need any prompting. My mother, Vera Cross on drums, my step dad, Nat Cross on guitar, his brother Garfield on bass and me on piano." The B-side, "Nat's Wailing", likely an instrumental song centered around Nat Cross's guitar playing, was omitted from the Little Jerry Williams Anthology (1954-1969) [2000, S.D.E.G. 1942] and remains the rarest and most obscure Jerry Williams recording.
"In 1954, I made record number one (also was the sales figure) entitled "HTD Blues" b/w "Nat's Wailing". I was a "fill out, cut out and mail out the coupon" freak. That's how I landed my first label. Mechanic Records in Mechanicsville, N.Y., soliciting through Mechanical Illustrated Magazine. [Mechanix Illustrated: The How-To-Do Magazine, published 1928-1984 by Fawcett Publications, Inc., ISSN 0025-6587; see:
http://photos1.blogger.com/blogger/2623/2592/1600/mechill01.jpg
http://blog.modernmechanix.com/magazine/?magname=MechanixIllustrated
http://www.metropolitan-library.com/MI454.html
"Send me your tape and ? dollars (amount eludes me) and I'll make you some records - complete with LaVern Baker, Joe Turner, Platters, Kay Starr, Patti Page, Fats Domino etc....etc.." So off goes the money, my first two compositions and a tape with the performance of such family rhythm greats as Nat Cross (step-father) on guitar, Vera Cross (could have been a wonderful step-mother) on drums, Garfield Cross (step-uncle...climbing these steps can be tiresome) and yours truly on piano and vocals. The entire session was done on a Grundig Mono portable reel to reel owned by my musical (among other things) family. The records arrive (78rpm) - I've finally arrived! Now what the f... do I do with these things? Three record shops within a fifty mile radius. A distributor? What is that? Run to the radio station WRAP, and give a copy to Jack Holmes, a powerhouse in the industry at the time, and let him play the back of it.. So far this has all taken place in Portsmouth, Virginia, my 1942 birthplace. Jack played it immediately, announced me as "Little" Jerry which I stuck with for ten years, and mapped out my distribution route. "Consign Stewart's Record shop two-thirds of them (they were a chain, one in Portsmouth - one in Norfolk) and Frankie's Birdland (Frank Guida later to have Legrand of Gary U.S. Bonds fame) the other third. I'll make it a hit and guide your career"."
At some point between 1954 and 1957 "Little Jerry" "made four more recordings, this time in a Mono studio (Norfolk Recording Studio) with the same personnel with the exception of the drummer." These recordings were also omitted from the Little Jerry Williams Anthology (1954-1969) [2000, S.D.E.G. 1942].
As a side note, Jerry's father was a chief petty officer in the U.S. Navy. ["A Soul Singer With as Much Bite as Bark" by Karen Schoemer, New York Times, August 21, 1992 page C3.]
1957 - Sweet Sue / Nat's Wailing - Little Jerry
(Mechanic ??, 78 rpm single)
A second outing on the Mechanicville, NY vanity label. "Mailed more money to Mechanicsville, N.Y. for the pressing of "Sweet Sue" b/w "Nat's Wailing" (needed a few more - popularity booming)." "Sweet Sue" was omitted from the Little Jerry Williams Anthology (1954-1969) [2000, S.D.E.G. 1942].
1960 - There Ain't Enough Love / Don't You Feel - Little Jerry
(Ember E-1081)
The first "official" Jerry Williams, Jr. record, recorded when he was 18 years old. "There Ain't Enough Love" written by J. Barry, published by Trinity Music (BMI), arranged and conducted by Dave Cortez; track time = 2:06. Side A contains the additional label number E-2331. "Don't You Feel" written by D. Browty and Bert Russel, published by Russel Music (BMI).
"It's late 1959. Jack Holmes calls Al Silvers, President of Herald/Ember Records, the well-oiled r'n'b machine behind Faye Adams, Nutmegs, Silhouettes, plus a host of other one and two hit-single flashes, and tells him that he must record this "boy" from Portsmouth, Virginia for one reason or another. For one reason or another Al agrees and I split to New York from Newark where I was appearing at Woody's Corner as Little Willie John and sometimes Larry Williams - well "Little" Jerry couldn't draw flies, but he was a jukebox and Woody wanted to have his cake and eat it too. For a while we were most compatible. Al Silvers hooked me up with Dave "Baby" Cortez aka David Clowney, his "producer at large", listened to my material, rejected same and gave me an Isley Bros. demo, "Don't You Feel" written by Bert Russell-Berns and "There Ain't Enough Love", which emerged as the "A" side. The record received pop/R'n'B play throughout Virginia and Maryland and garnered enough sales for me to headline a slew of sleazy-ass clubs and appear on the Buddy Dean T.V. show (Baltimore) and Kurt Webster's Dialing For Dollars in Norfolk. During this time my base was still New Jersey where I was playing occasional weekends at Jackson's Lounge as an organ single, the Cotton Club in Carteret as Don Covay and doing a "live" broadcast each Sunday afternoon from the Coleman Hotel as "Little" Jerry, Blues Shouter Unlimited."
1961 - (I'll Always Remember) Chapel On The Hill / I'm So Mad - Little Jerry
(Aldo AL-502)
Both sides produced by Matt Parsons. "(I'll Always Remember) Chapel On The Hill" written by Windsor King and Jerry Williams. "I'm So Mad" written by Jerry Williams and Joe Kookoolis. Track time for both sides = 2:30.
"Try New York again. Sign contract with Aldo Records. Sign with a manager (Mel Alberts, Cashbox Mogul). First release (only release), "Chapel On The Hill" under the production supervision of Matt Parsons (who still insists that NOSTRAP is his name spelled backwards). "Chapel" achieved #1 position throughout the Midwest and made me a regional Star in Cleveland, sharing top billing with the Temptations, Supremes, Theola Kilgore, etc. Mel, whose father wouldn't allow him to read a Cashbox much more assist in its operations, was booking me throughout Long Island, Brooklyn, and the Bronx with Ernie Martinellis's "Little Anthony". In addition Mel was cultivating my writing and production sensibilities."
1962 - Let's Do The Wobble / You Call It Love - Jerry Williams
(V-Tone V-501)
"Let's Do The Wobble" written by Jerry Williams and V. Catalo. "You Call It Love" written by Jerry Williams and J. Koolen. Both songs published by Caldwell Music/Bud-Lu Music BMI. A Lou Henderson and B. Nolan production, nationally distributed by Jamie/Guyden Dist. Corp. Side A track time = 2:24. Side B track time = 2:32. Although the track timings are longer than what is listed on the Little Jerry Williams Anthology, the actual song lengths are the same.
"Let's Do The Wobble" indirectly refers to Chubby Checker's pop hit "The Twist", which became a number one hit in September 1960 (for one week) and again in January 1962 (for two weeks). The '60s dance crazes seemed to peak in 1962 with numerous dance records being produced. According to some internet sources V-Tone Records went out of business in late 1962. See also the listing for Jay J. Jones in the Production section below and the following websites:
http://www.bsnpubs.com/philadelphia/v-tone-len.html http://www.bsnpubs.com/philadelphia/v-tone-len.htmlhttp://www.bsnpubs.com/philadelphia/v-tone-len.htmlhttp://www.globaldogproductions.info/v/v-tone.html
"V-Tone, a Lenny Caldwell brainchild [compiler's note: actually Venton L. "Buddy" Caldwell], was very successful with Bobby Peterson. Released "Lets Do The Wooble Before Chubby Gets It" and achieved some top five chart positions on Philly's WIBC and enough others to glue together seventy-five to a hundred thousand sales. Lenny forgot to provide for royalty payments in his contracts, thus prompting me to seek another home."
1963 - Hum Baby / She's So Divine - Little Jerry
(Academy 113)
Both songs written by Jerry Williams.
"The Academy released "Hum Baby" b/w "She's So Devine" was a step in the right direction being done by people with "No direction home, like a rolling stone" - damn I did it again, a Dylanian slip."
1964 - I'm The Lover Man / The Push Push Push - Little Jerry Williams
(Southern Sound SS 118)
"I'm The Lover Man" written by Jerry Williams, published by Chicory Music Inc. (B.M.I.), produced by Frank Slay. Side A track time = 2:30 Side A contains the additional label number SS 118-N. "The Push Push Push" written by Jerry Williams and Joe Kookoolis. Side B track time = 2:50. Side B contains the additional label number SS 118-P. Southern Sound - A Division Of Southland Corporation Of America - New York, N.Y. Made In U.S.A.
"1964, knocked on Frank Slay's door, who was enjoying production, publishing and writing successes with Billy & Lillie, Freddie Cannon, Four Seasons, Diane Renay and a bevy of other pop-oriented acts. Played him some material. He loved it all and signed me to an immediate record contract. We enter the studio and record the self-penned, "I'm The Lover Man" b/w "The Push Push Push". "Lover Man" is released on Southern Sound Records in September and October finds it bulleting on the Pop Record Business Charts at #84 the first week. (Record Business was the forerunner for Record World Magazine)."
1964 - I'm The Lover Man / The Push Push Push - Little Jerry Williams
(Loma 2005)
"I'm The Lover Man" written by Jerry Williams, published by Chicory Music Inc. (BMI), produced by Frank Slay. Side A track time = 2:30. Side A contains the additional label number LX70006. "The Push Push Push" written by Jerry Williams and Joe Kookoolis. Side B track time = 2:50. Released in October 1964. See the excellent Loma Records discography at: http://www.lomarecords.com/
This single was also released in Canada on Warner Bros. 2005 with red labels.
1965 - Detroit / The 1965 Kingsize Nicotine Blues - Jerry Williams
(Southern Sound SS-123)
"Detroit" written by Bob Boolanger and Dick Heard, a Frank Slay production, arranged by Sid Bass, published by Claridge Music, Inc. (ASCAP), track time = 2:50. "The 1965 Kingsize Nicotine Blues" written by M. Poppelwell, published by Chuidge Music (ASCAP).
"It's 1965 and next record time. Frank has two of the worst pieces of shit (he later admits) I'd ever exposed my ears to: "Detroit", a rip off of the Motown Sound and "1965 Kingsize Nicotine Blues". I rebelled, screamed, argued, but to no avail. "Either you cut these or cut nothing". I cut them both. Loma didn't want it so it appeared on Southern Sound Records. Frank shipped Gold and it came back Platinum."
1965 - Baby, You're My Everything / Just What Do You Plan To Do About It - Little Jerry Williams
(Calla 105)
"Baby, You're My Everything" written by Rick Spain and Jerry Williams, produced by Jerry Williams, arranged by Jerry Williams and Richie Rome, supervised by Bert Keyes, published by Grocalla Enterprises, Inc. (BMI), track time = 2:43. "Just What Do You Plan To Do About It" written by Jerry Williams, arranged and produced by Jerry Williams, supervised by Bert Keyes, published by Grocalla Enterprises, Inc. (BMI), track time = 2:45. Distributed by Cameo-Parkway Inc. Calla, 1650 Broadway, N.Y.C., N.Y.
"I proposed a different situation to Frank: "I'll cut the next record with my money. If you like it reimburse me. If not release me". Okay! I cut "Baby You're My Everything". Frank rejected it. I sold it to Calla Records. The first week of release Kal Rudman wrote in his R&B Beat - Where It's At, "Baby You're My Everything". Jerry Williams, Calla is over 30,0000 in N.Y.C., Top 10 in Cleveland, a smash in Detroit, and large in Miami, Atlanta (WQXI), and Chicago...I rest my case."
1965 - Baby' You're My Everything / Just What Do You Plan To Do About It - Little Jerry Williams
(Cameo-Parkway C.100)
UK release. A note on one promotional copy of this record indicates that it was released on February 14, 1965.
1966 - Baby, Bunny (Sugar, Honey) / Philly Duck - Little Jerry Williams
(Calla C-109)
"Baby, Bunny (Sugar, Honey)" written by Jerry Williams, Jr. and Rick Spain, produced by Jerry Williams, Jr. and Richard Rome and arranged by Richard Rome; track time = 2:47 (promotional copies list the track time as 2:51). "Philly Duck" written by Jerry Williams, Jr. and Richard Rome, produced by Jerry Williams, Jr. and Richard Rome, arranged by Richard Rome and engineered by J. Fein; track time = 2:32 (promotional copies list the track time as 2:49).
1966 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(Calla 116)
"If You Ask Me (Because I Love You)" written by Jerry Williams and Rick Spain, published by Big Seven Music Corp. - BMI, produced by Richard Rome and Jerry Williams, arranged by Richard Rome. "Yvonne" written by Jerry Williams, published by Chicory Music Inc. - BMI, produced by Richard Rome and Jerry Williams, arranged by Richard Rome. Reissued in 1973 as Calla 116-A with a longer instrumental break.
1966 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(Exit 2501-B)
A Spanish issue of the Calla 116 single with a tie-dyed psychedelic brown picture sleeve. Both songs also appeared on a compilation album on the Exit Records label, The Pith Of Soul [1969, Exit Records (Spain) 3502-N].
1966 - Your Man / Give The Disc Jockey Some - Jerry Williams
(8730 Records 102)
Both sides written by Jerry Williams, published by Jerry Williams Music (BMI), a Michelle Prod. Side A track time = 2:50; this version is shorter than what appears on 'Swamp's Things: The Complete Calla Recordings Plus!' [3:32] and 'Little Jerry Williams Anthology' [3:00]. Side B track time = 2:45. "Give The Disc Jockey Some", an instrumental, was omitted from the Little Jerry Williams Anthology (1954-1969) [2000, S.D.E.G. 1942]. The date of this single is unclear. Swamp Dogg's comments (see below) seem to indicate that it was released circa 1966. Tony Rounce in his liner notes to "Blame It On The Dogg: The Swamp Dogg Anthology 1968-1978" [2008, Ace/Kent CDKEND 293] dates the single as a 1968 release.
"8730 Records was my label [formed in 1965 {actual date more likely 1966 when JW moved to Miami --David Chance; comments by Swamp Dogg on The Southern Soul List (Yahoo) 3/20/01: "Nick [Nickie Lee] was the reason I first ventured to Miami. He brought me down to play the Continental Club a/k/a King of Hearts (?) for three nights in January '66, and the weather was so good and my record was so hot, I moved my family there immediately and stayed for almost three years. When I bought my house there it was only a five minute walk to Nicki's house, eight minutes from Dave Prater's (Sam & Dave), two minutes from Sir John Henry "the Root Man"".}]. I lived at 8730 North West 16th Avenue in Miami, Florida at the time. We had just moved to Miami. The first recording on the label was by Alto Lee, and it was called 'Indefinitely' [8730 Records 101]. The other side was called 'Who Can I Turn To / Blowin' In The Wind'. I'd taken Bob Dylan's 'Blowin' In The Wind' and a song I wrote called 'Who Can I Turn To' and made up a medley. Alto was out of Fort Lauderdale, Florida. The second [and last] recording on the label was 'Your Man' [8730 Records 102] by yours truly and is on Tommy Hunt's album - same track. Actually, on the flip side of 'Your Man', is a thing called 'Give The Disc Jockey Some', an instrumental. All it was, was 'Who Can I Turn To / Blowin' In The Wind' without Alto's voice (laughs)! I think I put on there 'A Michelle Production' after my daughter Michelle." --Swamp Dogg, from "A Dogg's Tale", 1998/2001 interview with Ray Ellis published in Juke Blues #49.
1967 - What's The Matter With You Baby / What Do You Plan To Do About It - Jerry Williams
(Calla 121)
"What's The Matter With You Baby" written by Jerry Williams, Yvonne Williams and Nostrap [Matt Parsons]), published by Grocalla Ent, Inc. (BMI), arranged and produced by Jerry Williams and Nostrap [Matt Parsons], track time = 2:24. "What Do You Plan To Do About It" written by Jerry Williams, published by Grocalla Ent. Inc. (BMI), arranged and produced by Jerry Williams, track time = 2:45. "What Do You Plan To Do About It" was previously released under the title "Just What Do You Plan To Do About It" on the B-Side of "Baby, You're My Everything" [1965, Calla 105; 1965, Cameo-Parkway C.100].
1967 - Run Run Roadrunner / I'm In The Danger Zone - Jerry Williams
(Calla MU 1285)
"Run Run Roadrunner" written by Jerry Williams, produced by Jerry Williams, arranged by Richard Rome, published by Catalogue Music BMI, track time = 2:51. Calla Records, 1631 Broadway, N.Y.C., N.Y. "I'm In The Danger Zone" written by Yvonne Williams, produced by Jerry Williams, arranged by Richard Rome, published by Catalogue Music BMI, track time = 2:49. "Run Run Roadrunner" uses the same backing track as "Baby, Bunny (Sugar, Honey)" [1966, Calla C-109].
There are 3 label variations: a standard release with alternating red and white fields for the label with white and black lettering; a rare variation with alternating lime green and white fields for the label with white and black lettering; and a completely white label with black lettering, possibly an acetate or promotional copy.
1967 - Run Run Roadrunner / I'm In The Danger Zone - Jerry Williams
(Musicor Records MU 1285)
"Run Run Roadrunner" written by Jerry Williams, produced by Jerry Williams, arranged by Richard Rome, published by Catalogue Music BMI, track time = 2:51. "I'm In The Danger Zone" written by Yvonne Williams, produced by Jerry Williams, arranged by Richard Rome, published by Catalogue Music BMI, track time = 2:49. Produced in October 1967 at Bell Sound, New York NY. "Run Run Roadrunner" uses the same backing track as "Baby, Bunny (Sugar, Honey)" [1966, Calla C-109].
There are 3 label variations: brown labels with black lettering; white labels [DJ/promo] with black lettering; black labels with silver lettering.
Brown label/black lettering variation - white lettering beneath artist's name: I'm A Talmadge Production. Made In USA.
White label DJ variation - black lettering beneath artist's name: Musicor Records Inc N.Y. 10015 [??] Made In U.S.A.; mid-left side lettering: Not For Sale; mid-right side lettering: D.J. Copy.
Black label/silver lettering variation - white lettering beneath artist's name: Musicor Records, Inc., N.Y. 10015 [??] Made In U.S.A.
1967 - I Got What It Takes (Part 1) / I Got What It Takes (Part 2) - Brooks and Jerry
(Dynamo D-114)
Brooks & Jerry = Brooks O'Dell and Jerry Williams Jr. Written by W. Dixon. Produced by Jerry Williams and Brooks O'Dell. Both parts available as a single track on I'm Your Man: The Anthology 1963-1972 (2008, Ace/Kent CDKEND 296).
1967 - I Got What It Takes (Part 1) / I Got What It Takes (Part 2) - Brooks and Jerry
(CBS/Direction 58-3267)
UK release. A Dynamo USA Recording. Jewel Music Ltd. Side A contains the additional label number 7378; side A track time = 2:31. Both parts available as a single track on I'm Your Man: The Anthology 1963-1972 (2008, Ace/Kent CDKEND 296).
1968 - Shipwrecked / Sock It To Yourself - Jerry Williams
(Cotillion 45-44022)
"Shipwrecked" written by Jerry Williams and Larry Harrison, published by Cotillion-Jerry Williams Music, BMI, arranged by Jimmy Roach, produced by Jerry Williams, track time = 2:48. Side A contains the additional label number CO-15833-SP. "Sock It To Yourself" written by Jerry Williams and Gary Anderson (Gary Bonds), published by Cotillion-Jerry Williams Music, BMI, arranged by Jimmy Roach, produced by Jerry Williams, track time = 2:30. Side B contains the additional label number CO-15834-SP. Recorded in New York NY. Eric Gale plays lead guitar on both tracks. David Spinozza plays rhythm guitar on both tracks.
1969 - It's Still Good / Come And Get It - Jerry Williams
(Cotillion 45-44039)
"It's Still Good" written by Jerry Williams and Gary Bonds, published by Cotillion-Jerry Williams, BMI, arranged by The Zoo, produced by Jerry Williams in cooperation with Brad Shapiro and Steve Alaimo, track time = 2:44. Side A contains the additional label number CO-17033 SP. "Come And Get It" written by Jerry Williams, published by Cotillion-Jerry Williams, BMI, arranged by The Zoo, produced by Jerry Williams in cooperation with Brad Shapiro and Steve Alaimo, track time = 2:36. Side B contains the additional label number CO-17032 SP. Willie "Little Beaver" Hale plays guitar on both tracks. Al Kooper plays rhythm guitar on both tracks.
1970 - Mama's Baby--Daddy's Maybe / Sal-A-Faster - Swamp Dogg
(Canyon 30)
"Mama's Baby--Daddy's Maybe" written by Jerry Williams, Jr. and Gary Bonds. "Sal-A-Faster" written by Jerry Williams, Jr. From the LP Total Destruction To Your Mind [Canyon LP-7706]. An advertisement for the single in Billboard Magazine can be seen at: http://books.google.com/books?id=NSgEAAAAMBAJ&pg=PA35&lpg=PA1&ie=ISO-8859-1
1970 - Total Destruction To Your Mind / Synthetic World - Swamp Dogg
(Canyon 53)
Both songs written by Jerry Williams, Jr. From the LP Total Destruction To Your Mind [Canyon LP-7706].
1971 - Total Destruction To Your Mind / Redneck - Swamp Dogg
(Contempo CS.2046)
UK release. "Total Destruction To Your Mind" written by Jerry Williams, Jr., published by Jerry Williams Music (MCP5), arranged and produced by Jerry Williams, Jnr., track time not stated. (From LP 'Total Destruction To Your Mind'-CRM 109). "Redneck" written by Joe South. Licensed from Canyon Records. Made In England. From the LP Total Destruction To Your Mind [Canyon LP-7706].
197? - Total Destruction To Your Mind / The World Beyond - Swamp Dogg
(Vogue Group/Vogue International Industries DV 11209)
"Total Destruction To Your Mind" written by Jerry Williams, Jr., track time = 3:24. "The World Beyond" written by Bobby Goldshorne [Goldsboro]/Jerry Williams, Jr., track time = 3:39. Advance Test And Promotion Recording. Comes in a picture sleeve showing Swamp Dogg circa the Total Destruction To Your Mind album. The photo is credited to X. There is no date found on the sleeve or the vinyl. The sleeve indicates the record company as Vogue Schallplatten / Vogue International Industries, a company in Germany. The vinyl label gives the record company as Vogue Group. Side A is indicated by a large red A on the white label with black printing. Both sides are stereo, though the sleeve indicates Mono/Stereo. Beneath the song title and credits on the vinyl label there is a note: Orig. Rec. by Loker Records [obviously a misspelling of Roker Records]. Possibly a bootleg recording. From the LP Total Destruction To Your Mind [Canyon LP-7706].
"The World Beyond", which was written by Bobby Goldsboro, appears on his album Bobby Goldsboro's Word Pictures [1968, United Artists UAS 6657].
1971 - These Are Not My People / I Was Born Blue - Swamp Dogg
(Roker 505)
"These Are Not My People" written by Joe South, published by Lowery Music (BMI), arranged by Jerry Williams, Jr., produced by Jerry Williams, Jr. Track time = 2:36. Side A contains the additional label number H71021. "I Was Born Blue" written by Jerry Williams, Jr. and Dee Ervin, published by Jerry Williams Music/Wally Roker Music (BMI), arranged by Jerry Williams, Jr., produced by Jerry Williams, Jr. Track time = 2:58. Side B contains the additional label number H71022. From the LP Total Destruction To Your Mind [Canyon LP-7706].
1972 - Everything You'll Ever Need / Synthetic World - Swamp Dogg
(Discos Beverly Ltda./Canyon Records Inc. BCS 135 [Brazil])
"Everything You'll Ever Need" written by Jerry Williams, Jr. and Gary Bonds. "Synthetic World" written by Jerry Williams, Jr. The back jacket contains the additional number 011-TCDP/DFF/DR/SP. Discos Beverly Ltda. -- Rua Dos Gusmoes 235 - Fone: 220-9322 - Sao Paulo - C.G.C.M.F. 61.740.312/001 - Industria Brasileira. Disco e cultura. From the LP Total Destruction To Your Mind [Canyon LP-7706]. This Brazilian single comes in a black picture sleeve with white lettering. From the LP Total Destruction To Your Mind [Canyon LP-7706].
1972 - Swamp Dogg
(Discos Beverly Ltda./Canyon Records Inc. BCD-737 [Brazil])
Lado A (Side One): 1. Dust Your Head Color Red; 2. The Baby Is Mine
Lado B (Side Two): 1. These Are Not My People; 2. Sal-A-Faster
"Dust Your Head Color Red" written by Jerry Williams, Jr. and Gary Bonds. "The Baby Is Mine" written by Jerry Williams, Jr. "These Are Not My People" written by Joe South. "Sal-A-Faster" written by Jerry Williams, Jr. The cream-colored cardboard picture sleeve of this Brazilian EP shows a black line drawing of a man riding a motorcycle on the front; the back cover is the same drawing as a "negative", a cream-colored line drawing on black. The jacket and labels contain the additional number 011-TCDP/DPF/DR/SP. Discos Beverly Ltda. -- Rua Dos Gusmoes 235 - Fone: 220-9322 - Sao Paulo - C.G.C.M.F. 61.740.312/001 - Industria Brasileira. Disco e cultura. From the LP Total Destruction To Your Mind [Canyon LP-7706].
1972 - Creeping Away / Do You Believe - Swamp Dogg
(Elektra EKS.45721)
"Creeping Away" written by Jerry Williams, Jr. and Gary Bonds, published by Jerry Williams Music BMI, produced by Jerry Williams, Jr., engineered by David Johnson, track time = 2:51. Elektra Records, 15 Columbus Circle, New York City 10023. "Do You Believe" written by Jerry Williams, Jr. and Troy Davis. From the LP Cuffed, Collared & Tagged [Cream CR-9009].
1973 - Sam Stone [stereo] / Sam Stone [mono] - Swamp Dogg
(Cream 1021, promotional copy)
"Sam Stone" written by John Prine, published by Walden Music/Sourgrapes Music (ASCAP), produced and arranged by Jerry Williams, Jr. Side A contains the additional label number CR-131-S. Side B contains the additional label number CR-131. Track times for both sides = 3:57. The Cream logo contains the wording: Bennett Ent. Inc - Los Angeles, Calif. From the LP Cuffed, Collared & Tagged [Cream CR-9009].
1973 - Sam Stone / Knowing I'm Pleasing Me And You - Swamp Dogg
(Cream 1021)
"Sam Stone" written by John Prine. "Knowing I'm Pleasing Me And You" written by Jerry Williams, Jr. and Charles Whitehead, published by Jerry Williams Music/Butter Music (B.M.I.), produced and arranged by Jerry Williams, Jr., track time = 2:35. Side B contains the additional label number CR-107 S. From the LP Cuffed, Collared & Tagged [Cream CR-9009].
Promotional copies came with a 4 page 81/2" x 11" press release kit which featured a press release, a radio station promotional flyer listing radio stations who backed the record, the lyrics to "Sam Stone", and press articles about the release. The radio station promotional flyer can be seen at: http://books.google.com/books?id=4icEAAAAMBAJ&pg=PA17&lpg=PA1&ie=ISO-8859-1
An article appeared in Billboard (September 9, 1972, page 16) about the single and the radio station promotional flyer: http://books.google.com/books?id=4icEAAAAMBAJ&pg=PA17&lpg=PA1&ie=ISO-8859-1#PPA16,M1
Bob Dylan talks briefly about Swamp Dogg ("he's a legendary character") and his version of "Sam Stone" during the October 17, 2007 XM Satellite Radio broadcast of Theme Time Radio Hour - Season 2, Episode 5: Classic Rock - track 26 (55:47); this link downloads an MP3 version of the entire show: http://snipr.com/22pon-qkzi6q
1973 - Wife Sitter / Please Let Me Kiss You Goodbye - Swamp Dogg
(Stone Dogg 804)
"Wife Sitter" written by Jerry Williams, Jr. and Stan McKenney. "Please Let Me Kiss You Goodbye" written by Jerry Williams, Jr. From the LP Gag A Maggott [Stone Dogg 3001].
1973 - Mighty Mighty Dollar Bill / Choking To Death (From The Ties That Bond) - Swamp Dogg
(Stone Dogg 805)
Both sides written by Jerry Williams, Jr. and Stan McKenney, published by Jerry Williams Music, Inc./Sherlyn Publishing (BMI), produced by Jerry Williams, Jr. and Esteve Alaimo for T.K. Productions, Inc. Stone Dogg Records a division of T.K. Productions. Side A track time = 2:40. Side B track time = 2:40. The title for side B is spelled as given on the label, i.e. "Bond" instead of "Bind". Both sides are shorter than the versions on Gag A Maggott. From the LP Gag A Maggott [Stone Dogg 3001].
1973 - Buzzard Luck [stereo] / Buzzard Luck [mono] - Swamp Dogg
(Brut BR-818, promotional copy)
"Buzzard Luck" written by Jerry Williams, Jr., published by Fab Music/Jerry Williams Music (BMI), produced by Jerry Williams, Jr., track time for both sides = 3:30 (intro. :09). Both sides contain the additional wording Promotional Copy / Not For Sale beneath the track times. Side A contains the additional label number BRS-818-A. Side B contains the additional label number BR-818-A. The song later appeared on the LP Swamp Dogg's Greatest Hits? [Stone Dogg SD-3002].
1973 - Buzzard Luck / Ebony And Jet - Swamp Dogg
(Brut BR-818)
"Buzzard Luck" written by Jerry Williams, Jr., published by Fab Music/Jerry Williams Music (BMI), produced by Jerry Williams, Jr., track time = 3:30 (intro. :09). "Ebony And Jet" written by Jerry Williams, Jr. and W. Williams, published by Fab Music/Jerry Williams Music (BMI), produced by Jerry Williams, Jr., track time = 2:41 (intro. :05). Both sides contain the additional wording Dual "45" beneath the track times. Exclusively distributed by Buddah Records Inc., a subsidiary of Viewlex Inc., 810 Seventh Ave., N.Y. 10019. Both songs later appeared on the LP Swamp Dogg's Greatest Hits? [Stone Dogg SD-3002].
1973 - Don't Trust A Woman / The Pelican - Slick 'n' The Family Brick
(Swamp Dogg Presents SD-500/SDP-SFB)
"Don't Trust A Woman" written by Jerry Williams, Jr., Gary Bonds and Charles Whitehead, published by Jerry Williams Music and Dandelion Music Co. (BMI), produced and arranged by Jerry Williams, Jr., track time = 2:32, additional label number SDP-SFB-1. "The Pelican" written by Jerry Williams and Yvonne Williams, published by Jerry Williams Music and Dandelion Music Co. (BMI), produced and arranged by Jerry Williams, Jr., track time = 2:13, additional label number SDP-SFB-2. National distribution by Jamie/Guyden Distribution Corporation. Manufactured by Jamie Record Co., Philadelphia PA 19123.
Slick 'n' The Family Brick was comprised of Gary U.S. Bonds, Swamp Dogg, Kenny Carter, Charlie Whitehead and Johnny Northern. "Don't Trust A Woman" is also available on various Gary U.S. Bonds compilations. "The Pelican" is also found on various Gary U.S. Bonds compilations titled "U.S. Stomp".
1973 - Straight From My Heart / [blank]
(Swamp Dogg Presents ???, 12" single)
"Straight From My Heart" written by Jerry Williams, Jr. and O. Jesse, published by Jerry Williams Music and Dandelion Music Co. (BMI), produced and arranged by Jerry Williams, Jr., track time = ????. National distribution by Jamie/Guyden Distribution Corporation. Manufactured by Jamie Record Co., Philadelphia PA 19123. Tony Rounce states in his liner notes to "Blame It On The Dogg: The Swamp Dogg Anthology 1968-1978" [2008, Ace/Kent CDKEND 293] that Lonnie Mack plays guitar on "Straight From My Heart".
This is considered to be the very first 12" single ever made. The B-Side is blank. It is extremely rare and difficult to find at any price.
1973 - Straight From My Heart / Don't Throw Your Love To The Wind - Swamp Dogg
(Swamp Dogg Presents #501/SDP-SD01)
"Straight From My Heart" written by Jerry Williams, Jr. and O. Jesse, published by Jerry Williams Music and Dandelion Music Co. (BMI), produced and arranged by Jerry Williams, Jr., track time = 3:15. "Don't Throw Your Love To The Wind" written by Joe South, published by Jerry Williams Music and Dandelion Music Co. (BMI), produced and arranged by Jerry Williams, Jr., track time = 2:35. National distribution by Jamie/Guyden Distribution Corporation. Manufactured by Jamie Record Co., Philadelphia PA 19123. Tony Rounce states in his liner notes to "Blame It On The Dogg: The Swamp Dogg Anthology 1968-1978" [2008, Ace/Kent CDKEND 293] that Lonnie Mack plays guitar on "Straight From My Heart".
1973 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(Out Of The Past ISC-030)
UK bootleg pressing of 1966's Calla 116 single. The labels are green with black lettering. The Out Of The Past logo features a shooting star. Side A track time = 2:46.
1973 - If You Ask Me (Because I Love You) / Yvonne [mono] - Jerry Williams
(Calla C-116A, reissue)
"If You Ask Me (Because I Love You)" written by Jerry Williams and Rick Spain, published by Big Seven Music Corp. - BMI, produced by Richard Rome and Jerry Williams, arranged by Richard Rome, track time = 2:46. "Yvonne" written by Jerry Williams, published by Chicory Music Inc. - BMI, produced by Richard Rome and Jerry Williams, arranged by Richard Rome, track time = 2:48. Both sides have the main label number C-116A. Side A contains the additional label number #C-116A. Side B contains the additional label number #C-116B.
This reissue had a slightly longer mix with a modified instrumental break and was pressed with two label variations, both with 1973 on the label (at the very bottom under the Artist credits or the middle right-hand side under 45 RPM). The instrumental break on this reissue is 23 seconds long at 1:46-2:09, unlike the original 1966 release which contains a 15-second instrumental break circa 1:50-2:05 in the song.
See also the variation that appears on Swamp's Things: The Complete Calla Recordings Plus! [Demon-Westside WESM 500] which contains a 4-second count-in to the song.
1974 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(International Soul Club ??)
UK bootleg pressing of 1966's Calla 116 single.
1974 - If You Ask Me (Because I Love You) / Yvonne - Jerry Williams
(Pye Records International/Disco Demand DDS.102)
UK reissue. "If You Ask Me (Because I Love You)" written by Jerry Williams and Rick Spain. "Yvonne" written by Jerry Williams. There were 2 pressings, one with silver lettering, and the other with black lettering, which is the rarer variation. Side A contains the additional label number 1DDS.102-A. Planetary Nom (Lnd) Ltd.
1974 - The Mind Does The Dancing / God Ain't Blessing America - Swamp Dogg
(Island USADJ 1001)
Both songs written by Jerry Williams, Jnr. and produced by Swamp Dogg. Side A track time = 5:30. Side B track time = 4:40. Wording above the artist credit on both sides: (From the LP 'Have You Heard This Story?' ILPS 9299). The inner ring contains the additional wording: Exclusive DiscoDJ.Release. From the LP Have You Heard This Story?? [Island ILPS 9299].
1974 - Did I Come Back Too Soon? / I Wouldn't Leave Here - Swamp Dogg
(Island USA 002)
Both sides written by Jerry Williams, Jr. and produced by Swamp Dogg. Side A track time = 4:15. Side B track time = 2:40. From the LP Have You Heard This Story?? [Island ILPS 9299].
A variation of this single was released in The Netherlands (Holland) with a picture sleeve and side 2 mis-titled "I Wouldn't Leave Her" (1974, Island 13 760 AT, 7" single).
1974 - I Wanna Life Time Of Loving You / Did I Come Back Too Soon (Or Stay Away Too Long) - Swamp Dogg
(Island IS028)
"I Wanna Life Time Of Loving You" written by Jerry Williams, Jr., published by Mr. Dogg Music Inc./ATV Music (BMI), produced and arranged by Jerry Williams, Jr. (THE SWAMP DOGG), engineer: David Johnson, track time = 2:30. "Did I Come Back Too Soon (Or Stay Away Too Long)" written by Jerry Williams, Jr., Gary Bonds and Charles Whitehead, published by Jerry Williams Music, Inc./Cendo Music/Vemco Music (BMI), produced and arranged by Jerry Williams, Jr. (THE SWAMP DOGG), engineer: David Johnson, track time = 4:15. Island Records, 7720 Sunset Blvd., Los Angeles, Calif. From the LP Have You Heard This Story?? [Island ILPS 9299].
There also exists an unreleased studio version of "Did I Come Back Too Soon (Or Stay Away Too Long)" recorded by Swamp Dogg in 1996 for Virgin Records.
1976 - The Mind Does The Dancing While The Body Pulls The Strings [edited version] /
The Mind Does The Dancing While The Body Pulls The Strings - Swamp Dogg
(Island WIP 6278)
Written by Jerry Williams, Jnr., published by ATV Music Ltd., produced by Swamp Dogg. Side A [edited version] edit by B.K., track time = 3:05. Side B track time = 5:30. Both sides are shorter than what appears on Have You Heard This Story?? [Island ILPS 9299]. Side A contains the additional label information: "DJ Copy Only", WIPX 1496. Side B contains the additional label information: USADJ 1001-A. Both sides contain the production notice 1976 Island Records Ltd., and the copyright notice 1975 ATV Music Ltd. Side B wording beneath the song writer credit: Taken from the album 'Have You Heard This Story?' - ILPS 9299.
1976 - The Other Man / Believe In Me, Baby - Swamp Dogg
(DJM Records DJS 10684)
Both songs written by Jerry Williams, Jnr, published by ATV Music Ltd. produced by Jerry Williams, Jnr (The Swamp Dogg). Engineer: David Johnson. A Vee Jay Recording. Made in England. Side A track time = @3:17. Side B track time = @6:41. Promotional copies come in a "picture sleeve" containing a brief biography and marketing information:
SWAMP DOGG: Maverick, eccentric, and a unique figure in an age of play-it-safe sound-alikes. A man of many talents, many aliases and many records, but none so fine as 'The Other Man', his latest single, taken from his forthcoming album, 'You Ain't Never Too Old To Boogie' - set for release in August. (DJF 20476.) Born, Jerry Williams Jnr, thirty-four years ago, he was first heard on record as a soul balladeer in the mid-sixties, before metamorphosing into Swamp Dogg in 1970. The following five years had Swamp Dogg writing, producing, arranging, playing keyboards and master-minding highly acclaimed albums for soul giants such as Doris Duke, Irma Thomas, Freddie North and Z.Z. Hill -- all this on top of recording six of his own...some good, some bad, but none too successful. Now with Vee-Jay Records, which is licensed to DJM for the U.K. and most of Europe, he has invested his newest sessions with a quality that should finally bring Swamp Dogg the recognition he knew he deserved all along. For further information contact Press Administration DJM (Distributors) Ltd., James House, 71-75 New Oxford Street, London WC1A 1DP. Telephone: 01-836 4864. Telex 27135.
From the LP You Ain't Never Too Old To Boogie [DJM Records/Vee Jay International DJF 20476].
1977 - Believe In Me Baby (Part I) / Believe In Me Baby (Part II) - Swamp Dogg
(DJM Records DJM 19004/DJS 19004)
Comes in a yellow picture sleeve with red, black and white lettering and a black portrait of Swamp Dogg. The sleeve has the song title as "Believe In Me" part 1&2. The back of the picture sleeve is a black and white advertisement for the LP You Ain't Never Too Old To Boogie [DJM 20476]. The sleeve gives the record number as DJM 19004. The labels give the record number as DJS 19004. Written by Jerry Williams, Jr. Produced by Jerry Williams, Jr. (The Swamp Dogg). A Vee Jay Recording. Published by Mr. Dogg Music/ATV Music BMI. Produced in 1977 by This Record Co., Limited. Distribution CBS Disques. Photo: X. Side 1 is noted by a single star, track time = 3:22. Side 2 is noted by 2 stars, track time = 3:22. From the LP You Ain't Never Too Old To Boogie [DJM Records/Vee Jay International DJM 20476].
1977 - I Did It All / I Sure Love To Ball - Swamp Dogg
(Wizard 1306)
"I Did It All" written by Jerry Williams, Jr., track time = 2:40 (actual track time = @3:02). "I Sure Love To Ball" written by Jerry Williams, Jr. and Charles Whitehead, track time = 3:06 (actual track time = @2:45). Publishers: Mr. Dogg Music/ATV (BMI). From the LP An Opportunity...Not A Bargain!!! [Wizard 1306].
1977 - My Heart Just Can't Stop Dancing / Silly, Silly, Silly, Silly Me - Swamp Dogg & The Riders Of The New Funk
(Musicor MUS-6306, 7" single)
Both sides written by Jerry Williams, Jr., published by Atomic Art Productions, Inc./Demain Music/BMI, produced and arranged by Jerry Williams, Jr. Side A track time = 3:55. Side B track time = 2:47. Musicor Records, a product of Privilege Records, a product of Springboard International, 8295 Sunset Blvd., Los Angeles, Calif. 90046. Side A contains the additional label number (MUS-6306-AS/MLV). Side B contains the additional label number (MUS-6306-B S/M). Both sides are noted as being Stereo/Mono. From the LP "Finally Caught Up With Myself" [Musicor/Privilege/Springboard International MUS-2504].
1977 - My Heart Just Can't Stop Dancing / My Heart Just Can't Stop Dancing - Swamp Dogg & The Riders Of The New Funk
(Musicor DV-MUS-6306, 12" single, 45 rpm)
Written by Jerry Williams, Jr., published by Atomic Art Productions/Demain Music/BMI, produced and arranged by Jerry Williams, Jr. (The Swamp Dogg) for Atomic Art Productions, Inc. Recorded at: Archway Sound Studios, St. Louis, Mo. Engineering: Oliver Sain. Musicor Records, a product of Privilege Records, a product of Springboard International, 8295 Sunset Blvd., Los Angeles, Calif. 90046. Produced 1977 Springboard International, Records, Inc. Side A track time = 5:51 (Intro Time: :10). Side B track time = 3:55 (Intro Time: :10). Side A contains the additional label number (MUS-6306-A S/M DV). Side B contains the additional label number (MUS-6306-A S/M LV). Both sides contain the wording beneath the label numbers: Promotional Copy / Not For Sale. Both sides are noted as being Stereo/Mono. From the LP "Finally Caught Up With Myself" [Musicor/Privilege/Springboard International MUS-2504].
1978 - MADLEEN KANE - I Want You, Need You, Love You / SWAMP DOGG - Salty Dog
(Victor LWG 1186 [Japan], 7" promotional single)
A split-artist single that comes in a picture sleeve featuring a photo of Madleen Kane in a white hat. Lettering at the top of the picture sleeve above the Side A title is in Japanese writing. The top left corner of the picture sleeve reads "45 rpm Giant Disco Single". "Salty Dog" track time = 4:36. This single contains the first appearance of the song "Salty Dog".
1979 - Salty Dog / Come On And Dance With Me - Swamp Dogg
(Victor Musical Industries VIP-2738 [Japan])
Comes in a picture sleeve with an insert containing the lyrics to both songs in Japanese and English. The picture sleeve shows a woman in a red bikini, "Salty Dog" written in yellow Japanese characters, white printing (Sung By Swamp Dogg b/w Come On And Dance With Me), Salty Dog written across the bottom in black lettering in which the letter "O" contains a picture of a drinking glass with the wording "Suntory Tropical '79" in gold lettering. Both songs written by Jerry Williams, Jr. "Salty Dog" was written for Suntory, the Japanese alcoholic beverage brewer and distributor, to advertise their Salty Dog cocktail on television. Side 1 track time = 4:36. Side 2 track time = 4:20. Both songs are edited versions with shorter track times than what appears on the LP Swamp Dogg [Ala Records ALA 1990]. Side 1 contains the additional label numbers AA-1001 and AA-1001-A. Side 2 contains the additional label numbers AA-1001 and AA-1001-B. Both sides produced by Jerry Williams, Jr. (The Swamp Dogg). Arranged by Art Freeman. The Sound Thats Heard Around the World. Atomic Art Records. Made in Japan by Victor Musical Industries, Inc. Licensed by Atomic Art Records, U.S.A.
1979 - Come On And Dance With Me / Salty Dog - Swamp Dogg
(Atomic Art 301, 7" single, 45 rpm, transparent orange vinyl)
Both songs written by Jerry Williams, Jr., published by Jerry Williams Music, Inc. (BMI). Remix Engineer: Peter Hirsh. Produced by Jerry Williams, Jr. (The Swamp Dogg) and King Errisson. Arranger: Art Freeman. Recorded at Dr. Musix. The Sound Thats Heard Around The World. Atomic Art Records 8462 Sunset Blvd. Hollywood CA. 90069. Side A track time = 4:19. Side B track time = 4:36. Both songs are edited versions with shorter track times than what appears on the LP Swamp Dogg [Ala Records ALA 1990].
1979 - Come On And Dance With Me / Salty Dog - Swamp Dogg
(Atomic Art 334, 12" single, 33 1/3 rpm, opaque white vinyl)
Comes in a yellow cardboard jacket with the Atomic Art design in red along the left-hand side; wording in the top right hand corner of both sides: Atomic Art Disco; reproductions of the record labels on both sides; copyright notice 1979 Atomic Art Productions Inc., 8462 Sunset Blvd., Hollywood, CA 90069. Both songs written by Jerry Williams, Jr., published by Jerry Williams Music, Inc. BMI. Side A track time = 11:00. Side B track time = 7:53. Remix engineer: Peter Hirsch. Produced by Jerry Williams, Jr. (The Swamp Dogg) and King Errisson. Arranger: Art Freeman. Recorded at Dr. Musix. The Sound Thats Heard Around The World. Atomic Art Records, 8462 Sunset Blvd., Hollywood, CA 90069. Both songs later appeared on the LP Swamp Dogg [Ala Records ALA 1990].
1982 - Right Arm For Your Love / Come Get It - Swamp Dogg
(Ala Records ALA-112)
Both songs written by Jerry Williams Jr., published by Gorilla Queen Music Inc. (BMI), produced by Jerry Williams Jr. The Swamp Dogg. Dist. Worldwide by Ala Records, 4218 W. Jefferson Bl., Los Angeles, CA. 90016. Side A track time = 2:58. Side B track time = 2:20. Side A has the additional numbering: R-6689. Side B has the additional numbering: R-6690. From the LP Swamp Dogg [Ala Records ALA 1990]. "Right Arm For Your Love" appears on the LP as part of a medley with "For Your Love".
1983 - This Is It / All She Wants Is Reggae Music - Swamp Dogg
(Rare Bullet 102-12, 12" single)
"This Is It" written by Jerry Williams, Jr., E. Atkins and M. Wilson, published by Gorilla Queen Music, Inc./Magicians Birthday (BMI), produced and arranged by Jerry Williams, Jr. (The Swamp Dogg) and Erskine Atkins, track time = 4:18. "All She Wants Is Reggae Music" written by Jerry Williams, Jr., published by Gorilla Queen Music, Inc. (BMI), produced and arranged by Jerry Williams, Jr. (The Swamp Dogg), track time = 4:04. Both sides are longer versions than what appear on the LP Dancin' With Soul. Both sides noted as From the forthcoming album "69" [perhaps the working title for what became Dancin' With Soul]. Side A contains the additional label number 102-12AA. Side B contains the additional label number 102-12B. From the LP Dancin' With Soul [Rare Bullet Rare LP1].
1985 - Shut Your Mouth / Mouth Music - Swamp Dogg
(Rare Bullet RB 12-2021, 12" single)
Both songs written by Jerry Williams, Jr. and Michelle Williams, published by Yvonne Williams Music (ASCAP), produced by Swamp Dogg, associate producer Randye Rand, engineer Bob Kinsey, Fairlight: Paul Skorich. Side 1 track time = 5:47. Side 2 track time = 5:54. Produced 1985 Rare Bullet Records, Inc. "Mouth Music" is an instrumental version of "Shut Your Mouth". "Shut Your Mouth" later appeared on the LP I Called For A Rope And They Threw Me A Rock [S.D.E.G. SDE-4003].
@1988 - GENE PITNEY - Run Run Roadrunner / JERRY WILLIAMS - Run Run Roadrunner
(Stardust URS 062)
Gene Pitney's version of "Run Run Roadrunner" was produced by Jerry Williams, Jr. and Charlie Foxx. It utilizes the same backing track as the version by Jerry Williams [Calla MU 1285; Musicor Records MU 1285], which is also the same backing track used for Williams' "Baby, Bunny (Sugar, Honey)" [1966, Calla C-109]. The song was written by Jerry Williams, Jr. Side A track time = 2:39. Stardust Records, made in USA for distribution by Underground Records, Inc., P.O. Box 91002 [zip code for Altadena, California, a suburb of Los Angeles]. Bayview Village, Post Office, Willowdale, Ont. Canada M2K 2Y6.
Not much is known about the Stardust Records label. It appeared to specialize in bootleg reissues of 1960s material. Information points to these being released circa 1985-1992 with label numbers running from URS 001 - URS 165). A fairly good listing of the singles released on the label can be seen at: http://www.soulflat.de/sfemsing.html#star2
19?? - THE INCREDIBLE BONGO BAND - Bongo Rock / JERRY WILLIAMS - Baby, Bunny (Sugar, Honey)
(Hickory St. 100)
"Baby, Bunny (Sugar, Honey)" written by Jerry Williams, Jr. and Rick Spain. The label is olive green with gray lettering. Copies of this single are extremely difficult to locate.
1989 - I'd Lie To You For Your Love / Happy Dog Day - Swamp Dogg
(S.D.E.G. 89-505)
"I'd Lie To You For Your Love" written by F. Miller, D. Bellamy, J. Barry with additional lyrics by Swamp Dogg, published by Rare Blue Music/Bellamy Bros. Music (ASCAP)/Steeple Chase Music (BMI), produced and arranged by Swamp Dogg and Yvonne Williams, track time = 4:05. "Happy Dog Day" written by Jerry Williams, Jr., published by Jerry Williams Music Inc. (BMI), produced and arranged by Swamp Dogg and Yvonne Williams, track time = 4:16. Distributed by Ichiban Records Inc., P.O. Box 724677, Atlanta GA 30339. Tel.: (404) 926-3377. "Happy Dog Day" is shorter than the version that appears on the album I Called For A Rope And They Threw Me A Rock. Both songs from the LP I Called For A Rope And They Threw Me A Rock [S.D.E.G. SDE-4003].
1991 - She's Built To Kill / Surfin' In Harlem - Swamp Dogg
(Volt VOM-34, CD single)
1. She's Built To Kill (3:45)
2. Surfin' In Harlem (4:28)
Comes in a cardboard picture sleeve. All selections composed by Swamp Dogg (Jerry Williams / Parker Music BMI). Produced, arranged, and perpetrated by Swamp Dogg. Recorded at Leon Haywood's Sunnyside Recording Studio, Los Angeles. Engineer: Bill Dashiell. Remix engineer extraordinaire: Jeff "Dr. Mix" Frickman. Digital mastering: George Horn (Fantasy Studios, Berkeley). Cover photo: Steve Maruta. Design: Jamie Putnam. Volt Records, Tenth and Parker, Berkeley, CA 94710. The disc contains the additional numbering: DIPX 010575.
2004 - When You Move, You Lose / That's The Groove - Jerry Williams
(Grapevine 2000 G2K 45-151)
A previously unissued 1960s single. Both sides written by Jerry Williams Jr., produced by Jerry Williams Jr. Side A track time = 2:48. Side B track time = 2:23. Licensed from SDEG. Mastered at South Union. Made in UK.
2006 - Is This A Woman's Way? / Where Can I Find Love? - The Detroit Magnificents
(Grapevine 2000 G2K 45-161)
A previously unissued single circa 1973. Both sides produced and written by Jerry Williams, Jr. The group was comprised of Gary U.S. Bonds, Swamp Dogg, Kenny Carter, Charlie Whitehead, Johnny Northern and J.R. Bailey.
2008 - When Dreams Come True - Swamp Dogg ...and Introducing Lucciana & Divine
(S.D.E.G. SDE EP #2008)
1. When Dreams Come True (4:47) - Swamp Dogg
Writers: Jerry Williams / Beverly Green. Produced by Swamp Dogg & Beverly Green.
2. Can We Make A Change (4:18) - Lucciana & Divine
Writers: Beverly Green / Rachel Madison / Olivia Wayne / Jerry Williams. Produced and Arranged by Swamp Dogg, Machette, Lucciana & Divine.
3. They Crowned An Idiot King (3:54) - Swamp Dogg
Writers: Jerry Williams / Ned McElroy. Publisher: Jerry Williams Music / Lanova Music (BMI).
4. America Is Bleeding (3:55) - Swamp Dogg
Writers: Jerry Williams / Troy Davis.
Marketing product description: "This is a very important EP because the four songs are inspirational, full of hope and eye opening to the financial perils confronting us, as well as the government and big business injustices that's been cast upon us so maliciously, via squandering of our pension funds, hikes in our taxes and mass unemployment just to name a few. Surrounding all of this is the song, When Dreams Come True, the ultimate dichotomy which speaks of hope and love for this country that can yield a person great success and respect, regardless of race, etc., if he works hard.....for some.... This EP is a combination of rnb & soul as only Swamp Dogg can deliver; employing words of hope, change and cynicism. His is a 'let's get this country off its financial ass and put some people in D.C. that give a damn.' Lucciana & Divine, a hip-hop act being introduced via this EP, continues the motivational aspect via their track Can We Make A Change. Their offering is designed to attract the young at heart and the connoisseurs of hip-hop and rap."
Track 1 produced by Jerry "Swamp Dogg" Williams & Beverly Green. Track 2 produced and arranged by Machette, Lucciana, Divine & Jerry "Swamp Dogg" Williams. Tracks 3 & 4 produced by Jerry "Swamp Dogg" Williams. Recording & Re-Mix Engineer (tracks 1 & 2) - Michael Frenke. Recording & Re-Mix Engineer (tracks 3 & 4) - Norman Whitfield, Jr. All selections published by Jerry Williams Music (BMI) except where noted. All selections produced and arranged by Jerry "Swamp Dogg" Williams except where noted. Manufactured by S.D.E.G. Records / Films, 6433 Topanga Blvd., #142, Canoga Park, CA 91303. Phone (818) 366 0510. (818) 366 0520 Fax. www.swampdogg.net rawspitt@aol.com Warning: Unauthorized reproduction of this recording is prohibited by Federal Law and subject to criminal prosecution... like people really gives a s*#*. Released November 18, 2008.
=======
CDs/LPs:
=======
1970 - Total Destruction To Your Mind
(Canyon LP-7706; 1972, Mojo [UK] 2916014; 1973 French reissue, Vogue SLDRK 780)
1971 - Rat On!
(Elektra EKS-74089)
1972 - Cuffed, Collared & Tagged
(Cream CR-9009)
1973 - Gag A Maggott
(Stone Dogg 3001; President PTLS 1059)
1974 - Have You Heard This Story??
(Island ILPS 9299)
1976 - Swamp Dogg's Greatest Hits?
(Stone Dogg SD-3002)
1976 - You Ain't Never Too Old To Boogie
(DJM Records/Vee Jay International DJF 20476)
1977 - An Opportunity...Not A Bargain!!!
(Wizard 1306)
1977 - "Finally Caught Up With Myself"
(Musicor/Privilege/Springboard International MUS-2504)
1980 - Doing A Party Tonite
(Cream/Vogue VG 408/574010 [France])
1981 - I'm Not Selling Out, I'm Buying In!
(Takoma TAK 7099; Sonet [UK] 875)
1981 - Uncut And Classified 1A
(Charly CRB1026)
1982 - The Best Of Swamp Dogg: 13 Prime Weiners, Everything On It!
(Solid Smoke/War Bride WB-9007)
1982 - Swamp Dogg [Right Arm For Your Love EP]
(Ala Records ALA 1990)
1983 - Dancin' With Soul [with Michelle Williams]
(Rare Bullet Rare LP1)
1983 - Unmuzzled!
(Charly CRB 1045)
1989 - I Called For A Rope And They Threw Me A Rock
(S.D.E.G. SDE-4003)
1989 - Swamp Dogg's Greatest Hits Vol. 1
(P-Vine PCD-2113)
1991 - Cuffed, Collared & Tagged / Doing A Party Tonite
(Edsel/Cream ED CD 338)
1991 - Surfin' In Harlem
(Volt VCD-3408-2)
1991 - Total Destruction Of Your Mind / Rat On
(Charly/Snapper [UK] 301)
1995 - Best Of 25 Years Of Swamp Dogg...Or F*** The Bomb, Stop The Drugs
(Virgin Records America/Pointblank Classic 7243-8-41283-2-6)
1996 - The Excellent Sides Of Swamp Dogg, Vol. 1: Total Destruction To Your Mind / Rat On
(S.D.E.G. 1940)
2000 - Little Jerry Williams Anthology (1954-1969) AKA Swamp Dogg
(S.D.E.G. 1942)
2000 - The Re-Invention Of Swamp Dogg
(S.D.E.G. 1943)
2000 - Swamp's Things: The Complete Calla Recordings Plus!
(Demon-Westside WESM 500)
2001 - Cuffed, Collared And Tagged / Doing A Party Tonite
(Demon-Westside WESM 622)
2001 - The Excellent Sides Of Swamp Dogg, Vol. 2: Cuffed Collared Tagged & Gassed / Gag A Maggot
(S.D.E.G. 1946)
2001 - The Re-Invention Of Swamp Dogg [Trinidad bonus tracks edition]
(CoraZong 255016)
2002 - If I Ever Kiss It .... He Can Kiss It Goodbye!
(S.D.E.G. 1948)
2007 - Resurrection
(S.D.E.G. 1955)
2007 - The Excellent Sides Of Swamp Dogg, Vol. 3: Have You Heard This Story???? / I Called For A Rope And They Threw Me A Rock
(S.D.E.G. 1957)
2007 - The Excellent Sides Of Swamp Dogg, Vol. 4: Swamp Dogg's Greatest Hits / Finally Caught Up With Myself
(S.D.E.G. 1958)
2007 - The Excellent Sides Of Swamp Dogg, Vol. 5: You Ain't Never Too Old To Boogie / The Mercury Record
(S.D.E.G. 1959)
2008 - Swamp Dogg Droppin's
(S.D.E.G./Catch A Fire CAF ??????)
2009 - "Give 'em as Little As You Can...As Often As You Have To...or...A Tribute To Rock 'n' Roll"
(S-Curve 807315120122)
2009 - An Awful Christmas and A Lousy New Year
(S.D.E.G. 1968)
=================
CDs/LPs - DETAILS:
=================
AN AWFUL CHRISTMAS AND A LOUSY NEW YEAR
(2009, S.D.E.G. 1968)
1. Santa Claus Has Fallen In Love (4:39)
2. Santa Claus Is Coming To Town (5:35)
3. An Awful Christmas And A Lousy New Year (5:10)
4. Old Fashion Country Christmas (3:47)
5. A Little Black Child At Christmas (4:01)
6. What Christmas Means To Me (3:49)
7. Silent Night (4:27)
8. Jingle Bells (3:53)
9. Santa's Just A Happy Fat Fart (4:27)
10. Away In A Manger (2:28)
NOTES:
Released August 18, 2009. From the press release: "Swamp Dogg has done it again! His first holiday album, chocked full of great original songs, rock 'n' rolling r'n'b with hints of country and funk, as only he can do. He is the grandmaster of his own exclusive genre; southern r'n'b funk. Once retailers hear this cd, they'll go beyond the call of duty to exploit it. Swamp originally wrote the title song (track 3) for Otis Redding in 1966. Otis liked it but never got to record it. The performance of it on this CD is very similar to what Swamp (Little Jerry Williams at that time) had suggested and imagined to Otis. Being diehard fans of South Park, Swamp and his wife, Beverly wrote track 9 with Eric Cartman and Terrence & Phillips in mind. S P fans will know why immediately. Tracks 1 & 2 are definite radio and club hits!!"
AN OPPORTUNITY...NOT A BARGAIN!!!
(1977, Wizard 1306)
Side A:
1. It's A Bitch (3:14; actual time = @3:26)
[Jerry Williams, Jr.]
2. Let's Do It Again (11:16; actual time = @12:08)
[Jerry Williams, Jr.]
3. Shaft's Mama (8:46; actual time = @9:32)
[Jerry Williams, Jr.]
Side B:
1. The Other Man (2:40; actual time = @3:16)
[Jerry Williams, Jr.]
2. I Can Stand The Lonely Days (I Can't Take These Lonely Nights) (2:36; actual time = @2:47)
[Jerry Williams, Jr.]
3. Believe In Me Baby (6:14; actual time = @6:39)
[Jerry Williams, Jr.]
4. I Did It All (2:40; actual time = @3:05)
[Jerry Williams, Jr. and Stan McKenney]
5. I Sure Love To Ball (And You Do Too) (2:76 [sic]; actual time = @2:43)
[Jerry Williams, Jr. and Charles Whitehead]
6. Sweetest Thing In California (4:06; actual time = @4:34)
[Jerry Williams, Jr.]
7. Dyn-ooo-mitt-ee (2:12; actual time = @2:41)
[Jerry Williams, Jr. and Charles Whitehead]
NOTES:
Produced and arranged by Jerry Williams, Jr. (The Swamp Dogg) for Wizard Productions, Inc. Engineer: David Johnson. Recorded at Broadway Sound, Muscle Shoals, Alabama. Piano/organ/clarinet: Swamp Dogg. Drums: Jimmy Evans. Guitar: Travis Wammack. Bass: Bob Wray. Percussion: Ed Watkins. Horns: Harrison Calloway, Ronnie Eades, Harvey Thompson, Charles Rose. Album coordinator: Yvonne Williams. Album design: Bob Clark, Zenith Communications. All songs written by Jerry Williams, Jr. and published by Mr. Dogg Music/ATV/BMI except cuts A-2 and A-3 which are published by Jerry Williams Music, Inc. (BMI). Distributed by Wizard Productions, Inc., 2501 Ocean Drive, Hollywood, Florida. Printed in U.S.A.
"Let's Do It Again" and "Shaft's Mama" are different versions from what appears on Charlie Whitehead and The Swamp Dogg Band (1973, Fungus 25145); these versions have Swamp Dogg on vocals. Unfortunately, reports from three different individuals who own copies seem to indicate that these 2 songs on the LP have inherent sound problems, therefore it is likely that all copies of this LP have the same problem. "I Sure Love To Ball (And You Do Too)", "Sweetest Thing In California" and "Dyn-ooo-mitt-ee" have different track times than what appears on the LP You Ain't Never Too Old To Boogie (1976, DJM Records/Vee Jay International/This Record Co. Ltd. DJF 20476). This is the rarest Swamp Dogg album and extremely difficult to find at any price; a sealed copy sold for $200 on eBay in the summer of 2007.
Comments by Swamp Dogg on The Southern Soul List (Yahoo) 11/22/00: "The phrase "opportunity, not a bargain" was directed to the owner of Musicor and his attorney, Danny Puglise and George Port, respectively. We were joking (...I guess they were) around about the production cost and I needed to impress upon them that I needed what I needed and having a Swamp Dogg album would be the type of opportunity that could not/should not be measured by bargain standards." ... "Wizard was a tax shelter deal I did in Florida."
"I leased the "Opportunity....." album to Wizard in Florida as a tax shelter move. It was not suppose to become a hit, even if it had the potential. It was born to be a loser on one hand and a small goldmine on the other." --Swamp Dogg, Southern Soul List (Yahoo) 11/08/08
THE BEST OF SWAMP DOGG: 13 PRIME WEINERS, EVERYTHING ON IT!
(1982, Solid Smoke/War Bride WB-9007)
Side 1:
1. Total Destruction To Your Mind (3:24)
[Jerry Williams, Jr.]
2. Synthetic World (3:23)
[Jerry Williams, Jr.]
3. Eat The Goose (Before the Goose Eats You) (2:57)
[Jerry Williams, Jr.]
4. Wife Sitter (3:37)
[Jerry Williams, Jr. and Stan McKenney]
5. Mama's Baby, Daddy's Maybe (4:08)
[Jerry Williams, Jr. and Gary Bonds]
6. Buzzard Luck (3:38)
[Jerry Williams, Jr.]
Side 2:
1. Paradoxical (No Bugles) (2:07)
[Jerry Williams, Jr.]
2. The Baby Is Mine (2:48)
[Jerry Williams, Jr.]
3. Sal-A-Faster (2:48)
[Jerry Williams, Jr.]
4. I Couldn't Pay For What I Got Last Night (2:47)
[Jerry Williams, Jr.]
5. Dust Your Head Color Red (2:48)
[Jerry Williams, Jr. and Gary Bonds]
6. Please Let Me Kiss You Goodbye (3:15)
[Jerry Williams, Jr.]
7. Don't You Try To Be My Man (2:49)
[Jerry Williams, Jr.]
NOTES:
Front cover additional wording: A savory all-meat treat! Contains: Total Destruction To Your Mind; Mama's Baby, Daddy's Maybe; Synthetic World. Produced and arranged by Jerry Williams, Jr. (The Swamp Dogg). Album coordinator: Yvonne Williams. Album supervision: Marty Arbunich and Rico Tee. Front cover concept: Jerry Williams, Jr. Album design: Ellie Byrom. Photography: Steve Pyryezstov. All selections written by Jerry Williams, Jr. and published Red Admiral Music, Inc. (BMI) except as noted. "Wife Sitter" Williams/McKenney, published by Red Admiral Music, Inc./Sherlyn Publishing, Inc. (BMI). "Mama's Baby, Daddy's Maybe" Williams/U.S. Bonds, published by Red Admiral Music, Inc./Wally Roker Music (BMI). "Dust Your Head Color Red" Williams/U.S. Bonds, published by Red Admiral Music, Inc./Sherlyn Publishing, Inc. (BMI). War Bride Records, a dimension of Solid Smoke Records, PO Box 23372, San Francisco, California 94122.
LINER NOTES:
Solid Smoke has assured me that this compilation of "prime weiners" will make us a million franks. Give me a break! Listen to the album and let's determine whether this sucker deserves a cover or a lid.
In spite of my complaints, there are only a few other "walks of life" I'd care to tread instead...garage door repairman, busboy (not the band), King Kong's breath, Edsel dealer, Barbara Billingsley's theatrical agent, escaped convict, Steve Garvey's attitude, tree trunk, murderer, George Tobin's integrity, Mel Posner's hemorrhoids, a muppet, a Puerto Rican...
Thanks to the man I owe most for the compilation of this album and my resurgence of creativity...Ronald Reagan. Since occupying the ovary office, he has made it possible for me to write twenty to thirty songs per day while driving my taxi. At night I'm free as a breeze and twice as balmy, thus making significant summits possible: "Ruth Brown Meets Faye Wray", "Soul Clan's Soul Meeting" (featuring Don Covay, Ahmet Ertegun, Leon Spinks, Solomon Burke, Marilyn Chambers and Cyndy Garvey) and "Doris Duke Meets Anybody She Can."
This album represents everything I stand for...or was that "can't stand"??? I'll sit down and think about it.
-- THE SWAMP DOGG
BEST OF 25 YEARS OF SWAMP DOGG...OR F*** THE BOMB, STOP THE DRUGS
(1995, Virgin Records America/Pointblank Classic 7243-8-41283-2-6)
1. Fuck The Bomb...Stop The Drugs (3:54)
[Jerry Williams, Jr. and Troy Davis]
2. Pledging My Love (3:09)
[D. Robey and F. Washington]
3. California Is Drowning And I Live Down By The River [Alternate Version] (4:21)
[Jerry Williams, Jr. and Yvonne Williams]
4. Buzzard Luck (3:41)
[Jerry Williams, Jr.]
5. Redneck (2:47)
[Joe South]
6. Call Me Nigger (7:16)
[Jerry Williams, Jr.]
7. Or Forever Hold Your Peace (2:26)
[Jerry Williams, Jr. and Stan McKenney]
8. Lie To You For Your Love (3:51)
[F. Miller, D. Bellamy, H. Bellamy and J. Barry]
9. The Love We Got Ain't Worth Two Dead Flies [Alternate Version] (4:22)
[Jerry Williams, Jr.]
10. Understanding California Women (4:03)
[Jerry Williams, Jr.]
11. Wifesitter (3:25)
[Jerry Williams, Jr. and Stan McKenney]
12. Complication #5 (3:02)
[Jerry Williams, Jr. and Troy Davis]
13. In My Resume (2:36)
[Jerry Williams, Jr. and Troy Davis]
14. If It Hadn't Been For Sly (4:02)
[Jerry Williams, Jr.]
15. Jeri (4:19)
[Jerry Williams, Jr.]
16. You Say You Trust Your Mother (2:39)
[Jerry Williams, Jr. and Troy Davis]
17. We Need A Revolution (4:48)
[Jerry Williams, Jr.]
18. Shut Your Mouth (5:42)
[Jerry Williams, Jr.]
NOTES:
Compilation 1995 Virgin Records America, Inc., 338 N. Foothill Road, Beverly Hills, CA 90210, issued under exclusive license from S.D.E.G. Video/Films/Records. Manufactured by EMI Manufacturing (USA). Printed in the USA. Produced and arranged by Swamp Dogg. Album coordinator: Yvonne Williams. Art direction: Len Peltier. Design: Jeff Lyons. Artwork: Greg Jensen. Photography: Jeff Lyons and Greg Jensen.
"F*** The Bomb...Stop The Drugs" and "Pledging My Love" are new bonus tracks recorded in August 1995.
Additional cover wording: Roger, Romeo, Tango, Charlie, Zulu, Foxtrot. Gentlemen we the people of the United States would like to personally congratulate you in having the Balls to drop the Big One. So we award you with these medals of Honor. God Bless America; Peace on Earth. (Through superior fire power). F**k the Bomb-Stop the drugs. Swamp Dogg. little boy.
Additional inside booklet wording: [page 2] Fuck the Bomb. I sung about sex, niggers, love, rednecks, war, peace dead flies, home wreckers, Sly Stone, my daughters politics revolution and blood transfusions. The American Dream; [page 4] "Help me my condo is on Fire!" "I just stood and watched years of hard work go up is flames"; [page 6] "I'm the last person in the human race!" "Nigger, no, no" "It's against the law to get caught in California without your ID card." [page 8] Well spent Tax Dollars; Prime Pilot No Pudknockers; Snazzy New Plane; Dear Newt. I'm very glad that my tax dollars are going into this snazzy new High Tech Fight that is the rave in France and not going to aid the handicapped homeless JERKS that free load off my beloved country. Let those God Dam Liberal Pinkos help them out. God Bless America (Dole for President; A cripple that did something with his life!); Bad spent Tax dollars, She probable sell it for Drugs.
Musicians - Cut 1: Bass - Steve Andreoni; Guitar - Alan Schwartz; Drums - Michael Parker; Electric Piano - Swamp Dogg; Keyboards - Gregory Cook; Recorded at Jamland Studios, Mission Hills, CA; Engineer - Roger Curley.
Musicians - Cut 2: Bass - Mark Flippen; Sax - Jerry Peterson; Trumpet - Lee Thornberg; Guitar - Alan Schwartz; Drums - Michael Parker; Electric Piano - Swamp Dogg; Keyboards - Gregory Cook; Recorded at Jamland Studios, Mission Hills, CA; Engineer - Roger Curley.
Musicians - Cuts 3 and 9: Piano - Swamp Dogg; Fender Rhodes - Nate Morgan; Organ - Nate Morgan; Drums - Carlos "Corky" Carraby; Guitar - Bob Etoll; Bass - Kenny Lewis; Percussions - King Errisson; Tenor and Flute - Dashiell Humdy; Trumpet - William Barnes, Hank Ballard, Jr. and Gabriell Flemings; Trombone - Alvin Stanton and Terry Carter; Background Vocals - Swamp Dogg, Sal Valentino and Maurice McCormick; Recorded at Hit Man Studio, Los Angeles, CA.
Musicians - Cuts 4, 6 and 7: Keyboards - Swamp Dogg; Guitar - Travis Wammack; Drums - Jimmy "Be-Bop" Evans; Organ - Randy McCormick; Bass - Bob Wray; Congas and Percussion - Audie "Ed" Watkins; Horns - Harvey Thompson, Sonny Royal, Stacy Goss, Mike Stough, Charles Rose and Ronnie Eades; Banjo - Raul Yarbourgh; Recorded at Broadway Sound, Muscle Shoals, AL; Engineer - David "Bat" Johnson.
Musicians - Cut 5: Piano - Swamp Dogg; Guitar - Jesse "Beaver" Carr; Drums - Johnny "Duck" Sandlin; Bass - Robert "Pop" Popwell; Organ/Piano - Paul "Berry" Hornsby; Horns - Maconites; Recorded at Capricorn Studios, Macon, GA; Engineer - Jim "Fantastic" Hawkins.
Musicians - Cuts 8, 17 and 18: Keyboards - Swamp Dogg; Bass - Lequint "Duke" Jobe; Guitar - Tony "Chainsaw" Mathews; Background Vocals - Swamp Dogg, Jeri Williams and Cris Jones; Recorded at Music Lab, Los Angeles, CA; Engineer - Bob Kinsey.
Musicians - Cut 10: Keyboards, Fender Rhodes, Grand Piano and ARP PE-IV: Swamp Dogg; Tenor, Alto, Trumpet and Trombone: Oliver Sain; Drums - Sammy Harris; Bass - Maurice "Poochie" Cotton; Guitar - Oswald Peters; Percussions - Ricky "Bongo" Starr; Recorded at Archway Sound, St. Louis, MO; Engineer - Oliver Sain.
Musicians - Cut 11: Piano - Swamp Dogg; Bass - Ron Bogdon; Guitar - Willie "Little Beaver" Hale; Drums - Ivan "Breeze" Olander; Horns - Swamp Dogg Band; Background Vocals - George and Gwen McCrae, Betty Wright and Steve Alaimo; Recorded at Henry Stone's Studio, Miami, FL; Engineer - Steve Alaimo and Brad Shapiro.
Musicians - Cuts 12, 13, 14 and 16: Piano - Swamp Dogg; Guitar - Jesse Carr; Organ - Clayton Ivey; Bass - Court Pickett; Drums - George Soule; Horns - Sonny Royal, Stacy Goss, Mike Stough, Charles Rose, Ronnie Eades, Joe De Angelis, Jack Faith and Joel Dorne; String Section - Philadelphia Symphony Orchestra; String Arrangements - Richard Rome; Recorded at Regent Sound, Philadelphia, PA and Quinvy Recording Studios, Muscle Shoals, AL; Engineers - Joel Fein and David Johnson.
Musicians - Cut 15: Piano - Swamp Dogg; Fender Rhodes - Dee Ervin and David Ervin; Synthesizer - Dee Ervin and David Ervin; Guitar - Bob Etoll; Bass - Kenny Lewis; Drums - Spyder Web; Percussions - King Errisson; Horns - David Stout, Robert Carr, Curt Sletten, Harry Kim, Joel Peskin; Strings - Bill Kurash Ensemble; Recorded at United Western, Hollywood, CA; Engineer - Andy Zane.
LINER NOTES:
I became Swamp Dogg in 1970 in order to have an alter-ego and someone to occupy the body while the search party was out looking for Jerry Williams, who was mentally missing in action due to certain pressures, mal-treatments and failure to get paid royalties on over fifty single records including "Chapel On The Hill," "Let's Do The Wobble," "I'm The Lover Man" (top 50 pop), "Baby You're My Everything" (#1 R'n'B nationally), "She's A Heartbreaker" (gold for Gene Pitney), "Count The Days I'm Gone" (Inez and Charlie Foxx) and more too numerous to mention. Don't get me wrong ... some of these companies should have released the artist instead of the record because the records weren't shit.
Most all of the tracks included were recorded in Muscle Shoals, Alabama, and Macon, Georgia, which brings me to how the name Swamp Dogg came about. Jerry Wexler, Atlantic Records v.p. and producer/innovator second to none, was recording in the newly discovered mecca of funk Muscle Shoals, Alabama. He coined the term "Swamp Music" for this awesome funk predominately played by all white musicians accompanying the R'n'B institutions e.g., Wilson Pickett, Aretha Franklin, King Curtis, etc., etc. - stay with me, I haven't digressed, I was also using the same "swamp" players. I was tired of being a jukebox, singing all of the hits by Chuck Jackson, Ben E. King, etc., and being an R'n'B second banana. I couldn't dance as good as Joe Tex, wasn't pretty like Tommy Hunt, couldn't compare vocally to Jackie Wilson and I didn't have the sex appeal of Daffy Duck. I wanted to sing about everything and anything and not be pigeonholed by the industry. So I came up with the name Dogg because a dog can do anything, and anything a dog does never comes as a real surprise; if he sleeps on the sofa, shits on the rug, pisses on the drapes, chews up your slippers, humps your mother-in-law's leg, jumps on your new clothes and licks your face, he's never gotten out of character. You understand what he did, you curse while making allowances for him but your love for him never diminishes. Commencing in 1970, I sung about sex, niggers, love, rednecks, war, peace, dead flies, home wreckers, Sly Stone, my daughters, politics, revolution and blood transfusions (just to name a few), and never got out of character. Recording in Alabama and sincerely singing/writing about items that interested me, gave birth to the name Swamp Dogg.
When I had to say my name for people who hadn't heard my records they would snicker and giggle. This used to piss me off ... like what's so wonderful sounding about your name, at least I named myself. You're stuck with some shit of which you don't even know the derivative. Now that we have Snoop Doggy Dogg, The Doggs, The Dogg Pound and a multitude of other rapping canines, the name Dogg is as common as Smith and Goldstein. Wonder why everyone spells it with two G's? Coincidence I guess.
There are two new studio cuts on this album. The first one, "Fuck The Bomb...Stop The Drugs" is based on what I've seen over the past twenty-five years while our government worried about Russia's nuclear advantages, only to discover that Russia had less money than Orange County and every son-of-a-bitch named Escobar from Columbia was selling kilos of dope door-to-door in America. Americans have remained so high and strung out on cocaine and its companion drugs, that even if Russia had been endowed with the funds to purchase fuel for their missiles/bombs and had the balls to push the button, most Americans would have thought they were watching the Electric Light show at Disneyland until their skin started rolling down their bodies like Saran Wrap unpeeling. My point? Fuck The Bomb, Stop The Drugs!! Stop The Bull Shit! Stop The Dependency! Stop The Gangs! Reinstitute the draft and put these bad-ass motherfuckers killing tow year olds in the Army where they can still have a gun...then point 'em toward Saddam Hussein and the Husseins of the world. Years ago, when mothers used to march the bad-asses down to the draftboard, they returned after six weeks of basic training as real human beings. The Army was the charm school for assholes.
Where would the money come from for this new Army? From the funds targeted to fight street gangs, wage war on drugs, and create learning programs that no one signs up for anyway, while the administrators abscond with the monies each year and request ten percent more for the coming year...that money! If the drug dealers and gangbangers are in Bosnia, monies can be rechanneled to the military. In addition, there would be less money needed for building prisons and rehabilitating (that's a joke) the un-rehabilitatable. Everybody wants to belong and have a sense of usefulness and these motherfuckers belong in the Army and would be very useful on the front line. All of this prison money could be put to better use because the prisons wouldn't be over-crowded. This would do away with pre-teen criminals who come out because they want to be like their brother or uncle or, sometimes, father. I look at the news and see a thirty-five year old gangbanger. That's when I want to put on a headrag, go down there, take a stick that's been soaking in motor oil for six months and whip his ass all the way to McDonald's and everyday at McDonald's until he becomes a manager and starts taking care of his obligations. I digress.
New studio cut number two is "Pledging My Love," a song that made it to the number one position on all of the charts by Christmas '55 by John Marshall Alexander, Jr. - known to his millions of fans as Johnny Ace. This was a very important record to me, based on the fact that this opened the ballad door in my life and I then added "Cross My Heart," "The Clock," "Saving My Love For You," "Anymore," and "My Song," to my mostly Fats Domino-Chuck Berry-ish repertoire. These were all hits by Johnny Ace, whose recordings I will always appreciate and continue to listen to at least once a month, forever.
I have a thing about cutting my favorite songs by my favorite artists, and I've only recorded a few, because I usually have so much respect for their work that unless I can add another acceptable dimension to a new recording of same, I'll leave it alone and enjoy it in the way it was intended to be...un-fucked with by me. In the case of "Pledging My Love," I drew inspiration from Johnny, Ziggy Marley and Jackie Wilson, thus bringing about the song's psuedo reggae and high tenor from which I damn near developed polyps. If you really want to hear a great R'n'B crooner, pick up some Johnny Ace. A brief note, he lost at Russian roulette, Xmas day, nineteen fifty-five.
I want to thank my wife, manager, hero and partner, Yvonne, for having more faith in me than anyone and loving me through poverty, worms (I'll explain at the concert), narcissism, depression, panic attacks and bouts of unfounded generosity.
I thank and love my little five year old partner and granddaughter, Victoria for re-introducing me to my past recordings. She has gotten more use from my jukebox in three years than I've gotten in the last fifteen. She's made me listen to songs that I never would have listened to again, but seeing her derive so much pleasure from my past started me to thinking that maybe some other music lovers would also. I hope you do...but if you don't, fuck you...Victoria loves me.
I also thank John Wooler for being discriminating enough to like my music and bring it aboard the Pointblank enterprise. I refuse to let myself down, so John, you're in safe water.
Thanks to Alison Taylor and Larkin Kennedy, you have been wonderful and I won't let you guys down either.
More thanks to Rick Hocutt, Wally Roker, Jeff Grinstein, Henry Marx, Bill Lebowitz, Bob Merlis, Al Bell, Karimu Shaw, Jeri Williams for being my daughter and leveling force, Toni a daughter always ready to help so I can get projects completed on time, Warren Lanier and a handful of others. The further you travel into life the fewer people there are to thank, unless you're thanking them for getting the fuck out of your life so you can breathe...those names could fill a book the size of War And Peace.
Another thanks to Gary U.S. Bonds whom I'll always love.
My last thanks goes to the biggest Swamp Dogg fan in the world, Hayward, California's own Steven K. Brown. Thanks Steven for turning people on to me.
CUFFED, COLLARED & TAGGED
(1972, Cream CR-9009)
Side 1:
1. Sam Stone (3:57)
[John Prine]
2. Complication No. 5 (3:00)
[Jerry Williams, Jr. and Troy Davis]
3. Lady Madonna (3:50)
[John Lennon and Paul McCartney]
4. You Say You Trust Your Mother (2:36)
[Jerry Williams, Jr. and Troy Davis]
5. If It Hadn't Been For Sly (4:00)
[Jerry Williams, Jr.]
Side 2:
1. Your Last Dirty Trick (2:45)
[Jerry Williams, Jr. and Don Hollinger]
2. Knowing I'm Pleasing Me & You (2:35)
[Jerry Williams, Jr. and Charles Whitehead]
3. In My Resume (2:33)
[Jerry Williams, Jr. and Troy Davis]
4. Captain Of Your Ship (1:53)
[Jerry Williams, Jr. and Don Hollinger]
5. Don't It Make You Wanta Go Home (7:55)
[Joe South]
NOTES:
Produced and arranged by Jerry Williams, Jr. Engineered by David Johnson and Joel Fein. Piano: Jerry Williams, Jr. Guitar: Jesse Carr. Organ: Clayton Ivy. Bass: Court Pickett. Drums: George Soule. Horns: Sonny Royal, Stacy Goss, Mike Stough, Charles Rose, Ronnie Eades, Joe De Angelis, Jack Faith, Joel Dorne. All vocal background voices by Jerry Williams, Jr. String arrangements by Richard Rome. Album co-ordination by Yvonne Williams. String section: Philadelphia Symphony Orchestra. Photography by Norman Seeff. Album designed by Dean O. Torrence / Kittyhawk Graphics. Mastering at Custom Fidelity. Master engineering by Terry Moore. Album recorded at the Regent Studio / Philadelphia, Pa. and Quinvy Recording Studio / Muscle Shoals, Ala. Cream Records, a division of Bennett Enterprises, Inc., Los Angeles, California. Printed in U.S.A.
LINER NOTES:
This album is by far the greatest piece of writing, arranging, producing and sequencing genius that I've ever encountered. Anyone who has heard the first two Swamp Dogg albums will possibly say impossible, but after listening to this one will make the cross-over to incredible. The only album that may possibly compare with this one, is the one that I'm contemplating doing in the late future.
Everything that is necessary to make a hit album I have; Ego, talent, originality, humor and I am dynamic, articulate, defiant, altruistic, considerate, warm, wonderful & humble. My reputation speaks for itself, having either written, produced or both, hit records for Gene Pitney, Z.Z. Hill, Freddie North, Doris Duke, Wilson Picket, Arthur Conley, Lulu, Stoneground, Johnny Paycheck, Conway Twitty, Dee Dee Warwick, Little Richard, Whispers, Gary Bonds, Joe Tex, Donnie Elbert, Lightning Slim, Irma Thomas, John Rowles, Tommy Overstreet, and Loretta Lynn, just to scratch the surface.
I have also been a Grammy nominee for the last two years. I'm also a Cancer (July 12) and twenty nine years in the world.
What you've just read is my trip and if you can't tolerate it, that's your trip.
-- Jerry Williams, Jr. / P/K/A Swamp Dogg
NOTES FROM LITTLE JERRY WILLIAMS ANTHOLOGY (1954-1969):
"In 1972 I met a man I'll never forget, Wayne Bennett (Cream Records) and a multi album pact. Elektra had dropped me like I was a leper with terminal syphilis. The Cream album was "Cuffed Collared And Tagged" and it gave birth to the "Sam Stone" single that took the FM Underground Market by storm. A short tour followed then I returned to my first loves, writing and producing for other artists. As I was gathering material for my next Cream album I discovered that they had quietly slipped out of the business into the night. Oh Well.... Immediately I made a pact with George Barriers Brat Records who closed their doors before my album's release. So much for that!!"
CUFFED, COLLARED AND TAGGED / DOING A PARTY TONITE
(2001, Demon-Westside WESM 622)
CUFFED, COLLARED AND TAGGED
1. Sam Stone (4:01)
[John Prine]
2. Complication No. 5 (3:07)
[Jerry Williams, Jr. and Troy Davis]
3. Lady Madonna (3:58)
[John Lennon and Paul McCartney]
4. You Say You Trust Your Mother (2:41)
[Jerry Williams, Jr. and Troy Davis]
5. If It Hadn't Been For Sly (4:06)
[Jerry Williams, Jr.]
6. Your Last Dirty Trick (2:49)
[Jerry Williams, Jr. and Don Hollinger]
7. Knowing I'm Pleasing Me And You (2:39)
[Jerry Williams, Jr. and Charles Whitehead]
8. In My Resume (2:37)
[Jerry Williams, Jr. and Troy Davis]
9. Captain Of Your Ship (2:00)
[Jerry Williams, Jr. and Don Hollinger]
10. Don't It Make You Wanta Go Home (8:10)
[Joe South]
DOING A PARTY TONITE
11. Party Tonite (6:33)
[Jerry Williams, Jr.]
12. Jeri (4:21)
[Jerry Williams, Jr.]
13. I'm Gonna Keep On Loving You No. 9 (3:21)
[Jerry Williams, Jr.]
14. Rhythm 'N' Blues (4:24)
[Jerry Williams, Jr.]
15. Come A Little Closer Baby (4:45)
[Jerry Williams, Jr.]
16. What's Left For Y'awll To Do (4:53)
[Jerry Williams, Jr.]
17. Hang On I'll Save You (4:37)
[Jerry Williams, Jr.]
18. Mind Over What's The Matter (7:31)
[Jerry Williams, Jr.]
NOTES:
Back cover wording: Two albums that bookend the 1970s from one of soul music's most individual and cherished all-rounders. Dogg-gone good!
A product of Cream/Hi Records Inc. issued under license to the Demon Music Group. Demon-Westside, West Heath Studios, 174 Mill Lane, London NW6 1TB. A division of Demon Music Group Ltd. Made in England. Barcode 6-14475-03622-0.
LINER NOTES:
When Jerry Williams, Jr. of Portsmouth, Virginia reinvented himself as Swamp Dogg in 1970, he was already nearly 15 years into a career that had brought him a reputation as a reliable journeyman singer, writer and producer with a stack of single releases to his name on an ever-changing array of record labels such as Southern Sound, Loma, Calla and Cotillion - but not much in the way of tangible success beyond the respect of a gathering clan of Soul aficionados, for whom "A Jerry Williams Jr. Production" on a record label could usually be interpreted as a sign that a cash outlay was imminent. He doubtless hoped that a change of identity would bring with it greater fame and fortune than had been his lot-in-life to date...
Sadly, the three decades that have since passed have done little to bring fame or fortune Swamp's way - at least, not with the degree of consistency his subsequent recordings have deserved. But happily, a lot of great music has subsequently been created and recorded by the man, on an even greater array of record labels, in the pursuit of both mainstream critical acclaim and copious ackers in the bank. This package brings together two albums that, between them, contain their far share of great music. Originally released by Cream Records of Los Angeles, 'Cuffed, Collard And Tagged' and 'Doing A Party Tonite' show where Swamp was at, at either end of a vibrant-if-turbulent decade for African-American music. They were - and still are! - the third and ninth albums in a career that's now seen around twenty such things. Many are sadly out of print in the CD era, but if you like what you hear here, please feel free to check out any and all of those that ain't, as Swamp Dogg is definitely one artist for whom 'If You Like One, You'll Like 'Em All' is the rule!
Swamp's biography should be well enough known to his Barmy Army of devotees, either through the many articles written about him in the Soul press or the notes to earlier Dogg CDs, often written in inimitable fashion by the man himself. Let's a) assume that, having got this far, you actually know something about or subject and haven't just bought this CD out of idle curiosity, b) spare you further repetition of familiar facts and c) head straight into the reason we're all here - the music...
First released on vinyl in late Summer 1972, 'Cuffed, Collared And Tagged' (CR 9009) followed hard on the heels of what most Swamp Dogg fans correctly believe to be a pair of his very best sets, 1970's 'Total Destruction To Your Mind' (Canyon) and '71's 'Rat On' (Elektra) - two landmark albums of Black music that had both been bypassed, to their eternal discredit, by most of their intended audience in the weekly stampede to buy the latest James Brown funk masterpiece. While - as a unified whole - CC&T doesn't quite attain the same heights of greatness as its predecessors, it's still a mighty piece of work whose best moments are more than equal to anything that precedes them. No reason why they shouldn't, either - Swamp was still working out of the studios in Muscle Shoals that had provided the setting for his best work to date, still using the many great musicians associated with the area and still collaborating with past cohorts Don Hollinger, Charlie 'Raw Spitt' Whitehead and Troy Davis on material that matched the best of their previous work together.
One such song on CC&T ranks among the finest to bear the names of either Swamp or Davis as composer. 'Complication #5' may offer an upbeat, attractive melody, but its lyrics are among the darkest ever to have found their way onto a disc's worth of Dogg. The listener may be initially under the impression that this is merely a paean to lost love, but by the chorus it's apparent that something altogether more sinister is afoot - and the pay-off line is as devastating now as it was when the prospect of nuclear devastation was frighteningly close at hand on an almost daily basis.
The fairly straightforward do-over of the Beatles' 'Lady Madonna' that follows it might almost be there to lighten the mood rather than provide any startling alternative spin on the original - but the set's other two non-Dogg copyrights are both prime examples of Swamp's talent for reinterpretation. Obviously a fan of the great Atlanta-based singer-songwriter-guitarist Joe South, Swamp had already paid his respects with killer versions of 'These Are Not My People' and 'Redneck' on the 'Total Destruction' album. Here he revises South's sublime commentary on social change 'Don't It Make You Want To Go Home' with a slowly-building, extended arrangement that serves to emphasize a poignant message that must have struck a chord with all those returning from Viet Nam to face changes they could barely have anticipated, and even more so with those stuck out in 'Nam and yearning for the Green Green Grass Of Home that was being swallowed up by malls and multiplexes even in the early 1970s.
Even more to the point was John Prine's 'Sam Stone' - still then a new song, and one that told an all-too-familiar tale of a returning soldier 'with a Purple Heart and a monkey on his back' and his gradual descent into heroin hell. There are few lyrics more stark than those in Prine's final verse, and Swamp's interpretation of a scenario that would have been all-too-real for far too many people makes for anything but easy listening. Prine's own version is a classic and in a catalogue that's fair littered with high points, there's no doubt that Swamp's interpretation of 'Sam Stone' ranks among the highest, albeit least easy to listen to...
Elsewhere on CC&T there was a markedly bluesy feel to some tracks - more in construction than execution, perhaps, but 'Your Last Dirty Trick' and the too-brief-but-totally-funky 'Captain Of Your Ship' both revisit territory first explored successfully on 'Mama's Baby - Daddy's Maybe' from the 'Total Destruction' set. And even though the attractive tune and arrangement of 'You Say You Trust Your Mother' ('But Still You Cut the Cards') belies its origins, a quick listen to the lyric places the idea smack dab in the middle of Beale Street. An attractive tune also enhances the seemingly-biographical 'In My Resume', as does another subtle and sweet Richard Rome string arrangement that nicely counterpoints one of Swamp's most pleading vocal performances. Only the rather throwaway nature of 'Lady Madonna', and the oddball production/construction of 'If It Hadn't Been For Sly' let down and otherwise exemplary collection of all that was and is best about 70s Southern Soul. By rights, it should have sold a million...
...But it didn't. In spite of the poignant performance and relevant anti-war message of 'Sam Stone', radio programmers didn't bite when Cream offered it as a single (#1021 c/w the typically Dogg-y chugger 'Knowing I'm Pleasing Me And You') - and although the 'Cuffed, Collared' album didn't quite fall stillborn from the presses, it sold sufficiently few copies that it might just as well have done. Thus Swamp moved on, to a new home and - regrettably - to further failure when his next employers, Brut Records, opted not to issue the wonderful album that he presented to them in 1972, and that was eventually issued in 1976, as 'Greatest Hits?', on his own Stone Dogg imprint (and that was also briefly available in 1999 on a now-deleted Westside CD 'Swamp's Things'). On the cover of the latter album Swamp stated, somewhat contemptuously, that CC&T was 'still being used as a playtoy by the Bennetts' - a reference to Cream's founder, former Liberty records boss and inspiration for 'Alvin' of famed kiddie act Alvin and the Chipmunks! Ever the wag, he also said 'Greatest Hits?' had been rejected by Brut because it 'didn't have the Great Smell' associated with that company's main source of income...
Al Bennett sold Cream sometime in the mid 70's, its new owners also acquiring the legendary Memphis imprint Hi at around the same time. (Coincidentally, this activity coincided approximately with Swamp's own relocation to the West Coast, where he resides and records to this day). Swamp's feelings of antipathy towards Cream - and particularly towards its previous owners - had obviously mellowed by the end of the decade, when he re-signed on the dotted line to release his ninth album in ten years (and on seven different labels, already!). By the time he did so, things had changed considerably in the world of African-American music. The impassioned intensity of Southern Soul was almost an anachronism, with the style bordering on extinction before resurrecting itself vengefully in the early 80s as BlueSoul. Disco had become the Dish Of The Day for young Black record buyers, and Disco was still at its height when Swamp - ever one to take advantage of his innate musical adaptability - rode the boogie bus all the way to the studios to make 'Doing A Party Tonite', his final release on the label...
To be fair, he wasn't the only respected soulman riding said bus at that particular stage in his career but, like a lot of other products of the period, 'Party Tonite' can now be seen to belong firmly to a select number of albums which most Soul fans file under 'It Probably Seemed Like A Good Idea At The Time'. Despite its currently-in-vogue chic and the timeless quality of its best records (Candi's 'Young Hearts Run Free', Chic's 'Good Times', Ashford & Simpson's 'Don't Cost You Nothing' and most-if-not-all Salsoul and Philadelphia International Records from the period), the overall sound of Disco has not worn well, particularly on recordings by artists whose natural habitat it might not have been. Dogg die-hards are hardly likely to contest any statement that their hero was hardly To The Disco Born - or that 'Doing A Party Tonite' is not really among the unqualified successes in the Dogg catalogg...
That it isn't, is not really the fault of the material (the self-explanatory, and rather basic title track possibly excepted). Most of the lyrics and melodies are typically Swamp-y - and had they been attached to something other than relentless slurping, hi hat-driven rhythms, many of the tracks would rank with the best of Swamp's previous and future work. One of the few tracks to break away from the dance arena, 'I'm Gonna Keep On Loving You #9', is vintage Dogg in the mould of his other great 'number' songs like 'Predicament #2' (a 1971 Mankind single for Brooks O'Dell') or CC&T's 'Complication #5', and even the synthesizer-led arrangement can't get in the way of a terrific lyric and performance. Likewise a dumb arrangement, replete with popping disco bass, can't quite obliterate the southern raunch of the vaguely autobiographical 'Rhythm & Blues' ('I Make My Living Playing Rhythm & Blues'). The salacious lyrical content of the breezy 'What's Left For Y'awll To Do' notwithstanding, it too is vintage Dogg. And once the closing downtempo moodiness of 'Mind Over What's The Matter' gets past its meandering synthesizer intro it very nearly justifies being the work of not one but two greats of 60s/70s R&B, Swamp and the late Big Dee Irwin, a.k.a. Dee Ervin, whose 'I Was Born Blue' was among the many highlights of Swamp's 1970 debut Canyon album 'Total Destruction To Your Mind'.
There's nothing wrong, either, with Swamp's own vocal performances, even on the least enticing cuts (step forward again, title track). And his own distinctive piano work is always in evidence and high up in the mix, along with the personalized horn riffs that had been a feature of all Swamp's material and sympathetic string arrangements from long-time Dogg associate Richard Rome (on hiatus from his own then-very-successful Ritchie Family project). Many might say, and this writer might be inclined to agree, that if you're gonna listen to anyone singing to a disco beat, better it be Swamp than some lisping, pneumatic disco bint. But given the choice of an ultra-soulful 'Sam Stone' or 'In My Resume' or a hyper-pounding 'Come A Little Closer Baby' - well, the choice makes itself for most Swamp fans.
Cream may have had second thoughts about the album once it was delivered, as it seems never to have been given a US release or even allocated a catalogue number. Most, if not all, known copies of the vinyl issue are of French origin, where Cream's local affiliate Disques Vogue issued it as # 574010 in 1980. There's no evidence to suggest that it was any kind of success in the land of brie and baguettes, and it's since become something of a collector's piece - albeit more for the collectability of the artist in soul circles than for its overall content...
For Cream, 'Doing A Party Tonite' was a kind of last musical hurrah - the label shut up shop in early 1981 (which might be yet another reason for its apparent failure to gain a US release). For Swamp Dogg, it was another stop along a road that continued through the 80s, and to this day, with barely a hint of the financial and critical success a talent such as his undoubtedly deserves. Albums on labels like Ala, Takoma, Ichiban, Volt and PointBlank have continued to keep Dogg watchers on the alert for music gems that often match the heights attained by the classic albums of the early 70s - 'Cuffed, Collared And Tagged' among them - and since the mid 90s Swamp has finally given up on the idea of trying to get often-unsympathetic record moguls to understand the method to his madness, instead releasing/reissuing both new and neglected classics on his own SDEG (Swamp Dogg Entertainment Group) imprint. Even as his bus pass eligibility draws ever closer he's still at it in the new millennium, his 2000 offering being - of all things - a soca set, recorded mostly in the music's indigenous homeland Trinidad and entitled 'The Reinvention Of Swamp Dogg'!
Popular music has, over the years, had more than its fair share of eccentrics, the artist formerly known as Jerry Williams, Jr. being - by most standards including, I've no doubt, his own - a prime example of the genre. But it's a thin line that separates eccentric and genius, and there's no doubt in this writer's mind that Swamp Dogg has spent the greater part of his career to date on the latter side of the line. Here are a pair of long-out-of-print albums that, although more than two decades old, continue to give a fulsome demonstration of just about every facet of Jerry the wonder Dogg. He's been one of Soul's leading lights for almost half a century now - and long may Swamp continue to confuse, amuse and generally amaze fan and foe alike with his mega-talents and musical outpourings!...
-- Chris Bolton
January 2001
Acknowledgements: John Ridley's notes to WESM 500 'Swamp's Things' (Now deleted, sadly...).
ADDITIONAL NOTE:
The track timings for the Doing A Party Tonite songs "Party Tonite", "Rhythm 'N' Blues" and "Come A Little Closer Baby" are noticeably longer than what appears on the vinyl version of the record (1980, Cream/Vogue VG 408/574010 [France]).
DANCIN' WITH SOUL [with Michelle Williams]
(1983, Rare Bullet Rare LP1)
Side A [JERRY SWAMP DOGG WILLIAMS JNR.]:
1. Some Kind Of Wonderful [vocals by David Ebo] (@3:42)
[John Ellison]
2. Hold On I'm Coming (@3:55)
[Isaac Hayes and David Porter]
3. Funktastic Galactickle Rock (@4:55)
[Jerry Williams, Jr.]
4. This Is It (@3:54)
[Jerry Williams, Jr., E. Atkins and M. Wilson]
5. All She Wants Is Reggae Music (@3:54)
[Jerry Williams, Jr.]
Side B [MICHELLE WILLIAMS]:
1. Foxy Foxy Rapp (@4:11)
[Jerry Williams, Jr.]
2. Lovercise (@3:35)
[Jerry Williams, Jr.]
3. Don't Stop The Boogie (@4:08)
[Jerry Williams, Jr.]
4. Mad Love (@3:59)
[Jerry Williams, Jr. and M. Lewis]
5. Make Me Yours (@4:07)
[Bettye Swann]
NOTES:
Cover wording includes: Some Kind of Wonderful, Make Me Yours, Hold On I'm Coming. Record labels are white/blank. Rare Bullet Records marketed and distributed by Pinnacle. Rare Bullet "The Home Of Funky Soul". "Some Kind Of Wonderful" is sung by David Ebo, who was the lead vocalist with Harold Melvin and The Blue Notes from 1976 to 1980. All side two tracks produced by Swamp Dogg and also available on Michelle Williams' album Make Me Yours [1984, Rare Bullet RB LP 2003; 1985, Rams Horn Records RHR 5101]. "Mad Love" is also available on Ted & Venus: Original Motion Picture Soundtrack [1992, Warlock/S.D.E.G. WARCD-2734].
LINER NOTES:
JERRY "SWAMP DOGG" WILLIAMS Jr.
Jerry is almost a living legend in the soul and R & B field, and has been working actively in the business for over fifteen years. As a journalist recently pointed out, all of Jerry's work seems to create that indefinable charismatic quality, as a result of his production techniques.
Jerry's production work with other artists has resulted in several northern soul classics in the U.K., but Jerry, as a solo performer, has succeeded in building a reputation over the years in the soul and R & B field. His catalogue of solo albums must now be close to ten. In the production field, his reputation reached a peak when he worked on Doris Duke's soul classic "I'm The Other Woman To The Other Woman". Jerry has also worked with artists such as: Millie Jackson; Arthur Conley; Z.Z. Hill; Little Beaver; Patti LaBelle, and Charles Whitehead, but one must never forget Jerry's own unmistakable vocal abilities, which have made his many solo albums so powerful.
Pinnacle bring the Jerry Williams story up to date by producing for the U.K. market this brand new album which comprises five tracks by Jerry on one side and five by his soulful daughter, Michelle Williams, on the other. Jerry produced the whole album.
On Jerry's side, his performances include variations of the old Sam & Dave classic, "Hold On I'm Coming", and the well known Soul Brothers Six number, "Some Kind Of Wonderful".
Michelle performs well on side two, providing a selection of up-tempo and funky soul numbers that are tailor made for the dance floor. Four of the songs were penned by Jerry, but the fifth is a variation of Bettye Swann's soul classic, "Make Me Yours".
Tony Berry - Pinnacle Records
DOING A PARTY TONITE
(1980, Cream/Vogue VG 408/574010 [France])
Side A:
1. Party Tonite (6:14)
[Jerry Williams, Jr.]
2. Jeri (4:28)
[Jerry Williams, Jr.]
3. I'm Gonna Keep On Loving You No.9 (3:21)
[Jerry Williams, Jr.]
4. Rhythm 'N' Blues (3:55)
[Jerry Williams, Jr.]
Side B:
1. Come A Little Closer Baby (4:32)
[Jerry Williams, Jr.]
2. What's Left For Yaw'll To Do (4:54)
[Jerry Williams, Jr.]
3. Hang On I'll Save You (4:41)
[Jerry Williams, Jr.]
4. Mind Over What's The Matter (7:32)
[Jerry Williams, Jr.]
NOTES:
Side A tracks 2, 3 and 4 and Side B tracks 1, 2 and 3 produced and arranged by Jerry Williams, Jr. (Swamp Dogg) for Atomic Art Productions, Inc. Side A track 1 produced by Jerry Williams, Jr./Richard Rome/Norman Harris. Side B track 4 produced by Jerry Williams, Jr./Dee Ervin. Executive Producer: Wayne Bennett. Assistant to Producer: King Errisson/Dee Ervin. String and Horn Arrangements: Art Freeman. Photo: X. Produced/Copyright 1980 Cream Record Inc.
Musicians: Piano - Jerry Williams, Jr. (Swamp Dogg)/Ellen Silvers; Fender Rhodes - Richard Rome/Dee Ervin/David Ervin; Clavinet - Richard Rome; Synthesizer - Dee Ervin/David Ervin; Guitar - Norman Harris/Bob Etall/Eddie (Tree) Moore; Bass - David Williams (side A tracks 2, 3 and 4 and side B tracks 1, 2 and 3)/Kenny Lewis/Jimmy Williams; Drums - Spyder Web/Keith Benson; Percussions - King Errisson (side A tracks 2, 3 and 4 and side B tracks 1, 2 and 3)/Ed Watkins/Chilli Charles; Horns - David Stout/Robert Carr/Curt Sletten/Harry Kim/Joel Peskin; Strings - Bill Kurash Ensemble; Background Vocals - Swamp Dogg/Hodges, James and Smith (side A tracks 2, 3 and 4 and side B tracks 1, 2 and 3)/Phil Hurt (side A tracks 2, 3 and 4 and side B tracks 1, 2 and 3)/Dee Ervin; Hand Claps - Sam Watkins/Irene Bonds. King Errisson - courtesy of Westbound Records. Hodges, James and Smith - courtesy of London Records. Phil Hurt - courtesy of Fantasy Records. David Williams - courtesy of Avi Records.
Engineer: Andy Zane/Steve Smith. Re-Mix Engineer: Pat Burnette. Recorded at United Western (Hollywood, Calif.)/Alpha Int. (Philadelphia, PA). Album co-ordinator and concept: Yvonne Williams. Distribution: Vogue P.I.P., 93430 Villetaneuse. [Liner note by Swamp Dogg:] Gratitude, love and perpetual indebtedness to the only four entities that made this album possible: God, Yvonne, Wayne and my self.
ADDITIONAL NOTE:
The track timings for "Party Tonite", "Rhythm 'N' Blues" and "Come A Little Closer Baby" are noticeably shorter than what appears on the CD reissue version of the record (Cuffed, Collared And Tagged / Doing A Party Tonite, 2001, Demon-Westside WESM 622).
THE EXCELLENT SIDES OF SWAMP DOGG, VOL. 1
(1996, S.D.E.G. 1940)
TOTAL DESTRUCTION TO YOUR MIND...
1. Total Destruction To Your Mind (3:24)
[Jerry Williams, Jr.]
2. Synthetic World (3:23)
[Jerry Williams, Jr.]
3. Dust Your Head Color Red (2:48)
[Jerry Williams, Jr. and Gary Bonds]
4. Redneck (2:47)
[Joe South]
5. If I Die Tomorrow (I've Lived Tonight) (2:50)
[Jerry Williams, Jr.]
6. I Was Born Blue (2:58)
[Jerry Williams, Jr. and Dee Erwin]
7. Sal-A-Faster (2:48)
[Jerry Williams, Jr.]
8. The World Beyond (3:39)
[Bobby Goldsboro]
9. These Are Not My People (2:36)
[Joe South]
10. Everything You'll Ever Need (2:51)
[Jerry Williams, Jr. and Gary Bonds]
11. The Baby Is Mine (2:48)
[Jerry Williams, Jr.]
12. Mama's Baby, Daddy's Maybe (4:08)
[Jerry Williams, Jr. and Gary Bonds]
RAT ON...
13. Do You Believe (2:50)
[Jerry Williams, Jr. and Troy Davis]
14. Predicament #2 (3:07)
[Jerry Williams, Jr.]
15. Remember I Said Tomorrow (2:41)
[Jerry Williams, Jr. and Troy Davis]
16. Creeping Away (2:51)
[Jerry Williams, Jr. and Gary Bonds]
17. Got To Get A Message To You (4:08)
[Barry Gibb, Robin Gibb and Maurice Gibb]
18. God Bless America For What (5:34)
[Jerry Williams, Jr. and Troy Davis]
19. I Kissed Your Face (3:51)
[Jerry Williams, Jr., Gary Bonds and Tobie Milit]
20. That Ain't My Wife (3:15)
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
21. She Even Woke Me Up To Say Goodbye (3:05)
[Mickey Newbury and Douglas Gilmore]
22. Do Our Thing Together (4:07)
[Jerry Williams, Jr. and Troy Davis]
NOTES:
Tracks 1-12 personnel: Jerry Williams, Jr. - piano and vocals; Jesse (Beaver) Carr - guitar; Johnny (Duck) Sandlin - drums; Robert (Pop) Popwell - bass; Paul (Berry) Hornsby - organ, piano; Jackie Avery Singers - background vocals; The Maconites - horns; Frank Fenter - wheeler-dealer. Produced and arranged by Jerry Williams, Jr. Engineered by Jim (Fantastic) Hawkins.
Tracks 13-22 personnel: Jerry Williams, Jr. - produced, arranged, piano, vocal and everything else of any importance; Stacy Goss - trumpet, flugelhorn; Sonny Royal - tenor, clarinet, baritone; Mike Stough - trumpet, flugelhorn; Robert Popwell - bass, percussions; Jesse Carr - guitar, background vocal; Jasper Guarino - drums. Engineered by David Johnson. Album co-ordinator: Yvonne Williams. Cover photos: Willis Hogans, Jr. Inlay photos - Siegfried Halus.
LINER NOTES:
Biographical Trifles: I was born in Portsmouth, Virginia, July 12, 1942 and was fortunate enough to move away as soon as I became of age. Without any formal training I awakened one morning only to find that I was a genius and could master a number of musical instruments including piano, tambourine, sticks, finger cymbals, tweezers, washboard and bobby pin. At eighteen years old I was Captain of the volleyball team. Got married when I was 21, Yvonne: damn near ruined her life - so I filed for a divorce which wasn't granted, blah, blah, blah, blah, yak, yak, etc., and so on... Became a bartender by day and a carpenter by night while she stayed at home to raise our new born orangutan. We later moved into a one room, cold water flat with Wally Roker, Phil Walden, Jerry Wexler, Gene Autry, Snow White, Moms Mabley and a whole bunch of other people who are going to be uptight because their names aren't listed in detail with their social views and other fetishes.
I owe all my present success to a very dear person, someone who stuck by me when things were really bad and has never made a motion to harm me or my talents in any way. A person whom I love, worship and admire beyond any shadow of doubt - ME!!!
THE EXCELLENT SIDES OF SWAMP DOGG, VOL. 2
(2001, S.D.E.G. 1946)
CUFFED COLLARED TAGGED & GASSED
1. Sam Stone (4:01)
[John Prine]
2. Complication #5 (3:06)
[Jerry Williams, Jr. and Troy Davis]
3. Lady Madonna (3:58)
[John Lennon and Paul McCartney]
4. You Say You Trust Your Mother (2:41)
[Jerry Williams, Jr. and Troy Davis]
5. If It Hadn't Been For Sly (4:06)
[Jerry Williams, Jr.]
6. Your Last Dirty Trick (2:49)
[Jerry Williams, Jr. and Don Hollinger]
7. Knowing I'm Pleasing Me & You (2:37)
[Jerry Williams, Jr. and Charles Whitehead]
8. In My Resume (2:37)
[Jerry Williams, Jr. and Troy Davis]
9. Captain Of Your Ship (2:00)
[Jerry Williams, Jr. and Don Hollinger]
10. Don't It Make You Wanta Go Home (8:06)
[Joe South]
GAG A MAGGOT
11. Choking To Death From The Ties That Bind (5:29)
[Jerry Williams, Jr. and Stan McKenney]
12. Please Let Me Kiss You Goodbye (3:20)
[Jerry Williams, Jr.]
13. Mighty Mighty Dollar Bill (5:00)
[Jerry Williams, Jr. and Stan McKenney]
14. T.T. (2:50)
[Jerry Williams, Jr.]
15. Midnight Hour (2:46)
[Steve Cropper and Wilson Pickett]
16. Why Must We Fall (When We Fall In Love) (3:17)
[Jerry Williams, Jr. and Stan McKenney]
17. Wifesitter (3:28)
[Jerry Williams, Jr. and Stan McKenney]
18. I Couldn't Pay For What I Got Last Night (2:49)
[Jerry Williams, Jr.]
BONUS TRACK
19. God Bless America For What "Live" (11:10)
[Jerry Williams, Jr. and Troy Davis]
NOTES:
Lacks the song "Plastered To The Wall (Higher Than The Ceiling)" from the Gag A Maggott album. Front cover includes the additional wording: Includes... "Sam Stone"; Contains 2 Full Albums CUFFED COLLARED TAGGED and GASSED & GAG A MAGGOTT Plus A Bonus 11 minute Unreleased "Live" Track of "God Bless America For What". Insert includes the original liner notes for both albums. Barcode: 7-22247-1946-2-4.
Cuffed Collared Tagged & Gassed Credits: produced and arranged by Jerry "Swamp Dogg" Williams; engineered by David Johnson @ Quinvy Studio, Muscle Shoals, AL., and Joel Fein @ Regent Studio, Philadelphia, PA.; string arrangements by Richard Rome; string musicians - Philadelphia Symphony Orchestra. Jerry Williams - piano; Jesse Carr - guitar; Clayton Ivy - organ; Court Pickett - bass; George Soule - drums; Sonny Royal - tenor, clarinet; Stacy Goss - trumpet; Mike Stough - trumpet; Charles Rose - trombone; Ronnie Eades - baritone. My apologies for not remembering the following wonderful musicians' instruments...: Joe DeAngelis; Jack Faith; Joel Dorne.
Gag A Maggot: produced and arranged by Swamp Dogg and Steve Alaimo. Jerry Williams - piano; Ron Bogdon - bass; Willie "Little Beaver" Hale - guitar; Ivan "Breeze" Olander - drums. Background vocals: Steve Alaimo; Betty Wright, George McCrae; Gwen McCrae; Swamp Dogg; K.C. Horns: Swamp Dogg Band. Engineered by Steve Alaimo @ TK Studios (the little ass room), Miami, FL. Remixed by Steve Alaimo, Howie Albert and Ron Albert @ Criterion Miami, FL.
Bonus Track: contains explicit language. Produced and arranged by Jerry (Swamp Dogg) Williams. S.D.E.G. (Swamp Dogg Entertainment Group) phone: (818) 366-0510; (818) 366-0520.
ADDITIONAL NOTE:
Track 19, "God Bless America For What" live, was recorded in 1996 at the Sweetwater saloon in Mill Valley (San Francisco), California.
THE EXCELLENT SIDES OF SWAMP DOGG, VOL. 3
(2007, S.D.E.G. 1957)
HAVE YOU HEARD THIS STORY ????
1. The Mind Does The Dancing While The Body Pulls The Strings (7:05)
[Jerry Williams, Jr.]
2. I Wanna Lifetime Of Loving You (2:22)
[Jerry Williams, Jr.]
3. When He Was No One (I knew Jesus) (3:13)
[Jerry Williams, Jr.]
4. God Ain't Blessing America (4:30)
[Jerry Williams, Jr.]
5. Chewed Up Grass (4:28)
[Jerry Williams, Jr.]
6. I Wouldn't Leave Here To Go To Heaven (2:36)
[Jerry Williams, Jr. and Charles Whitehead]
7. Did I Come Back Too Soon (Or Stay Away Too Long) (3:40)
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
8. Dr. M.L.G.(J.A.) Dr. Martin L. Goldfarb (Jive Ass) (3:44)
[Jerry Williams, Jr.]
9. My Hang Ups Ain't Hung Up No More (3:39)
[Jerry Williams, Jr.]
I CALLED FOR A ROPE AND THEY THREW ME A ROCK
10. I'd Lie To You For Your Love (4:05)
[F. Miller, D. Bellamy, H. Bellamy and J. Barry]
11. Come To L.A. (4:45)
[Jerry Williams, Jr.]
12. We Need A Revolution (4:45)
[Jerry Williams, Jr.]
13. Kiss Me Hit Me Touch Me (7:37)
[Jerry Williams, Jr.]
14. Myocardial Infarction (Heartbreak) (4:01)
[Jerry Williams, Jr.]
15. Shut Your Mouth (5:40)
[Jerry Williams, Jr.]
16. Happy Dog Day (4:16)
[Jerry Williams, Jr.]
17. Let The Good Times Roll (3:44)
[Leonard Lee and Shirley Goodman]
18. 1958 (3:55)
[Jerry Williams, Jr.]
NOTES:
The 6-page fold-out liner notes insert contains the original liner notes for both albums with the additional credit of Executive Producer: Dr. Beverly Green-Williams.
Notes from Swamp Dogg's record store website: Tracks 1, 5, 8 and 9 appeared as the therapeutic "A" side of his album, which tells an abridged story of his early bouts with panic attacks and agoraphobia. Several vocal tracks were re-recorded and the result is a more dynamic musical work than it was in 1974.
The liner notes for the Have You Heard This Story???? tracks state, "Includes New Swamp Dogg Vocals and Some Norman (Slam) Whitfield, Jr. Remixes". The 2007 remixes were engineered at The Dogg's House, Northridge, California. Tracks 1, 5 and 9 have been remixed with additional background vocals from Swamp Dogg. The newly added background vocals on "The Mind Does The Dancing While The Body Pulls The Strings" also incorporates a lyric line from the Buddy Miles song "Them Changes". All of the Have You Heard This Story???? tracks (except track 8) are shorter than what appears on the vinyl version of the album released in 1974. All of the CD version tracks (except track 8) are anywhere from 13 to 39 seconds shorter than the vinyl version tracks, most noticeably "Did I Come Back Too Soon (Or Stay Away Too Long)" and "God Ain't Blessing America".
THE EXCELLENT SIDES OF SWAMP DOGG, VOL. 4
(2007, S.D.E.G. 1958)
SWAMP DOGG'S GREATEST HITS??????
1. Buzzard Luck (3:38)
[Jerry Williams, Jr.]
2. Or Forever Hold Your Peace (2:23)
[Jerry Williams, Jr. and Stan McKenney]
3. I Can't Stand To Hear Her Say Please (3:20)
[Jerry Williams, Jr. and Stan McKenney]
4. Call Me Nigger (7:08)
[Jerry Williams, Jr.]
5. Ebony And Jet (2:44)
[Jerry Williams, Jr.]
6. Don't You Try To Be My Man (2:49)
[Jerry Williams, Jr.]
7. Paradoxical (No Bugles) (2:07)
[Jerry Williams, Jr.]
8. I'm Still In Love With You (3:18)
[Jerry Williams, Jr.]
9. I've Never Been To Africa (3:18)
[Jerry Williams, Jr.]
10. Eat The Goose Before The Goose Eats You (2:57)
[Jerry Williams, Jr.]
FINALLY CAUGHT UP WITH MYSELF
11. If You Gotta Do Wrong (Do It Right) (5:13)
[Jerry Williams, Jr.]
12. Trash (4:13)
[Jerry Williams, Jr.]
13. Communication #2 (0:30)
[Jerry Williams, Jr.]
14. New Orleans My Home (3:08)
[Jerry Williams, Jr.]
15. Understanding California Women (4:06)
[Jerry Williams, Jr.]
16. Silly Silly Silly Silly Me (2:47)
[Jerry Williams, Jr.]
17. Walking On Eggs (3:14)
[Jerry Williams, Jr.]
18. All Around Friend (2:07)
[Jerry Williams, Jr.]
19. Communication #1 (0:30)
[Jerry Williams, Jr.]
20. My Heart Just Can't Stop Dancing (3:55)
[Jerry Williams, Jr.]
21. Embryo S.O.S (5:29)
[Jerry Williams, Jr.]
22. Slow Slow Disco (4:43)
[Jerry Williams, Jr.]
NOTES:
"SWAMP DOGG'S GREATEST HITS??????" PERSONNEL:
All songs written by Jerry Williams except where noted. All songs published by Jerry Williams Music (BMI). Engineer - David (Bat) Johnson (Broadway Sound, Muscle Shoals, AL). Keyboards - Me. Guitar - Travis Wammack. Drums - Jimmy "Be-Bop" Evans. Organ - Randy McCormick. Bass - Bob Wray. Congas & Percussions - Audie "Ed" Watkins. Horns - Harvey Thompson, Sonny Royal, Ronnie Eades, Mike Stough, Stacy Goss, Charles Rose. Banjo - Rual Yarbourgh.
Sugar Sweet Inspiration: Yvonne, Michelle, Debbie, Toni, Joy, David Johnson, Howard Roberts, Dutch Maxwell, Earl Rhone, Johnny Jenkins, Donnie Fritts, Rico, Candy, Matt Parsons, Cher, Joe Turnage, Charlie Whitehead, Sam Trust, Ernie Leaner, Richard Gossert, Phyllis White, Joe McEwen, Johnny Carson, Harold Carter, Steve Turner, Mary Mason, Lassie. (note: Little Jeri aka Dr. Jeri Yvonne Williams (1976) and Dr. Beverly Green-Williams (2005) had not entered my life.)
ORIGINAL LINER NOTES:
Special thanks to the Holiday Inn who made me pay in advance and then double locked my door.
My gratitude to Steve Alaimo who pointed out all of my artistic shortcomings, lack of talent, and inability to negotiate on a higher plane. Thanks Steve, for buying this LP.
And then there is Henry Stone, kind granddaddy of pseudo-Miami soul...I'll never forget his words..."Money? Why do you need money? All you're gonna do is spend it foolishly on your home, family, career, etc., etc., etc. Stay in the studio where you belong, everything will be all right." I took his advice and stayed in the studio eight months, without coming out for food, drink, clothes or bath. My family was gone, my house was converted to a Qwki Car Wash, and other people were singing my style. Henry, you got some advice for a niggers ass!!
You also might be wondering why this album is entitled "Swamp Dogg's Greatest Hits"...That's only because you haven't every heard any of the songs, which is due mainly to the fact that you don't listen to rock stations in Santa Domingo, Aruba, Tel-Aviv, Capetown, Forte de France, Pakistan, Sudan, and Bethlehem, Pa., just to name a few.
A Swamp Dogg fan is a devoted fan! When you enter a Swamp Dogg fan's home, you'll find that they have secured every means of Swamp Dogg communication possible: posters, reel to reel, eight track, cassettes, LP's, EP's, 45's, 78's, 8 x 10's, sheet music, Swamp Dogg magnetic cleaning cloths, Swamp Dogg display racks, needles, browser boxes, divider cards, special playback and recording equipment that is geared only for Swamp Dogg paraphernalia, and let's not forget my special polyethylene bags which you give to your younger brothers and sisters to play with while you're worshipping the dogg.
Why am I loved so by these people? This was answered by the noted Polish doctor and philosopher Iamsuri Boondiskulchok Noritaka Musikverlage Dacla who said, "If you funk King Kong long enough you'll learn to love him."
"FINALLY CAUGHT UP WITH MYSELF" PERSONNEL:
All songs written by Jerry Williams. All songs published by Jerry Williams Music and Demain Music (BMI) except "Walking On Eggs" published by Jerry Williams Music & Unichappell Music (BMI). Produced & arranged by Jerry "Swamp Dogg" Williams. "All Around Friend" produced by Swamp Dogg and Oliver Sain. Engineer - Oliver Sain (Archway Sound, St. Louis, MO).
J.W. Dogg - Fender Rhodes, Steinway grand, Arp PE-IV string ensemble, Arp Axxe, Moog synthesizer, mellotrone, tambourine & organ. Oliver Sain - tenor sax, alto sax, baritone sax, soprano sax, flute, trombone, trumpet, Fender Rhodes & tap dancing. Big Willie Broom - blues specialist. Sammy Harris - drums. Maurice (Poochie) Cotton - bass. Oswald Peters - guitar. Ricky "Bongo" Starr - percussions. Background vocals - Linda White, Toni Stubblefield, Claudette Balle, Leroy Stubblefield, Ernie Freeman, Swamp Dogg.
Personnel on Slow Slow Disco..
Swamp Dogg - piano, synthesizer. Audie "Ed" Watkins - percussions. Harvey Thompson - tenor sax. Ronnie Eades - baritone sax. Stacy Goss - trumpet. Mike Stough - trumpet. Charles Rose - trombone. Clayton Ivey - organ. Court Pickett - bass. George Soule - drums. Strings - 9th Street Recreational Center, Bippy City, Oklahoma. Engineer - David (Bat) Johnson (Broadway Sound, Muscle Shoals, AL).
ADDITIONAL NOTE:
The track listings for each album have been re-ordered from what the original album order was on each side.
THE EXCELLENT SIDES OF SWAMP DOGG, VOL. 5
(2007, S.D.E.G. 1959)
YOU AIN'T NEVER TOO OLD TO BOOGIE
1. Sweetest Thing In California (5:32; actual time = 5:26)
[Jerry Williams, Jr.]
2. The Other Man (3:14; actual time = 3:12)
[Jerry Williams, Jr.]
3. I Can Stand The Lonely Days(But Can't Stand The Lonely Nights) (2:40; actual time = 2:32)
[Jerry Williams, Jr.]
4. Dyn-o-mite (2:57; actual time = 2:54)
[Jerry Williams, Jr. and Charles Whitehead]
5. You Ain't Never Too Old To Boogie (6:41; actual time = 3:20)
[Jerry Williams, Jr.]
6. Sure Love To Ball (And You Do To) (3:59; actual time = 2:57)
[Jerry Williams, Jr. and Charles Whitehead]
7. Believe In Me Baby (3:03; actual time = 6:38)
[Jerry Williams, Jr.]
8. It's A Bitch (3:23; actual time = 3:56)
[Jerry Williams, Jr.]
9. I Had A Ball (I Did It All) (3:01; actual time = 3:03)
[Jerry Williams, Jr.]
THE MERCURY RECORD
10. Don't Give Up (3:23; actual time = 3:21)
[Jerry Williams, Jr.]
11. Mercy Mercy (3:01; actual time = 3:00)
[Don Covay]
12. Your Wonderful Love (2:26)
[Jerry Williams, Jr.]
13. Complication #4 (3:02)
[Jerry Williams, Jr.]
14. That's My Wife (5:08; actual time = 5:03)
[Jerry Williams, Jr.]
15. If You're Leaving (Take Me With You) (2:59)
[Jerry Williams, Jr.]
16. Wifebeater (4:23; actual time = 4:17)
[Jerry Williams, Jr. and Stan McKenney]
17. He Don't Like Country Music (And He Hates Little Kids) (4:02; actual time = 3:59)
[Jerry Williams, Jr. and Stan McKenney]
18. When I Fell (Why Did I Fall In Love With You) (2:43; actual time = 2:35)
[Jerry Williams, Jr.]
BONUS TRACK
19. Same Train Twice (5:25; actual time = 5:19)
NOTES:
Contains 1 full album, You Ain't Never Too Old To Boogie, and an un-released country album, we'll call The Mercury Record, because they commissioned it, then ran like hell after second thought about signing a Black country artist.
You Ain't Never Too Old To Boogie - This was scheduled to be released with the title "It's A Bitch", which was before Johnny Guitar Watson's album. Unfortunately we were both on DJM and he had more clout and better numbers so some ass hole decided to rename my album "You Ain't Never Too Old To Boogie" and put a ninety year old man on the cover dancing with a young girl.
"You Ain't Never Too Old To Boogie" Personnel
Produced and arranged by Jerry "Swamp Dogg" Williams. Executive Producer: Dr. Beverly Green-Williams. Keyboards: Swamp Dogg. Guitar: Travis Wammack. Drums: Jimmy Evans. Bass: Bob Wray. Percussion: Audie Watkins. Horns: Harvey Thompson, Sunny Royal, Harrison Callaway, Ronnie Eades, Mike Stough, Stacy Goss, Charles Rose.
"The Mercury Record" Personnel
Produced and arranged by Jerry "Swamp Dogg" Williams and Yvonne Williams for Yvonne Williams Productions. "He Don't Like Country Music (And He Hates Little Kids" arranged by Jerry Williams, Jim Vest and Bob Etoll. Executive Producer: Dr. Beverly Green-Williams. Piano: Swamp Dogg. Pedal Steel: J.D. Maness, Jim Vest. Guitar: Sid Huson, Bob Etoll. Drums: Eddie Rodriquez. Fiddle: Tommy Williams, Ernie Reed. Bass: Tim Southerland. Tenor Sax: Charles Hayes. Background vocals: Bobby Hardin, Dottie Delonibus, Mary Fiedler, Swamp Dogg. Recorded and mixed at LSI Studio, Nashville, Tn. Engineer: Danny Dunkleberger.
Special Thanks and love to my friend, Steve Popovich, who had visions of me as the next Black country star. He tried to sign me to Mercury Nashville, when he was vice president, after the album was completed, but he was met with plenty opposition. I didn't push the issue...after all he did what he could do. I didn't want him to lose his job trying to sell pig feet to Muslims.
Some more thanks and love to J.R. Williams, who brought this project and several other Nashville geared projects of mine to fruition.
[Notes from the Swamp Dogg website] Some of the greatest musicians and singers that ever played the Opry and Hee Haw are on The Mercury Record...J.D. Maness, Jim Vest, Tommy Williams, Ernie Reed, Dottie Delonibus, Bobby Hardin and Mary Fielder. We kept it country, right down to Danny Dunkleberger engineering and tracking at LSI in Nashville. I wanted to stay clear of the "if it wasn't cut in Nashville then it ain't country". This is the real deal.
Bonus track 19, "Same Train Twice", was recorded for a movie that wanted a Bo Diddley background. Seventeen years later and the movie is still on the drawing board.
Bonus Track Credits
Produced, arranged, and written by Jerry Williams. Published by Jerry Williams Music (BMI). Engineer: Roger Curly (Jamland Studio, Mission Hills, Ca.). Bass: Duke Jobe. Guitar: Guitar Shorty. Keyboards: Swamp Dogg. Drums: Kenny Altbush.
ADDITIONAL NOTES:
The Mercury Record was probably produced circa 1981-82, so assumed due to the inclusion of guitarist Bob Etoll who worked with Swamp Dogg at the time.
Although most of the track times stated on the insert are incorrect, the actual track times for the "You Ain't Never Too Old To Boogie" album are the same as the vinyl versions (1976, DJM Records/Vee Jay International DJF 20476).
"FINALLY CAUGHT UP WITH MYSELF" [Swamp Dogg & Riders Of The New Funk]
(1977, Musicor/Privilege/Springboard International MUS-2504)
Side A:
1. Communication No. 1 (0:30)
[Jerry Williams, Jr.]
2. My Heart Just Can't Stop Dancing (3:55)
[Jerry Williams, Jr.]
3. If You Gotta Do Wrong, Do It Right (5:14)
[Jerry Williams, Jr.]
4. Trash (4:13)
[Jerry Williams, Jr.]
5. Silly, Silly, Silly, Silly Me (2:47)
[Jerry Williams, Jr.]
6. Slow, Slow Disco (4:44)
[Jerry Williams, Jr.]
Side B:
1. Communication No. 2 (0:30)
[Jerry Williams, Jr.]
2. New Orleans My Home (3:08)
[Jerry Williams, Jr.]
3. Walking On Eggs (3:14)
[Jerry Williams, Jr.]
4. All Around Friend (2:07)
[Jerry Williams, Jr.]
5. Understanding California Women (4:06)
[Jerry Williams, Jr.]
6. Embryo S.O.S. (5:29)
[Jerry Williams, Jr.]
NOTES:
Produced, arranged, conducted and conceived by: Jerry Williams, Jr. (The Swamp Dogg) for Atomic Art Productions, Inc. All selections written by: Jerry Williams, Jr. All selections published by: Atomic Art Prod., Inc./Demain Music/BMI - except "Walking On Eggs" published by Jerry Williams Music/No Exit Music/BMI. "All Around Friend" produced and arranged by: Jerry Williams, Jr. and Oliver Sain. Recorded: March, 1977 at Archway Sound (Studio A), St. Louis, MO (home of Riders Of The New Funk). Engineer: Oliver Sain. Art direction: David Lartaud. Photography: Jim Cummins. Musicor Records, 8295 Sunset Blvd., Los Angeles, CA 90046. This album also available on 8-track cartridge/write for free catalog of records and tapes. 1977 Springboard International Records, Inc. A product of Privilege Records. [My copy of the LP has Side A labels for both sides.] Back cover contains the song lyrics.
J.W. (Dogg) - Fender Rhodes, Steinway grand, Arp PE-IV string ensemble, Arp Axxe, Moog synthesizer, mellotrone, tambourine, organ. Oliver Sain - tenor, alto, flute, Fender Rhodes, soprano sax, baritone, trumpet, trombone, tap dancing. Big Willie Broom - blues specialist. Sammy Harris - drums. Maurice (Poochie) Cotton - bass. Oswald Peters - guitar. Ricky "Bongo" Starr - percussions. Audie (Ed) Watkins - percussions. Harvey Thompson - tenor. Ronnie Eades - baritone. Stacy Goss - trumpet. Mike Stough - trumpet. Charles Rose - trombone. Clayton Ivey - organ. Court Pickett - bass. George Soule - drums. Sweet Harmony (Linda White/Toni Stubblefield/Claudette Balle/Leroy Stubblefield/Ernie Foreman) and Swamp Dogg - background voices. 9th Street Recreational Center (Bippy City, Oklahoma) - strings.
GAG A MAGGOTT
(1973, Stone Dogg 3001; President PTLS 1059)
Side One:
1. Wife Sitter (3:37)
[Jerry Williams, Jr. and Stan McKenney]
2. Choking To Death (From The Ties That Bind) (5:27)
[Jerry Williams, Jr. and Stan McKenney]
3. I Couldn't Pay For What I Got Last Night (2:47)
[Jerry Williams, Jr.]
4. Mighty Mighty Dollar Bill (5:01)
[Jerry Williams, Jr. and Stan McKenney]
Side Two:
1. Midnight Hour (3:24)
[Steve Cropper and Wilson Pickett]
2. Please Let Me Kiss You Goodbye (3:15)
[Jerry Williams, Jr.]
3. T.T. (2:50)
[Jerry Williams, Jr.]
4. Why Must We Fall (When We Fall In Love) (3:23)
[Jerry Williams, Jr. and Stan McKenney]
5. Plastered To The Wall (Higher Than The Ceiling) (3:49)
[Jerry Williams, Jr. and Stan McKenney]
NOTES:
Musicians: Piano - Jerry (Swamp Dogg) Williams, Jr.; Bass - Ron Bogdon; Guitar - Willie (Little Beaver) Hale; Drums - Ivan (Breeze) Olander; Horns - Swamp Dogg Band: Voices - George and Gwen McCrae. Gwen McCrae appears through the courtesy of Cat Records. George McCrae appears through the courtesy of Blue Candle Records. Produced and arranged by Jerry Williams, Jr. and Steve Alaimo for Jerry Williams, Jr. Associates, Inc. Engineered by Steve Alaimo. Re-mix Engineers: Steve Alaimo - Howie Albert - Ron Albert. Recorded in Henry Stone's basement in the nude through the courtesy of C. Davis because he has no basement ...(anymore)... Album design, art work and photo by Drago and Carlin for Drago Artistic Designs, Inc, - Miami, Fla. Photo of Jerry Williams by Howard Smiley. Album Co-ordinator: Ivonne Williams. All selections published by Jerry Williams Music, Inc. and Sherlyn Publishing, Inc. (BMI), except "Midnight Hour", published by East / Memphis (BMI). Includes a double-sided lyric sheet insert.
ADDITIONAL NOTES:
The President Records release in England includes the additional liner notes (after Album Co-ordinator credits):
Side One:
1/4: Jerry Williams Music Inc./Southern Music
Side Two:
1: Carlin Music Corp.
2/5: Jerry Williams Music Inc./Southern Music.
An Original Stone Dogg Recording.
Florida, U.S.A.
Printed in England by Robert Stace.
This stereo record can be played on mono reproducers provided either a compatible or stereo cartridge wired for mono is fitted. Recent equipment may already be fitted with a suitable cartridge. If in doubt consult your dealer.
Distributed by President Records Limited London.
LINER NOTES:
Special thanks to: Turkey and China for supplying the refreshments...Casey for being very obstinate since he has been put in charge of answering the phone for Timmy Thomas...Henry Stone who really went out on a limb to pay my bed and board for cutting the album (between you and I, my hotel turned out to be Steve Alaimo's house which is infested with frogs and a faggot great dane)...Butterball for being able to bring back two dollars worth of cold fried chicken for six dollars (and the nerve to try to throw your mind off course by putting in two things of french fries and three rolls)-God--Butterball (or is that bless? Oh, well! --)...Candy for taking the day off to make sure I didn't borrow anything from the home - who the hell wants a black towel ensemble???
This album is so funky that it'll gag a maggot and drown a drop. Due to the fact that a maggot is the funkiest thing on earth; if this LP can make him gag which it already has, no telling what it'll do to your funny ass...Here's hoping that you'll like it as much as I do...if you don't just pucker up as I'm backing up --.
Lovingly yours,
Swamp Dogg
"GIVE 'EM AS LITTLE AS YOU CAN...AS OFTEN AS YOU HAVE TO...OR...A TRIBUTE TO ROCK 'N' ROLL"
(2009, S-Curve 807315120122)
1. Ain't That A Shame (5:07)
2. Ain't That Loving You (3:39)
3. Johnny B. Goode (4:22)
4. Great Balls Of Fire (3:20)
5. Heartbreak Hotel (3:42)
6. Hungry Heart (4:23)
7. I Shot The Sheriff (4:05)
8. I Want To Hold Your Hand (4:13)
9. My Girl (4:04)
10. I Never Loved A Woman (The Way I Love You) (4:37)
11. Satisfaction (4:02)
12. Total Destruction To Your Mind 2009 (5:50)
NOTES:
Released June 30, 2009. Liner notes:
REFLECTIONS
When I started this album, as usual, some of my friends like Chuck King and Frank VanHoorn thought I had gone even further over the edge. What they and many others have forgotten, is that I started on the edge and I never moved. The reason they are drawn to me is because I'm willing to bet on what I believe in.
Producing Swamp Dogg is therapeutic for me. Many people have suggested that I let someone else produce me. That would be like having someone else go to a psychiatrist for me…or you. Where's the benefit? Again, I'm standing out on a ledge with the rock concept I chose for this cd but then...I see Steve Greenberg is out here with me...or is this an apparition?
This CD pays tribute to some of the recording artist that influenced the direction of my life and career. I dropped out of college because the music professor thought that classical music was the only legitimate music. In his book, people such as Fats Domino, Chuck Berry and Little Richard were musical frauds who weren't contributing anything to our culture. I was interested in studying the highbrow music, but I also wanted jazz and rhythm 'n' blues.
I use to get a whooping every time Fats Domino came to Portsmouth, Va. I would deliberately stay out past my curfew, climb up on the roof of the Petite Ballroom and watch Fats. My grandmama tore my ass up, but it was well worth it.
I saw Larry Williams drive his big '56/'57 Lincoln convertible, with California license plates (in Portsmouth that was parallel to being from Mars) up to the outdoor stage at Sunset Lake Park...jump up on the top of the seat and step over to the stage. As he approached the piano, the band started playing "Slow Down.” The crowd went wild and I stood and stared at this bad motherfucker as his talent set fire to that stage.
I turned on the radio and I heard "Whole Lot Of Shaking Going On,” and I went berserk. Whoever that is, I want to be just like them. It was Jerry Lee Lewis, the "Wildman”. I bought every record he put out, watched him on television and saw him in concert. I knew then what my piano style was going to be. A cross between Fats Domino and Jerry Lee Lewis while utilizing the stage presence of Larry Williams. With half a stomach, he's still the "Killer."
Chuck Berry? One of the top nine greatest songwriters ever born. Chuck writes songs like he's writing a book or a screenplay. I got my Ph.D in writing from the University of Chuck Berry. Now you know why I'm so damn good...just kidding, but he made me a writer who can compete with almost anyone. His stage presence and performances are just what the rock musician genre needed, when they were trying to figure out what to do on stage beyond playing and singing. Chuck fused country and blues and took it to heights that no one else has ever achieved. Damn, I want Chuck to hear this. I don't know whether he'll kick me or hug me, but any contact with Chuck is good.
I was already an Elvis fan but when he did "Teddy Bear,” that solidified him in my life forever. I loved the way he made a song his own. When Elvis was singing it, you never thought of the other person who sung it. Making a song my own is what I got from Elvis. When you listen to my "Heartbreak Hotel,” you'll admit that I did not try to emulate "The King." That would have been real stupid!
Bruce Springsteen fascinates me with the way he can bring a song home with a small aggregation; something I utilized in this album. I almost used a sax on "Hungry Heart” but I didn't leave a place for it and I also wanted to record an album devoid of horns. Knowing me, if I used a horn on one song, I'd find a reason to use them on all of the songs, thus revisiting Muscle Shoals all over again and drastically changing the texture of this CD. The first time I heard "Hungry Heart” I ran out and got the album. Bruce kicked ass on that one. I dream of selling out concerts the way he does. He's definitely "the Boss."
The "Queen of Soul." As a man, I wish I had the voice of Aretha. Nobody on earth can out sing her. She does more with one note than the average singer does with the whole song. I had a chance to produce her when I was on staff with Atlantic ('68/'69) and I passed on it. Jerry Wexler had her in the studio and asked me if I'd like to produce something on her. I said yes. Then he said that I would not be paid my in-house record royalty, because "this is Aretha.” To which I replied, "in that case I have nothing to gain.” Thinking back...I had a lot to gain via her singing my songs, her friendship, her collaboration and who knows...eventually Jerry might have given me the house percentage. If I ever get a chance to speak to her I'm going to try to convince her to go into the studio with me, because I know I can produce a smash on her. Hey Rea!!!!!
I'd never heard a record like "Satisfaction" in my life. When it came over the radio in Philadelphia, it gave me chills. A backbeat to beat all backbeats. Mick was blues'n his little skinny ass off; much to the likes of Muddy Waters and Howling Wolf, two of my all time blues favorites. The guitar laid a foundation throughout the record unlike anything I'd ever heard. I've always wanted to sing this song, but only if I could make it different while keeping it the same. This is the employment of dichotomy to say the least. The Stones have made me confident that no matter how ancient, crinkled and wrinkled I become, with some energy, I will always be able to go out on stage and entertain the people to a good measure of "Satisfaction." After Otis Redding did it his way as great as Mick did it his way, I figured that there was no other way left. I finally conceptualized it my way in January '09.
"I Want To Hold Your Hand" has been recorded by everyone from Ella Fitzgerald to Frank Sinatra to Blowfly to you name it. Again I wanted to make this song Swamp Dogg while keeping it Fab Four. I love my rendition of this song and if you don't, please keep it to yourself. Paul and John didn't record or write any mediocre material. They did covers of Chuck Berry, little Richard, Larry Williams, Smokey Robinson, the Marvelettes, Barrett Strong, and just about every black artist who ever passed by a studio and they did em' their way. Somebody asked me if I thought Paul McCartney would institute legal proceedings because of my recording. Damn...did I sing it that bad? They wrote a lot of songs that inspire me to sing. I did "Lady Madonna" on my "Cuffed Collared & Tagged" album in '72. It was a big hit in the Caribbean...I plan to do at least ten more of their songs including "You Won't See Me."
Jimmy Reed, the world's greatest folk blues singer. Between February 1955 and June 1966, Jimmy had six records in the national top ten, eight in the top 20 and one in the top forty. Oh he had many more like "I'm Going To New York," etc... I saw him on stage with his wife, Mama Reed, who use to sit behind him and hold the strap of the harness that kept him standing up because he was so inebriated. In spite of this he put on an encore performance, blowing his harmonica, playing his guitar and inaudibly singing his little Leland, Mississippi heart out. He wrote the songs just like he sang them. Sometimes they rhymed, sometimes they didn't. When you listen to "Ain't That Loving You Baby” you'll see what I'm talking about. I love his tenacity. He went from pickin' cotton to doing a hitch in the navy to becoming a "shakeout" man in a foundry working in one hundred and eighteen degree heat to being a truck driving junkman entrepreneur to a special butcher for Armour where he was one of nine men boning four hundred and eighty hog shoulders an hour. Somewhere during these backbreaking jobs Jimmy became a major star and award winning songwriter. Did I mention that he was uneducated?
"My Girl" has never been sung as great as David Ruffin sung it with the Temptations. With that in mind I've treaded carefully, not even singing it on stage, because I did not feel that my performance could come up to the Temptations' valet, not to even mention David. My biggest influence here is Smokey Robinson who wrote and produced "My Girl." Smokey is among those nine greatest songwriters ever born and to sing one of his songs is only second to having him produce it. Well...here I come with my version, who everyone seems to like, even Steve Turner who thinks music went out of business after David Ruffin stopped recording.
As many records as I've sold in the Caribbean, I felt compelled to thank them by paying tribute to the greatest music legend ever to emerge from there, via Bob Marley's "I Shot The Sheriff." I love him because he had the nerve to speak out about injustices, regardless of the possible reprimands. I've done that in most all of my albums accept this one. I guess I'm just tired of speaking out for people who shun me for doing it. Black radio won't play me but white rock and secondary will. Most of my recordings like "I Was Born Blue," "Synthetic World,” "God Bless America For What,” are still being played throughout the Caribbean and The Netherlands, and the songs are mostly about the plight and injustices of people in America, of all colors. Marley's "Redemption Song,” "Zimbabwe,” "Babylon System," and "Ambush” are classic protest songs that have been influential in many struggles, throughout the world. I can only wish that I could have permeated the broadcast media the way he has. I have one remake on this CD, "Total Destruction To Your Mind...2009,” which is a classic Swamp Dogg protest song.
Excerpts from the press releases:
With the release of Give 'Em As Little As You Can..., says Swamp Dogg, "again I'm standing out on a ledge, with the rock concept I chose for this CD...but then...I see Steve Greenberg is out there with me...or is this an apparition?"
"Black people go to bed and wake up the next day and their address has been changed," Swamp Dogg said in an interview with BluesCritic.com. "Like we went to bed one night as rhythm & blues artists and we woke up and we were no longer. Then it's soul, then it's R&B and that [R&B] is someone like Usher. Nothing against Usher, you understand, but that's not really rhythm & blues. We were rock & roll in the early Fifties. You had white rock 'n' rollers and black rock 'n' rollers, like Chuck Berry and Little Richard. Then one day rock 'n' roll became all white while our category kept changing around... My songs were just as good, but I didn't feel that I had as much heart in my songs as they had in theirs," the singer told Richie Unterberger [Unknown Legends of Rock 'n' Roll (Backbeat Books, 1998)]. "Because when I sang about being wonderful, I didn't really believe it. 'Cause I've never been caught up in 'I'm a great-lookin' guy and when I walk onstage, the bitches fall out' - I never believed no shit like that. And I had good reason not to believe it, because it never fuckin' happened!"
His departure from Atlantic signaled that it was time for a change...and so Swamp Dogg was born. Without this sudden and subversive identity shift, the artist reflects, "I would've most likely started drinking and become an alcoholic, running around singing one big hit - whatever that would be - and just bored with life myself, singing that same piece of shit."
"I'm glad I didn't make it, back in the day...as Little Jerry Williams," Swamp Dogg told BluesCritic.com. "I really wasn't that unhappy, 'cause I didn't get into music for the money but because I love the music. You can see by the shit I put out, I don't care too much for the brass ring!"
"As Swamp Dogg, I could be whoever I was at that particular time. If I wanna sing a love song, if I wanna sing about fucking, if I want to sing about politics - whatever I wanted to sing about, I could do it as a dog, since you expect a dog to do just about anything...and he's forgiven
afterwards!"
Produced Arranged by Swamp Dogg.
1. AIN'T THAT A SHAME (FATS DOMINO) Antoine Domino, Dave Bartholomew, EMI-Unart Catalog (BMI) 5:07
2. AIN'T THAT LOVING YOU BABY (JIMMY REED) Jimmy Reed, Conrad Music/Seeds Of Reed Music (BMI) 3:39
3. JOHNNY B. GOODE (CHUCK BERRY) Chuck Berry, Arc Music Corp/Isalee Music Publishing (BMI) 4:22
4. GREAT BALLS OF FIRE (JERRY LEE LEWIS) Otis Blackwell, Curly Hammer, Unichappell Music (BMI) 3:20
5. HEARTBREAK HOTEL (ELVIS PRESLEY) Elvis Presley, Mae Axton, Tommy Durden, Sony/ATV Tree Publishing (BMI) 3:42
6. HUNGRY HEART (BRUCE SPRINGSTEEN) Bruce Springsteen, Bruce Springsteen (ASCAP) 4:23
7. I SHOT THE SHERIFF (BOB MARLEY) Bob Marley, Fifty Six Hope Road (ASCAP) 4:05
8. I WANT TO HOLD YOUR HAND (BEATLES) John Lennon, Paul McCartney, Sony/ATV Tunes LLC/Beatles (ASCAP) 4:13
9. MY GIRL (TEMPTATIONS) William Robinson, Ronald White, Jobete Music Co. Inc. (ASCAP) 4:04
10. I NEVER LOVED AWOMAN (THE WAY I LOVE YOU) (ARETHA FRANKLIN) Ronnie Shannon, 14th Hour-Pronto (BMI) 4:37
11. SATISFACTION (ROLLING STONES) Mick Jagger, Keith Richards, Immediate (BMI) 4:02
12. TOTAL DESTRUCTION TO YOUR MIND 2009 (SWAMP DOGG) Jerry Williams, Jerry Williams Music/Wally Roker Music (BMI) 5:50
DOGG HOUSE MUSICIANS SPECTACULAR PLUS…
Piano: Swamp Dogg. Organ/Keyboards/Percussion: Moogstar C1emon. Guitar: Lucky Lloyd Wright. Guitar: Moogstar Clemon ("Satisfaction"). Bass: Stoney Dixon. Bass: Marcus Clemon & Synth Keyboard ("Great Balls Of Fire"). Drums: Lil’ Larry Clemon, Jr. Drums: Moogstar Clemon: ("Johnny B. Goode" & "Ain't That A Shame"). Drums: Craig Kimbrough ("I Never Loved A Woman” & “Total Destruction To Your Mind 2009"). Background Vocals: Swamp Dogg, Moogstar Clemon, Stoney Dixon.
THANKS
Steve Turner, Wilson Williams, Trevor Walker, Bob “the Songwriter" Jones, Steve Greenberg, Ben Greenman, Bob Merlis, Bruce Scavuzzo, Moogstar Clemon, Jimmy Faines, Chuck King, Lenis Guess, Gary Neville, Vera Lee (My Mommy), Dave Cutlip, Al Bell, David Hirshland, Bill McNally, Frank Brandon, Wally Roker, Dr. Julian Earls, Norman Whitfield Jr., Zvi Edelman, Steve Feldman, Billy Prince, Rick Williams, Stoney Dixon, Craig Kimbrough, Lucky Lloyd Wright, Marcus Clemon, Lil Larry Clemon Jr., Alex Vitoulis, Willie Clayton, Ned McElroy, Robert “Bubba” Morris Jr., Lucille Barnes, Curtis Jordan, Leslie Jordan, Rev. Tony Booker, Maxine Hines, Ray Ellis, Stuart Heap, Etta James, Lucianna, Divine, Clay Pasternak, Canned Heat, Skip Taylor, Bill Frickies-Warren, Sean Howe, Charles Driebe, Guitar Shorty, Blue Lovett & Manhattans & Debbie Satterwhite.
THE FAMILY
My Love and Thanks to my wife, Dr. Beverly Green-Williams to whom I dedicate this album. My love always to my daughters…Desiree Anita Daniels, Antoinette Denise Watson, Jocelyn Marie Williams, Michelle Cecelia Banks and Dr. Jeri Yvonne Williams (neurologist at large).
HAVE YOU HEARD THIS STORY??
(1974, Island ILPS 9299)
Side A:
1. The Mind Does The Dancing While The Body Pulls The Strings (7:20)
[Jerry Williams, Jr.]
2. Dr. M.L.G. (J.A.) (3:45)
[Jerry Williams, Jr.]
3. Chewed Up Grass (4:41)
[Jerry Williams, Jr.]
4. My Hang-Ups Ain't Hung-Up No More (3:45)
[Jerry Williams, Jr.]
Side B:
1. Did I Come Back Too Soon (Or Stay Away Too Long) (4:15)
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
2. I Wanna Lifetime Of Loving You (2:30)
[Jerry Williams, Jr.]
3. When He Was No One (3:14)
[Jerry Williams, Jr.]
4. I Wouldn't Leave Here To Go To Heaven (2:40)
[Jerry Williams, Jr. and Charles Whitehead]
5. God Ain't Blessing America (4:40)
[Jerry Williams, Jr.]
NOTES:
Produced/arranged/conceived by: Jerry Williams, Jr. (The Swamp Dogg). Almost loyal pickers of Swamp Dogg Band: Jerry Williams, Jr. - piano; Jimmy Evans - drums and tambourine; Travis Wammack - guitar and harmonica; Audie (Ed) Watkins - congas, tambourine, claves, cabassou and finger cymbals; Randy McCormick - organ; Lenny LeBlanc - bass; David (Baby) Johnson - police whistle; Harvey Thompson - tenor and flute; Ronnie Eades - baritone; Charles Rose - trombone; Stacy Goss - trumpet; Harrison Calloway - trumpet. Manufactured and distributed by Island Records, Inc., 7720 Sunset Boulevard, Los Angeles, California 90046. Printed in U.S.A. Record sleeve contains printed song lyrics on both sides.
The good folks to whom I attribute the credit for holding up the production of this masterpiece an extra month: Yvonne Williams (my last wife) - album co-ordinator; David (Baby) Johnson - engineer; Stafford T. Ward - photographer and layouts; Walter (Timmie) Douglas - his protégé; Wally Roker - Spiritual advisor and free lance financier; Desiree--Antoinette--Jocelyn--Michelle: teenage daughters that have reached that "difficult period"; Gorge - my dog whose sex life still leaves a lot to be desired, according to him; Dr. M.L.G.(J.A.) - refer to cut #2, side 1; Dr. and Mrs. Henry Tanner - my "shrink", who stayed on the case until it was won; Richard M. Nixon - the man who invented "Tight Money"; Chemical Bank - who first made me aware of "Tight Money"; Clancey Grass - banker personified; Larry Lighter - my barrister, who finds it most difficult to get me out of the dumb deals I make without consulting him; Chris Blackwell - one of the two Swamp Dogg fans left on planet earth; Walter Schaefer - the other one; Charles Nuccio - an up and coming Dogg fan; Bill Fair - he goes to get things...whatever...
LINER NOTES:
To Whomever It May Concern:
This LP marks the sixth LP recorded by me--THE DOGG!!
The first LP is still the Bootleggers Dream...
The Second one Elektra is still trying to figure out how to merchandise...The Third is still being used as a Playtoy for the Bennets...The Fourth one is waiting for re-issue by Henry Stone as soon as this one hits the charts in order to save on promotional cost...the Fifth one was never released by Brut because it didn't smell like perfume...AND NOW THIS ONE--We'll wait and see...HELP!!!
I have come to the conclusion that I'm a freak for re-jection; if not I'd drag ass out of this business--hurt me!!!...I think I love it--
Where else but in America could a person own a ROLLS ROYCE, an ELDORADO, MARK IV, MERCEDES limousine, an estate in Long Island, an apartment in Hollywood and still be considered a failure? Well, you're looking at him and listening to him.
I designed this album for you to enjoy--I did my best work to date--I wrote my ass off for you--I sung my ass off for you--now if this still is not enough for you, just remember the old Chinese saying "YUCK FOU."
Sincerely
YOUR DOGG AND MINE!!
SWAMP
P.S. If that don't get it, you can use the Chesapeake River for a dusty road.
P.P.S. I damn near forgot--this album was recorded, mixed and engineered at BROADWAY SOUND IN STUDIO A, Sheffield, Alabama.
ADDITIONAL NOTES:
Released in The Netherlands with the label number Island 88 651 IT. The song "Dr. M.L.G.(J.A.)" is an acronym for Dr. Martin L. Goldfarb (Jive Ass). All of the CD version tracks (except track 8), as released on The Excellent Sides Of Swamp Dogg vol. 3, are shorter than what appears on the vinyl version of the album released in 1974. All of the CD version tracks (except track 8) are anywhere from 13 to 39 seconds shorter than the vinyl version tracks, most noticeably "Did I Come Back Too Soon (Or Stay Away Too Long)" and "God Ain't Blessing America".
I CALLED FOR A ROPE AND THEY THREW ME A ROCK
(1989, S.D.E.G. SDE-4003)
Side One:
1. I'd Lie To You For Your Love (4:01)
[F. Miller, D. Bellamy, H. Bellamy and J. Barry]
2. Come To L.A. (4:50)
[Jerry Williams, Jr.]
3. We Need A Revolution (4:56)
[Jerry Williams, Jr.]
4. Kiss Me Hit Me Touch Me (7:43)
[Jerry Williams, Jr.]
Side Two:
1. Myocardial Infarction (Heartbreak) (4:16)
[Jerry Williams, Jr.]
2. Shut Your Mouth (5:44)
[Jerry Williams, Jr.]
3. Happy Dog Day (4:31)
[Jerry Williams, Jr.]
4. Let The Goodtimes Roll (3:49)
[Leonard Lee and Shirley Goodman]
5. 1958 (4:02)
[Jerry Williams, Jr.]
NOTES:
Produced and arranged by Swamp Dogg. Co-Producer and LP Co-ordinator - Yvonne Williams. Fairlight Programmer - Paul Skorich ("Shut Your Mouth" and "Kiss Me Hit Me Touch Me"). Keyboards - Swamp Dogg. Bass - Lequint "Duke" Jobe. Guitar - Tony "Chainsaw" Mathews. Background vocals - Swamp Dogg, Jeri Williams, Cris Jones. Drums - Jimmy Burnett ("1958"). Recording engineer - Nick "Beemer" Basich and Robert Feist. Assistant engineer - Allen Abrahamson and Jim Mitchell. Recording and remix engineer - Bob Kinsey ("Shut Your Mouth" and "Kiss Me Hit Me Touch Me"). Recording engineers - Mike Polopolus, Jack Berry, Reggie Tousaint, Mark Hewitt ("1958"). Research expert - Dr. Howard F. Liebskind, D.P.M.
Recorded at Record Plant, Hollywood, Ca., Music Lab, Los Angeles and Sea Saint, New Orleans. Management - Yvonne Williams and Art Fein, 6433 Topanga Cyn. Bl. #142, Canoga Park, CA 91303; [phone] (818) 712-0913 / (213) 851-5092. Back cover photo - Vera Cross Pough A/K/A Swamp's mother. Front cover photographer extraordinaire - Chris Darrow. Attorney - Rondrew A. Outlaw, 19126 Magnolia St., Suite 201, Garfield Plaza, Huntington Beach, CA 92646. S.D.E.G. Records Inc., 6433 Topanga Bl. #142, Canoga Park CA 91303. Distributed by Ichiban Records, Inc., P.O. Box 724677, Atlanta GA 30339; Tel. (404) 926-3377; Fax (404) 926-2774. Printed in Mexico. Originally released as a vinyl LP, barcode 0-19011-4003-1-0.
All selections written by Swamp Dogg and published by Jerry Williams Music, Inc. (BMI) except where indicated. "I'd Lie To You For Your Love" F. Miller, D. Bellamy, H. Bellamy, J. Barry; published by Rare Blue Music / Bellamy Bros. Music (ASCAP) / Steeple Chase Music (BMI); additional lyrics by Swamp Dogg. "Let The Goodtimes Roll" Leonard Lee and Shirley Goodman; published by Alladin Music (BMI).
LINER NOTES:
Why does jury duty pay more than my job and why is it the only Joy I know is a dishwashing detergent? Two of the many questions that Swamp Dogg fans wrestle with daily while awaiting my new LP releases--which by the way are getting further and further apart, thanks to some "rocket scientist" who works for the trade magazines building higher and better mountains for niggers like me to conquer via newer categorized charts, e.g. The Top Ten Best Black Dance Records That Can Be Fully Enjoyed by a One-Legged White Man, The Top 100 Best Black Mute Rappers, Adult Contemporary Almost Black - Note Quite Pop Big Band Arrangements of Inspirational Songs Performed by a Trio; The Black 50 Country Chart, The Top 75 Best New LPs Released Within the Last Year by a Dead Black Group, etc., etc., and the beast goes on........I thought I finally had my shit together, then my ass-hole fell apart in '81 when I released my last LP on the Takoma Label, a Chrysalis brain-less child. After removing the corporate shrapnel from my medulla oblongata I entered into some new ventures that proved to be more destructive to my thalamus than "crack", e.g., a label distribution deal with Allegiance, management of the world class Wreckin Cru, seeking out literary agents to represent my cookbook, the formation of D&D Records which was dedicated to rap only--which is enough alone to give Sigmund Freud an Excedrin headache, the launching of a telemarketing firm with a partner who had never done anything right in his life including being born--he was a Caesarian, got involved with the Timex Social Club ("Rumors") mess through another "Bosom Buddy(?)" who managed them and had all business wrapped up neatly--about as neat as you can wrap an activated time bomb around dog shit........Became partners with an Australian tycoon/buffoon who lavished himself and others in conversations about his difficult struggle to become one of down-under's most affluent and apparently took some pride in trying to align me with poverty and becoming one of the homeless--the above is some of the positive aspects from the last seven years because the negative reads like Evil Knievel's medical records, Jesus's astrological forecast commencing at age 33 and Hitler's six million point plan for world peace and harmony.
Now I'm embarking on another project that Tommy Couch and Stewart Madison assured me "is futile"; a company dedicated to blues. I'm quite sure they would make a hasty exit from blues if they weren't managing to eke out a meager existence on a fifty-million dollar a year gross income. My heart goes out to them--in the last three years it was a struggle for them just to buy Muscle Shoals, Alabama while retaining the pink slip on Jackson, Mississippi.
For reasons only known to the world I dedicate this collection of works to Steve Alaimo, who taught me the true meaning of rejection, Tommy and Stewart, for whom without them I wouldn't need an attorney, Little Milton, for re-affirming the fact that the blues is all-right, Bobby McClure for putting the "C" in Confrontation, Guitar Shorty, who gives new meaning to the world late, Denny Bruce, for still believing that the blues is all right, Cris Darrow, a photographer who doesn't bully me and talk to me like I have a tail when I make scene suggestions for my own shit, Tony Mathews, who allows me to hear things from his guitar that others said was impossible, Ed Mosley, who never gets out of pocket with tempo or temperament, Ray Cooksey, who I don't know why he's avoiding me, Wally Roker, the mother of Swamp Dogg, Norm Goodman, for editing/filming the videos regardless of the subject matter, Julian Earls, for growing up with me and playing "Queen of the Night", Jeri Yvonne Williams, for coming into my life when I needed a reason to stay alive, love myself, abort hypochondria, delete self-pity and return to being the strong person that I am today, my hair, for starting to fall out just as I was psyched-up to deal with graying and mid-figure double digit age numbers, Victor Averette, sentry who guarded my hair while it fell out, Duke, who I still don't know why he became so funky, Marshall Sehorn, who hasn't figured out whether he loves me or hates me--I wish Barbara would tell him, Etta James, for not signing with me, Luther Ingram for not........Albert King, for not even acknowledging my presence, Ruth Brown, for announcing I'm a crook on her infrequent (Thank God!) T.V. appearances, Bob Merlis, who personifies what friendship really is, Gene Sculatti, whenever I call he answers--friendship, Robert Feist who told me I couldn't afford him after he recorded The Bangles, The Bungles, The Blasters, The Buddahs, The Beaters or some shit, Leon Haywood, another friend indeed, William "Smitty" Smith, yet to discover the periphery of life, Paul LaMonica, to whom the Emancipation Proclamation is meaningless, Art Fein, a stranger in paradise, Roger Redding, and yet another friend, Fred Rector, who can do more with a record than God can with a Christian, Cliff Shaw, the "Love Man", Trevor Swaine, see Metralgia, Steve Turner, Jackpot-Friend-Stranger Combo, Tom Vickers, because he knows the difference between Almo and The Alamo, Erskin, for disassociating himself from me, Norman, Jr. see Erskin, Durie, see Erskin, Stevie, see Erskin, Tony C. see Erskin, Ed Wright, another wonderful force in my life and my mother for taking time out of her life in '42 to give life.
-- Swamp Dogg
IF I EVER KISS IT .... HE CAN KISS IT GOODBYE!
(2002, S.D.E.G. #1948)
1. Pass The Sugar (5:38)
[Jerry Williams, Jr.]
2. If I Ever Kiss It (He Can Kiss It Goodbye) (4:19)
[Jerry Williams, Jr.]
3. All Night Lover Man (3:30)
[Jerry Williams, Jr.]
4. Wonderful Is The Word (4:04)
[Jerry Williams, Jr.]
5. Walking Blues (3:28)
[Amos Milburn]
6. Let's Bump The Donkey (9:30)
[Jerry Williams, Jr.]
7. The Whiskey Song (7:32)
[Jerry Williams, Jr.]
8. If All Else Fails (We'll Have Each Other) (3:49)
[Jerry Williams, Jr.]
9. Wam Bam (Thank You Mam) (3:39)
[Jerry Williams, Jr.]
10. Sliding On Thin Ice (3:30)
[Jerry Williams, Jr.]
11. The Lie That Had To Be Told (4:18)
[Jerry Williams, Jr.]
12. Return Of The Donkey (Reprise) (1:40)
[Jerry Williams, Jr.]
NOTES:
All selections written by Jerry Williams and published by Yvonne Williams Music/Blue Parasol Music and Golden Touch Music (BMI) except where noted. Produced and arranged by Jerry "Swamp Dogg" Williams. Album co-ordinator: Yvonne Williams. Production assistant: Derwood Andrews. Engineer: (rhythm and lead vocals) Derwood Andrews. Engineer: (horns, vocals, re-mix) Norman Whitfield, Jr.
Remix engineer: Leanard "Raincheck" Jackson. Remixed @ Leon Haywood's Sunnyside Studio (LA). Recorded and mixed @ the Dogg House, Northridge, Ca. Photography: David Eaves. Hair creations: Chavontay. Art design and graphics: Leif Laxson (Publishers' Engraving Co.). Management: Yvonnne Williams Mgmt., 6433 Topanga Bl., #142, Canoga Park, Ca. 91303. Phone: 818-3660510/0520 fax. Yvonne1940@aol.com Manufactured by S.D.E.G. Records/Films, 6433 Topanga Blvd., #142, Canoga Park, CA 91303. Phone: (818) 366-0510. Fax: (818) 366-0520. www.swampdogg.com rawspitt@aol.com
Keyboards/piano: Swamp Dogg. Guitar: Derwood Andrews / Wilson Williams. Bass: Matt Fitzell. Drums: Johnny Sandlin / Derwood Andrews. Tenor, baritone, alto saxes: Jerry Petersen. Trumpet and flugel horn: Mack Johnson. Background vocals: Wilson Williams, Marie Washington, Swamp Dogg, Victoria Williams.
LINER NOTES:
I'm sending out an insurmountable amount of love to the woman who's been my inspiration and motivation for more than four decades, my loving wife...Yvonne. She has remained faithful and by my side through some real questionable, dumb and shaky shit. Oh no...I'm not always the genius you know and love.
More love for my daughter, Jeri who is enrolled in the American University of the Caribbean to become a neuro-surgeon. May God bless her in all of her endeavors because she is the sweetest daughter anyone could ever wish for. If we have it, it's yours. I love you Desiree Anita (...our first born). You have our support forever.
I love you Antoinette Denise (our second born), but neither your mama nor I have a clue as to what your problem is with us...and what was the story on that fuckin' picture to your mother with no return address or addressee?
I love you Jocelyn Marie (our third born) and we're so happy that you have your shit together. We'll always be here for you.
I love you Michelle Cecelia (our fourth born). You have laid some dumb shit at our doorstep and expect us to ignore, forget and go on with life as planned. We can never do that because you sure fucked up our plans. Nevertheless, life goes on and God makes the corrections. We'll always love you and I guess we're silly enough to be there if shit goes too awry. What's the story on that fuckin' picture to your mother of you and Toni with no address or addressee?
Victoria Michelle (our granddaughter) we're here for you always. We love you. Even after our demise, we'll still be with you via love, property, money, copyrights, etc., etc. Always be cool with Jeri and stay close.
Bernard Jerry (our second grandson), we love you and we're 100% behind you. Stay sweet(ie)...you know what I mean. You've always been a gentleman and always fought for your mother. Your rewards will be great. Sweetie's gone (boo hoo).
Ronald Jerome (our first grandson)...it's a pleasure to know you and we love you. As cheap as you are, you are definitely on the road to being very wealthy. You've also taken good care of your mother.
I love you Loren (our third and last grandson). As you grow older, remember we're here for you.
Helene Blue I love you. You came through when the world was kicking my ass. If I have it and you need it...it's yours.
A tremendous amount of love, respect and understanding to Norman Whitfield, Jr., our partner and if the position was open I would gladly have him for a son. He eats a bit much, but that could be remedied with a refrigerator lock.
Karamu Shaw............If I could have picked a brother, it would have been you. Love always.
Marie Washington, the sister I never had. I love you truly.
Debra Wright, the other sister I never had. I love you dearly.
Carolyn and Lester (Woody) Woodard...my cousin and cousin-in-law...I love you, we love you.
Wilson Williams...I love you. You've been a true friend since our teen days in Norfolk/Portsmouth, VA. I value your friendship and I'll cherish it forever. Thanks for the studio. Please don't ever hesitate to call on me for whatever. We've shared in the past and we'll share in the future. People think we're brothers, I wish we were.
Mama...maybe one day before we're both too old you'll realize how much I love you, Yvonne loves you and the kids tried to love you. There have been so many things that I wanted to share with you but there was always a sign that said "road ends ahead", "detour", "watch for falling rock", etc.; so I've never completed giving and sharing my love for you, with you. Yes, I know you love me.
I love you and may God continue to love and bless, Deacon James Ray, Benjamin Wright, Deacon Roy Bailey, Sister Earnestine Bailey, Rev. Tony Booker, Sister Booker, Jim Hawkins, Derwood Andrews, Al Bell, Leon Haywood, Julian Earls, Kim & Craig Fogg, David Godin, Guitar Shorty, Leanard Jackson, David Johnson, Packard Phillips, Warren & Gwen Lanier, Ned & Ann McElroy, Wally & Merge Roker, Lonzo Williams, Lloyd Price, Deacon Calvin Collier, Rodney Jones, Deacon Cooke, Steve Turner, Ron Toussant, Sam Trust, the Fein family, Charlie Whitehead and Kid Rock.
Thank you God for all of the blessings you continue to bestow upon me and mine.
I'M NOT SELLING OUT, I'M BUYING IN!
(1981, Takoma TAK 7099; Sonet [UK] 875)
Dogg One:
1. Swamping Salutations (0:12)
[Jerry Williams, Jr.]
2. Wine Women And Rock 'N' Roll (3:50)
[Jerry Williams, Jr.]
3. Its Just A Little Time Left (4:57)
[Jerry Williams, Jr., Yvonne Williams, Maurice McCormick and Obie Jessie]
4. The Love We Got Ain't Worth Two Dead Flies [duet with Esther Phillips] (4:35)
[Jerry Williams, Jr.]
5. Low Friends In High Places (4:35)
[Jerry Williams, Jr. and Troy Davis]
Dogg Two:
1. A Hundred And (5:00)
[Jerry Williams, Jr.]
2. Total Destruction To Your Mind Once Again (4:06)
[Jerry Williams, Jr. and Troy Davis]
3. California Is Drowning And I Live Down By The River (4:19)
[Jerry Williams, Jr. and Yvonne Williams]
4. Sexy Sexy Sexy #3 (3:35)
[Jerry Williams, Jr.]
NOTES:
Produced, arranged, and infallibly conceived by: ME (The Swamp Dogg) for European Video-Audio Communications Development, Ltd. Album Co-ordinator: Yvonne Williams. Front cover concept: Jerry Williams, Jr. and Nate Morgan. Back cover concept: Yvonne Williams and Gene Sculatti. Photography: Steve Pyryezstov and Company. Recorded at: Perspective Sound, Sun Valley, California. Remix engineer: Thom Wilson. Co-producer and roommate: Yvonne Williams. Piano: Swamp Dogg. Fender Rhodes: Nate Morgan. Organ: Nate Morgan. Drums: Carlos (Corky) Carraby and Willie Ornelas. Sitar: Bob Etoll. Guitar: Bob Etoll. Bass: Kenny Lewis. Percussions: King Errisson. Tenor and flute: Dashiell Humdy. Trumpet: William Barnes, Hank Ballard, Jr. and Gabriell Flemings. Trombone: Alvin Stanton and Terry Carter. Background: Maurice McCormick, Sal Valentino and Swamp Dogg. Takoma Records distributed by Chrysalis Records, Inc., 9255 Sunset Blvd., Los Angeles, California 90069. Made in U.S.A. Record sleeve contains lyrics on one side. Record matrix indicates: Mastered at Allen Zentz L.A., Calif.
11,000 thank yous, 800 tons of respect, 65 kilos of love and 7 kisses to the greatest female singer, stylist, performer and person before or after...whenever...Esther Phillips. I'm looking forward to many many more collaborations with you...love ya!!
LINER NOTES:
Originally this album was supposed to be a cookbook but due to the fact it outsizzles a cookbook, I've done what you have in your hand or listening to or throwing in the garbage or...
I produced this album because (in 25 words or less) I love Rock 'N' Roll, I disapprove of 90% of the national politics and repudiate the other 10, still think the establishment sucks, and I needed a deal worse than a dead man needs a coffin...(okay! 39 words or less).
I want to thank Mary Tyler Moore, Tyrone Davis, Carroll O'Connor, Don Knots, Mayor Tom Bradley, Bob Newhart, James Beard, Marilyn Chamber, Reggie Jackson and Annette Haven for being there (here) whenever, whatever they do was needed, wherever.
I also would like to dedicate this masterpiece to Mel Posner but he hates my guts!! So instead I'm dedicating it to my wife who also ain't that crazy about me but she's not on the "guts trip" yet. Also she claims that after all these madness years I still raise her flag, lower her drawbridge, frost her cupcakes and boogie her woogie.
In the event you find this bit of musical, lyrical magic offensive, distasteful, repulsive, inane, meritless, dim witted and unsatisfying, instead of cute, creative, bouncy, beat-ty and sophisticated with a mixture of R'N'B, Rock 'N' Roll, Country, Folk, Jazz, thumpy bass, breaks, hooks, change of pace ballads, subtle orchestrations, new hues, ambitious material, notable tracks, busy drumming and gutsy guitar...stick it way up your ass (polywrap and all), run backwards nine miles on the Hollywood Freeway to my house and your money will be cheerfully refunded.
Last and least I'd like to thank the trade reviewers for providing me with the above adjective-cal "mumbo-jumbo!"
ADDITIONAL NOTES:
The men sitting around the table on the album cover photo are, left to right: Bob Merlis (Warner Bros. Records publicist), Art Fein (manager, etc.), Sam Watkins (Swamp Dogg's father-in-law), "Major" Bill Liebowitz, Gene Sculatti (author/musicologist), Jon Monday (Takoma Records general manager), Denny Bruce (Takoma Records president), Warren Lanier (publicist), and Bill Coben (attorney). See: http://www.rocksbackpages.com/features/001122_hoskyns_swamp.html
A press kit was released in conjunction with this album. It was a 2-pocket tan-colored folder containing a 3-page biography of Swamp Dogg, an 8" x 10.25" black and white photo of Swamp Dogg in white top hat and top coat, and an 8-page digest-sized cookbook titled "Exalted Gastronomical Concoctions Or How Does a Swamp Dogg Unwind...: excerpt from Jerry Williams, Jr. (The Swamp Dogg), The Cook Book That Was Heard Around the World" (Los Angeles, CA: Atomic Art, 1980).
3-page Press Kit Biography:
A Swamp Dogg bio? You've got to be kidding. It could fill a book. There are plenty of sources qualified to speak on the subject. Like Irving Berlin. He sued over copyright infringement when the Dogg composed his classic, "God Bless America For What". Or ask the ghost of J. Edgar Hoover: his FBI tapped Mr. Dogg's private line back in the 70's when S.D. was part of Jane Fonda and Donald Sutherland's "F.T.A." troupe [Free The Army, March 14, 1971 - late-1971; also a film released in July 1972 by American International Pictures]. Or try Gene Pitney, Johnny Paycheck, Gary U.S. Bonds, The Drifters, The Staple Singers, Irma Thomas, Loretta Lynn or The Commodores. They've all made music with songs he's written or produced for them.
(You could even, should you be in his neighborhood, check out the Dogg's personal jukebox, listing 160 sides he's had a hand in).
It started 38 short years ago in Portsmouth, Virginia. There, Jerry Williams Jr. was born and soon revealed himself to be a child prodigy. "At the age of 7," he recalls, "I showed musical ability: I could crawl around while listening to the radio. This immediately made me a genius to my parents. I learned to sing "Jesus Loves Me" and was put on exhibit for every relative, neighbor, drunk and pervert that stumbled through our house."
Not long thereafter, Williams moved his exhibit into the world of professional music-making. As "Little Jerry", he recorded "I'm A Lover Man", a bonafide hit that eventually put him on the road alongside showbiz vets like Lionel Hampton, Ben E. King and Sgt. Berry ("Green Berets") Sadler.
Little Jerry's career continued into the mid-60's, with time-outs for marriage (to Yvonne, "co-producer and roommate" on "I'm Not Selling Out...) and the Army (a stiff, 8-day stint, his induction the result of an Army snafu). Meanwhile Williams kept writing songs (2000 published to date), touring (he appeared at the Apollo), preparing for the next plateau of his fine, fine, superfine career.
In 1968 he became staff producer for Atlantic Records. There he produced the Commodores' first sides, wrote and cut singles with Wilson Pickett, Dee Dee Warwick, Patti LaBelle and the Blue-Belles, the Drifters and Gary U.S. Bonds. The same year, Williams wrote and produced Gene Pitney's monstrous comeback, the international best-seller, "Heartbreaker". Concurrent with this, so far the biggest feather in his cap, Williams was plotting, preparing and arranging the untimely death of Jerry Williams Jr.
By 1970, "It was time," says Swamp Dogg, "for Jerry Williams the performer to die, so Jerry Williams the producer-writer arranged for his death, so the real motherfucker Swamp Dogg could emerge. Those of us who were involved consider it a mandatory mercy killing."
Swamp Dogg's arrival was heralded by one of the wildest birth announcements of all time -- his first album, "Total Destruction To Your Mind" (Canyon Records). The lp spawned a hit soul single ("Mama's Baby, Daddy's Maybe"), picked up more "underground" FM airplay that anyone dared expect and got the Dogg written up in the New York Times (where he was singled out as a prime exponent of "the New Wave in black music"). Rolling Stone found "Total Destruction" to be one of the outstanding records of the year and suggested it was "a serious work which could help revitalize the languishing world of R&B and soul music."
It didn't. Which only proved the world at large was not yet ready for Swamp Dogg's brand of witty wordplay, wry social commentary and fundamental funk. Which didn't stop Swamp. He went on to release such subsequent landmarks as Rat On (on Elektra), Cuffed, Collared, Tied And Gassed (Cream), Have You Heard This Story? (Island), Gag A Maggott and Swamp Dogg's Greatest Hits??? (both on TK's Stone Dogg label). Duly acclaimed by the critics and his loyal fans, the Dogg did not stop at composing and performing some of the last decade's most original music. The writer-singer of "I Was Born Blue", "Did I Come Back Too Soon (Or Stay Away Too Long)", "Call Me Nigger" and "Wife Sitter" also turned in startling versions of John Prine's "Sam Stone", the Bee Gee's "Gotta Get A Message To You" and Joe South's "Hey Redneck".
(In 1971, he also managed the time to write the Grammy-nominated "She's All I Got", a number 1 Country hit for Johnny Paycheck and a soul chart-topper for Freddie North.)
Now it's '81 and Swamp Dogg is eleven years old. Says the late Jerry Williams of his pre-teen brainchild: "People say 'Swamp Dogg is crazy!' I say, 'Right!' He's unique. He only sings things he feels are pertinent or funny." Which neatly deposits us on the doorstep of Dogg's Takoma debut, "I'm Not Selling Out, I'm Buying In".
To say that "Selling Out" is Swamp Dogg's crowning achievement, that it is his highest honor, the triumph of a lifetime, a brilliantly incisive statement on the human condition, the apex of artistic expression of musical genius in the latter half of this century -- would surely be understatement. Let's not sell "Selling Out" short: it's merely the best Swamp Dogg album ever made.
You want reasons? Try his delicious duet with Esther Phillips, "The Love We Got Ain't Worth Two Dead Flies" ("I wouldn't stoop to write a conventional love song" - S.D.), or try "Low Friends In High Places" ("They've got the power and the money"). Or check his tribute to the Golden State ("the melting pot of the misfits"), "California Is Drowning And I Live Down By The River". Or "Total Destruction To Your Mind Once Again" or "Wine, Women And Rock & Roll" or...
Like we said, it could fill a book. But books don't make for a thought-provoking listening experience you can dance to. "I'm Not Selling Out, I'm Buying In" does.
8-page digest-sized cookbook, recipes include:
"Punk Rock Meat Loaf", Swamp Dogg Polynesian Beef Thins, Atomic Art Spaghetti And Meatballs (3 Track), Corned Beef Cha Cha Cha, Chicken 'N' Dumplins Guitar Slim, File Gumbo Fats Domino (3 Track), Soul Stirrer Turkey Scallopini, Pigmeat (Spareribs) Markham, Nashville Pancakes Orange, Swamp Dogg's Orange Syrup, "Portsmouth Virginia Tomato Pudding 33 1/3 RPM", Buster Brown Cheese Cake (2 Track).
The back cover includes the following wording: Merci, dank U, danke, Tack, gracias, arigato and a Swamping Thank you, love you, need you always and forever to the following wonderful people for being instrumental to my career: Yvonne (Roommate, Mentor, Manager, Co-Producer), Jeri Yvonne Williams, Desiree Anita Williams, Michelle Cecilia Williams, Antoinette Denise Williams, Jocelyn Marie Williams, Bob Merlis, Gene Sculatti, Bill Coben, Denny Bruce, Jon Monday, Sam Watkins, Tom Holser, Steve Turner, Bruce Talbot, Richard Gossett, Delta Ashby, Bruce Iglauer, Vera Pough, Warren Lanier, Mary Mason, Tom DePierro, King Errisson, Bob Etoll, Kenny Lewis, Nate Morgan, William Barnes, Corky Carraby, Maurice McCormick, Thom Wilson, Art Fein, Gwen Lanier, Cliff Shaw, Mel Moore, Joe McEwen, Allen Smith, Doris Smith, Frances Smith, Ed Wright. P.S. Don't worry gang, "I'm Not Selling Out, I'm Buying In" (smile). The album TAK-7099 available on Takoma Records and Tapes. Takoma Records Distributed by Chrysalis Records, Inc., 9255 Sunset Blvd., Los Angeles, California 90069.
LITTLE JERRY WILLIAMS ANTHOLOGY (1954-1969) AKA SWAMP DOGG
(2000, S.D.E.G. 1942)
1. HTD Blues (Heartsick Troublesome Downout Blues) (2:52)
[Jerry Williams, Jr.]
2. There Ain't Enough Love (2:09)
[Jerry Williams, Jr.]
3. Don't You Feel (2:14)
[D. Drowty and B. Russel]
4. I'll Always Remember (Chapel On The Hill) (2:45)
[Jerry Williams, Jr.]
5. I'm So Mad (2:40)
[Jerry Williams, Jr. and Joe Kookoolis]
6. Let's Do The Wobble (2:12)
[Jerry Williams, Jr.]
7. You Call It Love (2:19)
[Jerry Williams, Jr.]
8. I'm The Lover Man (2:33)
[Jerry Williams, Jr.]
9. The Push Push (2:56)
[Jerry Williams, Jr.]
10. Detroit (2:55)
[Bob Boulanger and Dick Heard]
11. 1965 Kingsize Nicotine Blues (2:38)
[M. Poppelwell]
12. Hum Baby (2:32)
[Jerry Williams, Jr.]
13. She's So Divine (3:00)
[Jerry Williams, Jr.]
14. Baby You're My Everything (2:56)
[Jerry Williams, Jr. and Rick Spain]
15. Just What Do You Plan To Do About It (2:43)
[Jerry Williams, Jr.]
16. Baby Bunny Sugar Honey (2:43)
[Jerry Williams, Jr. and Rick Spain]
17. Philly Duck (2:43)
[Jerry Williams, Jr. and Richard Rome]
18. If You Ask Me (Because I Love You) (2:48)
[Jerry Williams, Jr. and Rick Spain]
19. I Love You Yvonne (2:46)
[Jerry Williams, Jr.]
20. What's The Matter With You Baby (2:23)
[Jerry Williams, Jr., Yvonne Williams and Matt Parsons {Nostrap}]
21. Your Man (3:00)
[Jerry Williams, Jr.]
22. Run Run Roadrunner (2:52)
[Jerry Williams, Jr.]
23. I'm In The Danger Zone (2:48)
[Yvonne Williams]
24. Kako's Boogaloo (3:44)
[M. Weinstein]
25. Shipwrecked (2:49)
[Jerry Williams, Jr. and Larry Harrison]
26. Sock It To Yourself (2:30)
[Jerry Williams, Jr. and Gary Anderson {Gary Bonds}]
27. It's Still Good (2:42)
[Jerry Williams, Jr. and Gary Bonds]
28. Come And Get It (2:35)
[Jerry Williams, Jr.]
LINER NOTES [1]:
I'm sitting here at my PC trying to come up with something brilliant to lead in to the who, what, whys, whens, wheres and whatevers regarding this piece of metal wrapped in plastic and paper. It should be easy to write about, since it's only chronicling my formative childhood years, when I first discovered that I definitely wanted a career in music right up to when I decided to become Swamp Dogg because the Little Jerry, The Little Jerry Williams, the Little Richard, the Little Milton, the Little Willie John, the Little Esther, the Little Sister, the Little Walter, the Little Eva, the Little Anthony, the Little Junior Parker, the Little Mac, the Little Joe Blue, the Little Willie Littlefield, the Little Caesar, the Little Junior, Little Nat, Little Beaver, etc., fuckin' etc., had become just a little too fuckin' much! Everybody was "Little". Six feet tall...two hundred and fifty pounds....little? To quote Les McCann, "compared to what"? The Jolly Green Giant, Goliath? We wore out the "littles" just like Chubby Checker wore out the "Do The's". Don't get me wrong....it was fun, but like anything else, once you mature and realize your potential and limitations you commence to reinvent yourself, your surroundings and your thinking.
When I recorded "HTD Blues" in 54' at twelve years of age, I just wanted to sing and play every time I saw a piano. We brought this guy and his disc recorder in from Mechanicville, NY who put up a microphone and encouraged me to wail away; something for which I didn't need any prompting. My mother, Vera Cross on drums (still drumming and singing in Las Vegas), my step dad, Nat Cross on guitar, his brother Garfield on Bass and me on piano. If you listen closely you'll notice that I'm playing some of the same shit that you have heard on my Swamp Dogg albums. The fidelity of this particular recording is questionable at best because of the source...a bent up, peeling and dented metal acetate that had been played, sat on and run over. I applaud Sound Mastering Studios in the U.K., for the brilliant cedar job they did on this entire album but especially "HTD Blues". They performed a miracle!! Most of the tracks included on this collection are from vinyl on which Sound Mastering performed their abracadabra.
The following is an abridged autobiography that I wrote for Soul Survivor magazine in 1985 [Volume 2 Issue 4, Winter 1985/86, pages 4-9] that browses my career from the dawn of 1954 to 1985. Whether you want it or not, some Swamp Dogg has to be included; so put on your rhythm 'n' blues loving gear and wade through this experience with me. Let's face it.....Swamp is only the alter ego/footman for Jerry Williams and a figment of your imagination.
-- Swamp Dogg
LINER NOTES [2]:
Little Jerry Williams Anthology (1954-1969)
Quiet...lights...curtain...Music. Little did I know when I decided to embark upon the usually glamorous endeavor of making music, my life's work, that it was going to take all my life to get some work. I remember my Mother's words as she watched me board a Greyhound bus for New York with tears in her eyes, "You got as much chance of being a star as the Hunchback of Notre Dame has of becoming Mr. America". I'm not claiming that I was great when I started out, but to impede my progress I've had fans burn my costumes with me still in them, force my car off the road while enroute to the gig, steal my music out of my home and boycott a major record label that said they would consider signing me in a few years - did I say fans?...
Chances are you've never heard of me, but somebody is buying all of these goddam records. If you are not buying them then the only explanation is that Splizoids from the planet Burpto are disguising themselves as Swampniks (red hair, not hair, real tall, real short, no height whatsoever, flashy clothes, no clothes...you know the type), creeping in Towers, Peaches, Sam Goody's and other large record chains romancing Chapter 11, abstracting all the products...then homeward bound post-haste. Filch, fleece, grab, those people are notorious but they're on my side. They love Swamp Dogg records. I hear them periodically through the facilities of Channel 9 whenever they pre-empt Sermonettes.
In 1954, I made record number one (also was the sales figure) entitled "HTD Blues" b/w "Nats Wailing".
I was a "fill out, cut out and mail out the coupon" freak. That's how I landed my first label. Mechanic Records in Mechanicsville, N.Y., soliciting through Mechanical Illustrated Magazine. "Send me your tape and ? dollars (amount eludes me) and I'll make you some records - complete with LaVern Baker, Joe Turner, Platters, Kay Starr, Patti Page, Fats Domino etc....etc.." So off goes the money, my first two compositions and a tape with the performance of such family rhythm greats as Nat Cross (step-father) on guitar, Vera Cross (could have been a wonderful step-mother) on drums, Garfield Cross (step-uncle...climbing these steps can be tiresome) and yours truly on piano and vocals. The entire session was done on a Grundig Mono portable reel to reel owned by my musical (among other things) family.
The records arrive (78rpm) - I've finally arrived! Now what the f... do I do with these things? Three record shops within a fifty mile radius. A distributor? What is that?
Run to the radio station WRAP, and give a copy to Jack Holmes, a powerhouse in the industry at the time, and let him play the back of it.. So far this has all taken place in Portsmouth, Virginia, my 1942 birthplace. Jack played it immediately, announced me as "Little" Jerry which I stuck with for ten years, and mapped out my distribution route. "Consign Stewart's Record shop two-thirds of them (they were a chain, one in Portsmouth - one in Norfolk) and Frankie's Birdland (Frank Guida later to have Legrand of Gary U.S. Bonds fame) the other third. I'll make it a hit and guide your career".
Time killer
Jack obtained the maximum in local exposure for me: around the clock air saturation, interviews in the Journal & Guide, Afro American and personal appearances at Seaview Beach, Sunset Lake Park and Midway Park. I became the "time killer" for the hot record acts that appeared in these venues, giving me experience that money can't buy and friendships that are priceless, e.g. Sonny Til & Orioles, Margie Day, Pookie Hudson, Lloyd Price, Flamingos, etc.
The next year gave birth to the enterprising rapaciousness of Jerry Williams, Jr. previously known as "Little Jerry".
1. Made four more recordings, this time in a Mono studio (Norfolk Recording Studio) with the same personnel with the exception of the drummer.
2. Mailed more money to Mechanicsville, N.Y. for the pressing of "Sweet Sue" b/w/ "Nat's Wailing" (needed a few more - popularity booming).
3. Contracted Our Lady of Victory Auditorium for every available Friday night during the school year for dance and show bookings. This was done relatively easily without deposits, etc., because I was Catholic, church organist, student in the school and a member of Christians for Christ or something similar.
4. Produced a T.V. show (Rock 'N' Roll Time) starring yours truly on WTOV channel 27. I must expound on this. The station was built by a gentleman who claimed to have the largest Pontiac dealership in the South, Starlite Automobiles. He needed programs to fill up the cracks between "pitches". Anyone with an iota of talent could get a show just for the asking and a brief audition. Oh no, nobody got paid! - unless you did what I did and I was the only one to do it. I got two sponsors (Atlas Tires and Community Bakery) for my show netting me $50.00 every Friday night. The show's format was Black Music when it was known as Rock 'N' Roll (what do you mean you thought Alan Freed and Dick Clark invented Rock'N'Roll?) with the appearance of local doo-wop groups from the high schools. Each week we were assured that damn near an entire high school student body and faculty were watching. I played piano and sang with the help of a drummer and guitar player every Friday night from ten to ten forty-five p.m. for one and a half years.
5. Became delivery 'boy' or should I say "person" for Washington Pharmacy conjuring up another twenty-five dollars a week.
Two plays and a novel
This was my "innocent-gluttony" period. Not bad either for nearing fourteen years old and clearing easily one hundred and fifty dollars a week gold. (Couldn't resist that. Poetic license.) Calling Jerry Williams, Jr., calling Jerry Williams Jr., this is the literary world. Will you give us a best-seller? The writing bug knows no boundaries. Within six weeks I wrote a book of poems (descriptiveness In Poems and Stuff), two plays and a novel. Genius you say? Sheer springtime lunacy!
Here we go again : "fill you, cut out and mail out." Can you write? Are you the next Nick Kenny? Micky Spillane? Are Publishers avoiding you? We'll put an end to this. For one-hundred dollars, your money can also elude you. Write Vanity Press, (notice any similarity?) something, something, New York City. I was already involved with a Vanity Record manufacturer, so why stop now?
Literary efforts in the mail, answers all positive but all answers needed money to escalate my career. After a period even I can detect Bullshit.
One of my most hailed pieces of lunacy ("Summertime") read as follows, and I quote - "I pulled her closer to me, and I could feel her breath and she was breathing furiously. She laid her head on my shoulder and her breathing was more tense upon my neck. It sent chills up and down my spine. She raised her head and looked at me. Then she said, darling dear. At this time my eyes were on her lips"...Get the idea? My Mother found this little gem about six months ago and sent it to me Express Mail...tell you anything?
It's late 1959. Jack Holmes calls Al Silvers, President of Herald/Ember Records, the well-oiled r'n'b machine behind Faye Adams, Nutmegs, Silhouettes, plus a host of other one and two hit-single flashes, and tells him that he must record this "boy" from Portsmouth, Virginia for one reason or another. For one reason or another Al agrees and I split to New York from Newark where I was appearing at Woody's Corner as Little Willie John and sometimes Larry Williams - well "Little" Jerry couldn't draw files, but he was a jukebox and Woody wanted to have his cake and eat it too. For a while we were most compatible.
Al Silvers hooked me up with Dave "Baby" Cortez aka David Clowney, his "producer at large", listened to my material, rejected same and gave me an Isley Bros. Demo, "Don't You Feel" written by Bert Russell-Berns and "There Ain't Enough Love", which emerged as the "A" side. The record received pop/R'n'B play throughout Virginia and Maryland and garnered enough sales for me to headline a slew of sleazy-ass clubs and appear on the Buddy Dean T.V. show (Baltimore) and Kurt Webster's Dialing For Dollars in Norfolk. During this time my base was still New Jersey where I was playing occasional weekends at Jackson's Lounge as an organ single, the Cotton Club in Carteret as Don Covay and doing a "live" broadcast each Sunday afternoon from the Coleman Hotel as "Little" Jerry, Blues Shouter Unlimited.
Peanuts!
Eddie Kirkland, blues extraordinaire, was living across the hall from me in East Orange in a Coleman Brothers' rooming house. "There Ain't Enough Love", didn't bring in enough revenue and I'm starving to death and so is Eddie. We teamed up and made the rounds of all the joints, "sat in" hoping someone would give us a job. We also learned how to stay alive; we'd eat peanuts all day, every time we farted it looked like a Kansas City dust storm. In between peanuts we would go to restaurants, sit and read a menu and pour the coffee cream into a glass of water, add sugar and drink milk galore. Most restaurants kept bread and butter on the table. We'd wrap that up in handkerchiefs and take it back for hard times. Periodically Mrs. Tisdale, another roomer retired and on top of the mountain in my eyesight, would invite me to eat with her, but she wouldn't feed Eddie. She didn't trust him because he painted his head with shoe polish where he was receding. I'd slip him food anyway.
It's early '61. I have an agent. First "gig": Colonial Hotel, Hagerstown, Md. As a piano/vocal lounge single. Three hundred a week, room, board and bar tab - Heaven! Only problem: I wasn't prepared to hold down a lounge playing requests and standards. I could sing the shit out of 'em, but I couldn't play them. After two days of "Shake, Rattle and Roll", Larry Williams, Jerry Lee Lewis, etc., some Redd Foxx jokes (especially the one about Gene Autry and Champ-Pee-On), Red (manager) put my ass back on a bus for parts unknown. That was also the end of two agents, my first and my last. Seriously, I've never signed with another agent exclusively since.
Virginia-bound, I worked jobs with some more Tidwater acts: The Showmen, Jimmy Soul, Ken Page & Pied Pipers, Frank Wilson, etc.
Bright idea! Form a "Little" Jerry Tour! During that time you needed a female singer, shake dancer, band, comedian and the headliner - me of course. First job: the Guys and Dolls Club in Fayettville, N.C. The show was a bust. We slept on the floor of the club at night and ate sardines for four days. The only way we got out of there to the next job was through the natural enterprises of our beloved shake dancer. She gave bed-time a new meaning.
Stabbed Gorilla
Next stop, Regal Theatre, Newport News, Virginia. I added a gorilla to the act (man in costume) and billed the show as "Little" Jerry's Midnight Ramble. Showtime: Midnight. Everyone in the aggregation showed up except the band. I went onstage with a drummer, a baritone sax and a gorilla. The stage resembled a picnic.
The crowd threw bottles, lettuce, eggs - you name it! Being a trouper I ignored this, continued to belt the blues and sent the gorilla out into the audience to dance and scare the shit out of those heathens. Immediately upon descending into the audience the gorilla was thrown on the floor and stabbed, though not fatally. You haven't seen anything until you see a gorilla snatch off his head and run for help crying like a new born baby.
With the Temptations
Try New York again. Sign contract with Aldo Records. Sign with a manager (Mel Alberts, Cashbox Mogul). First release (only release), "Chapel On The Hill" under the production supervision of Matt Parsons (who still insists that NOSTRAP is his name spelled backwards). "Chapel" achieved #1 position throughout the Midwest and made me a regional Star in Cleveland, sharing top billing with the Temptations, Supremes, Theola Kilgore, etc. Mel, whose father wouldn't allow him to read a Cashbox much more assist in its operations, was booking me throughout Long Island, Brooklyn, and the Bronx with Ernie Martinellis's "Little Anthony". In addition Mel was cultivating my writing and production sensibilities. My first project was Marilyn Michaels, then managed by Carl Lebow. "Mama Don't Allow Rock 'N' Roll In Here" was going to be her launching pad but for some reason (ask Mel) after fifty rehearsals we dropped it or it dropped us...or whatever.
While planning for a new record sessions Gerald Hille owner of Aldo was killed in a car wreck on his route home to Madison, N.J. Company defunct.
Creative singing time - Archie Levinson's Academy Records as a "Black" Jerry Lee Lewis! Well, that's what they said...at least I was black. One out of two ain't bad. Also V-Tone Records in Philly, signed as a dance craze innovator to be topped only by Chubby Checker, Hank Ballard, Less Cooper and a trillion other rubber-leggers.
The Academy released "Hum Baby" b/w "She's So Devine" was a step in the right direction being done by people with "No direction home, like a rolling stone" - damn I did it again, a Dylanian slip.
V-Tone, a Lenny Caldwell brainchild [compiler's note: actually Venton L. "Buddy" Caldwell], was very successful with Bobby Peterson. Released "Lets Do The Wooble Before Chubby Gets It" and achieved some top five chart positions on Philly's WIBC and enough others to glue together seventy-five to a hundred thousand sales. Lenny forgot to provide for royalty payments in his contracts, thus prompting me to seek another home. A vast amount of great things emerged from the relationship - e.g., a ten-year partnership with Richard Rome of a vast number of local productions and "gigs".
Showbiz/Nobiz
Making Philly my home from '61 through '64, I commuted to New York weekly and eventually was signed by Roulette by Sonny Lester who never recorded me, never acknowledge my presence on the label, never met with me after the signing and gave me a fifty-dollar-a-week draw for a year. When I requested a release it was done unconditionally on the immediate side. That's showbiz, in my case no biz.
Sitting in a Manhattan bar, I met a heavy drinker who said he had a club in Long Island (Freddy's Salem Inn) and would like me to audition for him. Reluctantly I took the train out to Long Island, auditioned and landed a job with my trio, three nights a week, two hundred dollars a night. We (Al Lindo, Gene Evans and myself) stayed there eleven months. During that time we expanded to five nights and shared the bar. Freddy's became a miniature version of the Peppermint Lounge, carriage trade and all. Feeling my oats I quit to play a private New Year's Eve gig down the street for a thousand dollars. Never having had a "grand" at one time I promptly left and was unable to return and was soon back on the road to starvation; proving the adage, "a bird in the hand is worth a thousand dollars in the bush".
1964, knocked on Frank Slay's door, who was enjoying production, publishing and writing successes with Billy & Lillie, Freddie Cannon, Four Seasons, Diane Renay and a bevy of other pop-oriented acts. Played him some material. He loved it all and signed me to an immediate record contract. We enter the studio and record the self-penned, "I'm The Lover Man" b/w "The Push Push Push". "Lover Man" is released on Southern Sound Records in September and October finds it bulleting on the Pop Record Business Charts at #84 the first week. (Record Business was the forerunner for Record World Magazine). During the time between recording and release I moved my wife and four daughters back to Portsmouth, Virginia where I was immediately scooped-up and thrown in the Army (Ft. Jackson, S.C. October 1, 1964) as a draft dodger. I never registered for the draft and due to the fact that I married so early I didn't fathom the need. Finally got a "big one" and I'm in the Army. Through some careful maneuvering, my wife (Yvonne) got me out on a Hardship Discharge October 8, 1964. I resumed my budding career. The record moved so rapidly that Bob Krasnow, then head of Warner Bros's new Loma label, purchased the master and carried it a few steps further. I'm now touring with Chuck Berry, Strangeloves and Sgt. Barry Sadler.
It's 1965 and next record time. Frank has two of the worst pieces of shit (he later admits) I'd ever exposed my ears to: "Detroit", a rip off the Motown Sound and "1965 Kingsize Nicotine Blues". I rebelled, screamed, argued, but to no avail. "Either you cut these or cut nothing". I cut them both. Loma didn't want it to so it appeared on Southern Sound Records. Frank shipped Gold and it came back Platinum.
A smash in Detroit, and large in Miami
I proposed a different situation to Frank: "I'll cut the next record with my money. If you like it reimburse me. If not release me". Okay! I cut "Baby You're My Everything". Frank rejected it. I sold it to Calla Records. The first week of release Kal Rudman wrote in his R&B Beat - Where It's At, "Baby You're My Everything". Jerry Williams, Calla is over 30,0000 in N.Y.C., Top 10 in Cleveland, a smash in Detroit, and large in Miami, Atlanta (WQXI), and Chicago...I rest my case.
Frank Slay and I have remained top-notch friends in spite of this. To be short he's one of the biggest men I know in the record industry - I can talk short - I'm 5'5", Frank is 5'6". Due to this success I played Tommy Small's Xmas ('65) Show with Inez & Charlie Foxx, co-headlined with Jackie Wilson (Brooklyn Brevart), toured in all venues. Some minor chart records followed. I fell in love with Miami, relocated my family, commenced to starve to death again and wound up making boxes in a factory while Yvonne worked at the phone company as an operator.
Hooked up in mid-66 with disc jockey, now turned comedian, who started booking me throughout the Everglades. This was short-lived because of his inability to prod himself to pay and his desire to book acts as somebody else and not let them know until showtime. By this time I took to booking myself again. Travelled through Georgia with Roscoe Robinson, Lloyd Price and the Marvelettes at different intervals.
Macon Jail
Ran into Otis Redding who was going to take me on tour with him after his trip to Europe. Landed in jail with the entire band in Macon, Georgia because Otis inadvertently forgot to make arrangements for our Holiday Inn bill before leaving for Europe. This time I had a band and a Magician with an electric chair. B.B. Bemon advanced us the money to get out because his club was our next date outside Atlanta. Thank-you B.B. Otis, I understand and love you.
Penal institutions were becoming my second home. In Charlotte, N.C., the Hi-Fi Country Club, our next job, we were arrested soon after checking into the hotel. It was a case of mistaken identity, but that didn't ease the pain of the bruises we received from the constable who assumed us guilty without question. To add fuel to the fire the jock that booked us decided that we had received too much adverse publicity and wanted to cancel the show. Now I am going to jail for something I've done for a change - kicking ass all over Charlotte. (As I write this I'm getting mad, a dirty big head bitch!! Oh Well...)
Back in Miami, I sent for U.S. Bonds to come down and "let's think of something". We booked shows in Ft. Lauderdale, Miami and the surrounding areas and made some "get the hell back to New York money".
Made a pact with Art Talmadge (Musicor Records) as an artists, producer, writer and anything else he could think of for a grand slam of $100 per week before deductions. While there I co-produced the Toys, Exciters, and Tommy Hunt with Stanley Kahn aka Bob Elgin who made my hair fall out from the side in patches. (Well it grew back and Stanley and I became good buddies). While waiting for my hair to grow back, I produced hits for Inez & Charlie Foxx ("Count The Days") and Gene Pitney ("She's A Heartbreaker"). The latter I was fired for doing. I took Gene out of his bag. My contention is if you haven't had a hit in a while, your bag's got a leak somewhere. So it's over...
Botanic Records
What now? Standing in the latrine at 1650 Broadway..."Don Gardner, my man, what's happening? Where are you? What are you doing?" "I'm helping a friend of mine set up a company down the hall called Botanic Records." "Well introduce me. I'm in between situations". I was given the A&R position that night. Three weeks later I was Vice-President and a stock-holder. Signed Gary U.S. Bonds immediately and cut a record, "I'm Glad Your Back". Repeated this with Little Charles & Sidewinders. Botanic expanded very rapidly and went out of business the same way. The principals weren't in tune with the record industry and made a ton of bad decisions. Nine months later another one bites the dust.
The "Undesireds"
Sitting near the stern, watching Botanic experience the Titanic's fate, I called Henry Allen (Atlantic) and made an artist-producer pact. My first assignment was to go over a roster of undesired Atlantic artists and decide whether to release them or record them. Among the alumni headed for the "block" was the Commodores (untried, unproven and never recorded), Patti Labelle & Bluebells, C & Shells (formerly Sandpebbles) and the Drifters. I elected to record them all because I believed in them and while waiting on their decision in reference to my decision, I signed U.S. Bonds to Atco. I was given the "go sign on the above projects" and attained chart positions on C & Shells with "You Are The Circus" and "Good Morning Sunshine". The other acts did not see the light of day as far as charts were concerned. Nevertheless, I'm as proud of the productions I did for Atlantic as I will always be of my family. I was the square peg struggling to fit in the round hole. I've now reached the realization that I can't and won't work for anyone else in the record industry in any capacity. I'm too much of a Maverick. I want to experiment. I want to give the public their money's worth. I must have my own organization.
Phil Walden was building a studio in Macon, GA. I called him and proposed a 75/25 partnership in my new production company. His contribution - studio and rhythm section. We agreed. The first act was Tommy for whom I made a deal with Capitol. It was never released because it couldn't be pigeon-holed. It was the forerunner for Pop/Gospel Andrae Crouch type Lps. 1969 was a little early for such an innovative project. Next came the Doris Duke Lp. I damn near lost my everything with this one. It was a Woman's album; men found it depressing. I walked the streets of New York for six months trying to give it away, then on to L.A. I totally believed in this concept, until I walked into Wally Rocker's Canyon records. He played it once and said, "It's a bitch, I got to have it." I damn near paid him.
First release, "To The Other Woman (I'm The Other Woman)". The rest is history made of gold.
Total Destruction To Your Mind
The next project was on a Macon, Georgia girl, JoAnn Bunn, who sang like forty canaries in rehearsal but froze in the studio. I salvaged her two tracks by overdubbing my voice. Immediately after I flew back to Los Angeles to make a deal. On the plane I'm thinking, "I don't want to be Jerry Williams, "Little" Jerry or any of those Jackie Wilson, Ben E. King prototypes anymore. I want to sing about women, politics, screwing, television, syphilis and anything else I feel is pertinent and I want a name that will shock and be remembered." I decided to call myself The Dogg. Upon presentation of the two sides to Wally Rocker he asked "who's the artist?" I answered, "Dogg". "What kind of Dogg?" he asked. "He needs a first name," I assured him that by the time I completed the album the name would also be complete. To complete the album I returned to Macon where the rhythm section branded my album as Swamp Music, likened to Tony Joe White, etc. That's it!! Swamp Dogg! "Total Destruction To Your Mind", was the album - over a million sales to date worldwide, not counting the bootlegs. By the way, if you listen to "Everything You'll Ever Need" and "If I Die Tomorrow I've Lived Tonight", you can hear JoAnn Bunn's voice faintly where it leaked through the piano track to live on forever. [Note: in Swamp Dogg's February 24, 2008 Right Track Soul Show interview he further explained that, at the prompting of Macon disc jockey Hamp Swain, he had recorded these two songs for a single by JoAnn Bunn. After the recording Swain informed Swamp that Joann confessed to being 13 years old, pregnant and wanting to raise a family instead of pursuing a singing career. Thus Swamp recorded over her vocals, though they still leaked through on the finished product.]
Everything that Elektra didn't want
Canyon went down the drain and Elektra wanted Swamp Dogg. With my partner-attorney Robert Fitzpatrick we made the Elektra deal with loads of hoopla but enjoyed only moderate success. I turned out to be everything that Elektra didn't want - Anti-War, Pro-Black, Peace movement participant and very candid. As if this was not enough I designed the album cover with me mounted on the back of a smiling white rat, symbolizing the Black Man getting a ride for a change and called it "Rat On". I was also sued by the Irving Berlin Foundation for writing "God Bless America For What". I definitely was not winning any popularity contest there.
Fitzpatrick and I flew to Nashville and negotiated the Mankind Record deal with Nashboro. This was an immediate success. I hired the best Promo people, moved the productions to Broadway Sound in Muscle Shoals, Alabama, signed Z.Z. Hill, Freddie North and Doris Duke, and sold several million records, e.g. Freddie North, "She's All I Got", Z.Z. Hill, "Second Chance".
In 1972 I met a man I'll never forget, Wayne Bennett (Cream Records) and a multi album pact. Elektra had dropped me like I was a leper with terminal syphilis.
The Cream album was "Cuffed Collared And Tagged" and it gave birth to the "Sam Stone" single that took the FM Underground Market by storm. A short tour followed then I returned to my first loves, writing and producing for other artists.
As I was gathering material for my next Cream album I discovered that they had quietly slipped out of the business into the night. Oh Well....
Immediately I made a pact with George Barriers Brat Records who closed their doors before my album's release. So much for that!!
Heart attack!
Allowing no grass to grow under my feet I huddled with Henry Stone and formed the stone Dogg label and recorded the "Gag A Maggot" and the "Greatest Hits" albums. Following this came a much needed hiatus, because I was on the verge of a nervous breakdown. Suffering from an identity problem, I developed acute anxiety that manifested itself via paranoia, hypertension and heart palpitations that led my doctor to believe I'd suffered a heart attack. The funky part of the situation came when Yvonne and I commenced to doubt the diagnosis, checked it out and found it to be erroneous. Nevertheless, my doctor refused to change his diagnosis. Lots of mental changes came down but through a top-notch shrink and Yvonne, I finally overcame; although it took about four years.
Plotting my entrance into disco
I called Chris Blackwell, President of Island Records, told him about my last few years and asked for a contract with the first album delivered to be about my past and present mental problems. He agreed. The results were the "Have You Heard This Story" Lp which was excellent, nevertheless depressing and worst of all, released during the height of the Disco craze. This seemed to be the opportune time to go on Sabbatical - to enjoy, enlighten and enrich myself. I also was plotting my entrance into disco with what I considered meaningful lyrics and music. Also on the itinerary was a new baby. Hoping for the first boy, I was gifted with my fifth girl, Jeri Yvonne Williams (3/10/76). I took a year to watch and aid her every minute of her child-life, in becoming a woman of substance. I was plagued with X amount of guilt because Yvonne had done the job previously while I plotted for the Gold at the end of the rainbow.
Having travelled the World several times since 1970, arranging label deals, producing records and affiliating with new publishers, my decision was to cultivate all of the foreign markets, while waiting for disco's demise or whatever. I took Jeri with me and she proved to be the best good luck charm, conversation topic and goo goo companion that I could ever wish for.
Offices (European Video-Audio Communications Development Ltd/Euro Mr. Dogg/Nippon Mr. Dogg) were set up in London (Hammersmith) using a skeleton staff and deals were made with Victor (Japan), Pana (Italy), Autobahn (Germany), Charly (U.K.), Flash (South Africa), Planet (Scandinavia) and many, many more. My concentration was on their musical needs and demands. To date my foreign accomplishments include the release of over fifty albums, with over half "cracking their nut".
An excellent album...
In 1977 at the request of Wayne Bennett (Cream Records), the man whom I'm totally indebted to for life because of his loving and unselfish attitude, I relocated to the outskirts of Los Angeles - Chatsworth, Ca., and re-signed with him. An excellent album was produced but he was murdered soon after, causing me to make a Cream exit decision; as I'm sure he would have wanted. To dwell on the negativisms that ran rampant through Cream after his demise would be quite unfair to his memory, therefore I am refraining from prolonged dialogue.
Next I signed with Takoma Records, a Chrysalis brainchild, and released the album, "I'm Not Selling Out I'm Buying In". I also tried syndicating a radio show (Swamp Dogg's West Coast Hot Line).
Meanwhile I wanted to publish my own cookbook ("The Cookbook That Was Heard Around The World"). Unfortunately, Takoma went the way of silent movies, the cookbook is still unpublished and the radio show became too costly and time consuming.
Shit in the tower
It is now October '85. What happened between '82 and '84 is the same ol' dogg dung: some record releases and problems with ATV and BMI (not mention my RCA and BMW). Rode home on the 'B' side of Z.Z. Hill's "Cheating In The Next Room" as writer and publisher. Paid some bills. Bought a thirty-eight thousand dollar home for two-hundred and sixty-eight thousand. Only in America - no, make that only in California. I need the shit shoveled from around my brain just like everyone else out here. But I do have one edge and that is I'm cognizant of shit in the tower. Purchasing a radio station, touring Brazil (11/85) signing new acts, writing fresh material, looking younger, getting smaller, refusing to be mental and loving life like I've never loved it before.
ADDITIONAL NOTES:
"I Love You Yvonne" is the same song as "Yvonne".
"If You Ask Me (Because I Love You)" appears to be the 1973 Calla reissue version which contains a 23-second instrumental break at 1:46-2:09, unlike the original 1966 version which has a 15-second instrumental break at this point in the song.
RAT ON!
(1971, Elektra EKS-74089)
Side One:
1. Do You Believe (2:50)
[Jerry Williams, Jr. and Troy Davis]
2. Predicament #2 (3:07)
[Jerry Williams, Jr.]
3. Remember I Said Tomorrow (2:41)
[Jerry Williams, Jr. and Troy Davis]
4. Creeping Away (2:51)
[Jerry Williams, Jr. and Gary Bonds]
5. Got To Get A Message To You (4:08)
[Barry Gibb, Robin Gibb and Maurice Gibb]
Side Two:
1. God Bless America For What (5:34)
[Jerry Williams, Jr. and Troy Davis]
2. I Kissed Your Face (3:51)
[Jerry Williams, Jr., Gary Bonds and Tobie Milit]
3. That Ain't My Wife (3:15)
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
4. She Even Woke Me Up To Say Goodbye (3:05)
[Mickey Newbury and Douglas Gilmore]
5. Do Our Thing Together (4:07)
[Jerry Williams, Jr. and Troy Davis]
NOTES:
Produced, arranged, piano, vocal background, and everything else of any importance: Jerry Williams, Jr. Stacy Goss: trumpet, flugelhorn. Sonny Royal: tenor, clarinet, baritone. Mike Stough: trumpet, flugelhorn. Robert Popwell: bass, percussions. Jesse Carr: guitar, background vocal. Jasper Guarino: drums.
Engineering: David Johnson. Recorded at Quinvy Recording Studio, Muscle Shoals, Alabama. Album coordinator: Yvonne Williams. Cover photo: Willis Hogans, Jr. Back cover photo: Siegfried Halus. Cover concept: Swamp Dogg. Copyright 1971 by Elektra Records, 15 Columbus Circle, New York City 10023.
ADDITIONAL NOTES:
"Elektra was a lily-white company," Swamp continues. "They had one black artist [the Voices Of East Harlem] at the time. They got rid of them when I came. But now, there was also a thing where I was kinda militant, and I was asking questions about how come there ain't no blacks working here. I was just really too deep into their shit. A lot of shit that, quote-unquote, just wasn't none of my motherfuckin' business. But I was makin' it my business. Then, when I decided to go on tour with Jane Fonda and her Free The Army revue, they really went off." [Roctober no.28 (Summer 2000), page 61, phone interview with James Porter]; see: http://www.roctober.com/roctober/contact.html
NOTES FROM LITTLE JERRY WILLIAMS ANTHOLOGY (1954-1969):
"Canyon went down the drain and Elektra wanted Swamp Dogg. With my partner-attorney Robert Fitzpatrick we made the Elektra deal with loads of hoopla but enjoyed only moderate success. I turned out to be everything that Elektra didn't want - Anti-War, Pro-Black, Peace movement participant and very candid. As if this was not enough I designed the album cover with me mounted on the back of a smiling white rat, symbolizing the Black Man getting a ride for a change and called it "Rat On". I was also sued by the Irving Berlin Foundation for writing "God Bless America For What". I definitely was not winning any popularity contest there."
THE RE-INVENTION OF SWAMP DOGG
(2000, S.D.E.G. 1943)
1. Sugar Bum Bum (5:03)
[Lord Kitchner; additional lyrics by Jerry Williams, Jr.]
2. Ain't A Nineteen Year Old Got Nothing On You (4:25)
[Jerry Williams, Jr.]
3. I Have Touched The Sky (5:15)
[Jerry Williams, Jr. and Troy Davis]
4. Y-v-o-n-n-e (4:17)
[Jerry Williams, Jr.]
5. Artificial Insemination (4:41)
[Jerry Williams, Jr. and Troy Davis]
6. Jesus Is Alive In My Heart (3:40)
[Jerry Williams, Jr.]
7. We Need A Change (4:24)
[Jerry Williams, Jr. and Robert Carswell]
8. Galactic Zoo (3:37)
[Jerry Williams, Jr. and Troy Davis]
9. We'll Never Say Goodbye (3:37)
[Jerry Williams, Jr.]
10. It Must Be Love (3:48)
[Jerry Williams, Jr. and Bob McDill]
NOTES:
Produced by: Jerry "Swamp Dogg" Williams for Swamp Dogg Entertainment Group. Executive producer and album co-ordinator: Yvonne Williams. Arranger extraordinaire: Pelham Goddard. Recorded at Agra 9 Production Studio, 9 Agra St., St. James, Trinidad (West Indies). Engineer: Neil (the Trinidadian Lover) Bernard. Jerry Williams Music administered in The Netherlands and Europe by 2P'sW. Manufactured by S.D.E.G. Records/Films, 6433 Topanga Blvd. #142, Canoga Park CA 91303, [phone] (818) 366-0510, [fax] (818) 366-0520, rawspitt@aol.com (e-mail), http://www.swampdogg.com (web site). Distributed by Ground Level Distribution, 629 Sonora Ave., Glendale, CA 91201, [phone] (818) 550-9860, [fax] (818) 550-0141, www.groundlevel.com Barcode: 7-22247-19432-7.
Front Cover Photography: Norm Goodman (you made this harder than it should have been...please re-evaluate our friendship which is hanging by a fuckin' thread...). Back Cover (inlay) Photography: David Eaves (thanks for saving this shit). Cover Concept: Swamp Dogg and Hugh Brown (Hugh, I know your heart was in it but your time would not allow it...thanks anyway...next time). Naughty Nurses: Yvonne Williams, Claudette Colbert. Set Director/Prop Designer/Make-up Artists/Lighting Director: Barbara Peters.
Keyboards: Pelham Goddard, Swamp Dogg. Drums: Vonrick Maynard. Bass: Albert Bushe, Jr. Guitar: Tony Voison. Saxophone: David Phillip. Trumpets: Clyde "Mitch" Mitchell, Joel Bonaparte. Trombone: Patrick Spicer. Pan Drums: Len "Boogsie" Sharpe. Background Vocals: Natalie Yorke and Carol Jacobs on all tracks except "Sugar Bum Bum". Background Vocals on "Sugar Bum Bum": Vonrick Maynard, Albert Bushe, Jr., Winston Matthew. Percussionists: Winston Matthew, Vernon Headley.
LINER NOTES:
The Re-invention of Swamp Dogg.
Reinventing Swamp Dogg was a necessity, although I'm the first to agree that Swamp Dogg is one of the best rock 'n' rollers/rhythm 'n' bluesers ever born. Nevertheless, there comes a time when nobody gives a fuck! I thank God that I love about forty (...maybe more) different types of music and can easily handle twenty of them vocalizing on a production and arranging level.
After conceiving and giving birth to Swamp Dogg via a c-section...that's the key of c, a gratifying amount of success was realized and enjoyed via record sales and personal appearances, but the time has come for a change because I have used every musical arrangement known to man putting new spins on some of the same o' shit! Twenty albums later...I'm fresh again and I'm ready to take on the world...this time using calypso music as a warm blanket and the backdrop to vocalize about the world, politics, pain, crack, religion, love, blind people, atheist, one legged tap dancers and all other madness that I deem necessary to write/speak about when it invades my id.
Every time I get ready to produce a Swamp album, I try to record a track that will have some retail appeal to at least one group of people in the states and usually I miss every one of them by a country mile and they latch on to something else that I would not have liked. Well this time, I'm shooting for the entire Caribbean and Europe, thus deleting all pandering to my U.S. supporters, but......I'm hoping that they'll also appreciate the musical stand that I'm taking. This entire trip had to be authentic. With that in mind, Yvonne and I packed our shit and headed off to Trinidad, a place where I have been a star in the true sense of the word since 1971. With the assistance of Trinidad's most illustrious producer, arranger, bandleader and songwriter, Pelham Goddard, this recurring dream became a reality. Pelham played keyboard for me in '72 when I performed in Trinidad at Perseverance, which later became known as the Caribbean Woodstock. Upon my return for another concert (...which by the way was sold the fuck out!!!) in November of 99'. Pelham (...again the bandleader) and I discussed the possibility of me returning shortly to do this album. He worked out all of the loop holes and potential problems and summoned me to come on down!
His career commenced in 1967 as the organist with the Petere De Vlugt Orchestra. He has produced and arranged for almost every major and start up act in Trinidad, e.g., Mighty Sparrow, Lord Kitchener, Machel Montano, Duke, Baron, Singing Francine, Calypso Rose, Charlie's Roots, Black Stalin, Gypsy, David Rudder, Iwer George, Super Blue, Mighty Trini, 3rd World Steel Band, StarliftSteel Band, Exodus Steel Orchestra, etc., etc. Pelham has the distinction of producing the most road marches in the calypso art form and I'm damn safe in saying that he has more accomplishments than any other arranger/producer in Trinidad and most of the Caribbean. If I'm wrong...prove it and sue me!!!
"Banquet of the finest sounds"
Anyway...if I sound like I'm the president of the Pelham Goddard fan club, that was my intention. I never thought I'd use pan drums (...Trinidadians get bent out of shape when you refer to them as steel drums) on any records, mainly because they usually sounded loud, ugly and without purpose. This attitude came to a halt when John Gill took Yvonne and I to the pan yards.....my ears were treated to a banquet of the finest sounds and music I've ever heard in my life. I fell in love with it and immediately wanted it and made a place for it on this album. Luckily I was able to obtain the playing genius of the world's number one pan player, Len "Boogsie" Sharpe, who appears on three cuts. Oh yeah! He'll be on many more tracks of the next Dogg album.
Phase II Pan Groove
Len "Boogsie" Sharpe is a source of folk lore. Stories are told of his first public appearance at six years old, when he had to stand on a chair to reach the drums. He played "American Patrol" better than any adult and was lovingly mobbed. After playing with the top steel band orchestras he formed his own Phase II Pan Groove so that he could experience more innovation and be more innovated and creative. He was the first to compose music for the steel pan while everyone else was adapting the same old songs and arrangements. His pioneering work in the area of composing pan music was complimented by musical arrangements that established fresh paradigms in the orchestration of steel band music.
The world took notice in 1987 when his original composition, "This Feeling Nice" won the Steelband Panorama Competitions. Lightning struck again the following year when he won again with another original composition. "Woman Is Boss". Wynton Marsalis is just one of the many prestigious musicians throughout the world who acknowledges "Boogsie" as a genius and a musician's musician whose skills are unsurpassable. I'm surrounded by genius in this album!!!
Excellent musicians
Some of the most excellent musicians I've ever worked with in my life, helped to make this recording great. As you listen to Vonrick Maynard, classical guitarist turned drummer, you'll hear more different rhythms in one song than you usually hear played on an entire album. His playing is a culmination of licks and grooves that he burned into his brain while touring and studying throughout Guyana, New York, Japan, Canada, Europe and Scandinavia as well as Trinidad. Being one of Trinidad's best, it's only natural that he played on six of Lord Kitchener's albums. Check Vonrick out on track two ("...19 Year Old..."), especially the musical vamp after I shut my fucking mouth. He's playing some licks in which it sounds as though there are two drummers.
A kick ass bass player
This guy is awesome! A kick ass bass player, who is in the same category as Chuck Rainey, Robert Popwell (my discovery), Duke Jobe, Vince Jefferson and Gerald Jermott, just to name a few........ladies and gentlemen, Albert Bushe, Jr. This man entered the music business as an accomplished flutist who won competition after competition throughout Trinidad. Believe it or not...he plays better flute than he does bass and I've got him on my album. You are going to want to hear more of Albert's masterstrokes after you've played this album in excess of a thousand times the first week of purchasing it.....so....stick your ears into some cd's/vinyl by Charlie's Roots of whom he happens to be the band leader, the Calypso All Stars, the Deltones, Rapid Response and Mungal Partessar & Panta. You'll experience some bass playing that some of the aforementioned bass master legends would marvel over. You must bare in mind that in calypso, you can't get any bigger than Lord Kitchener, Mighty Sparrow, David Rudder and Pretender...and Albert has recorded and played with all of them plus....Eddy Grant, Swallow, Duke...I just had to throw them in to further elaborate on this man's credibility.
Tony Voison, other than his name is close to poison; something he happens to be on guitar, I can't tell you a damn thing other than what is evident on this recording. Listen to "Y-V-O-N-N-E" and you'll hear him playing some unheard of licks and double counter rhythms against himself that locks the track and acts as a motor to keep it driving. On every track, he creates something unique and different, never playing the same lick twice. I defy you to find repeated licks on other tracks in my album by this man. He's got more ideas than a two dollar hooker has clients. Although he talks all of the time and I asked him for a biography about twenty times, which I never got, all I know is he's among the greatest guitarist in the world, a bachelor, has a beautiful smile, will give you one hundred percent at any and all times and can only be contacted by pager. Maybe he's hiding from the police and don't want any recognition...well if that's the case, he best stop playing so good because he's too good to go unrecognized.
In the Background...
Background singers........I've worked with the greatest including the Sweet Inspirations with Whitney Houston, Dianna Reeves, Hodges-James & Smith, etc., but none of them can tower the combined efforts of Natalie Yorke and Carol Jacobs. These two ladies sound like an entire glee club. They are truly the fastest and best I've worked with to date. I also asked them for biographies but I guess they're hiding from someone also. Anyway, ladies you are great.
Anyone who has listened to my albums know that I very seldom employ background singers and it's because they get in my way. Carol and Natalie did not. I wanted to use them more but I just hadn't made provisions, but I will the next time. Oh, by the way...Carol has a album release that is great, entitled "Family" on the JW Productions Record label and produced by David Rudder. Get it, if you don't like it I'll give you part (??) of your money back. I feel safe in saying this because it's damn good.
Horns are my babies.....I love 'em. This horn section was made up of David Phillips (saxophone), Clyde "Mitch" Mitchell (trumpet), Patrick Spicer (trombone) and Joel Bonaparte (trumpet)...hereinafter to be known throughout the world as the S.D.P.G.T. Horns (Swamp Dogg Pelham Goddard Trinidad Horns). David is a cop, Mitch was a cop, Joel is a twenty year army man and Patrick was a soldier and I think is presently a cop. I bet they'll never get called to play on a session with Sly Stone or Snoop Dogg. These excellent horn men have all played and recorded with Lord Kitchener, Sparrow and The Roy Cape All Stars. Patrick was with Kalyan when there were on MCA and had the hit "Can You Love Me".
I must be the only person in the world who has not played with Charlie's Roots or The Roy Cape All Stars. I'm going to call my mother in the morning because I think she played with them also.
Same sign
Neil Bernard.....Neil Bernard....engineer extraordinaire. I got to give him a little slack because we're the same astrological sign...That moody, gloomy, sometimey, what the hell is wrong with you, cancer! Neil took time at three and four in the morning to take us to our hotel...now that could have been because he loved Swamp Dogg or just maybe because a certain young lady was on the desk at these times. Oh yes, he's definitely the Trini lover. Nevertheless, over and above his overactive libido, you won't find another engineer within a thousand miles who can out mix or out track him, unless he's eating. Then that's another story. Neil took Yvonne and I to a Chinese restaurant that wouldn't let us in because we were wearing shorts. They have a dress code. Okay, fine...so we were directed to the take out area where I saw two roaches the size of small dogs strolling up the wall. A little outraged, I asked the manager, "why don't you make those roaches put on a tie and long pants because they're goddamn sure leaded up to the dining room?" As we were leaving with our food she said, "I put those roaches in your carton...extra meat, no charge"...and laughed her big ass off! What's my point? Let Neil record your session, but don't ever let him pick the eatery.
Many thanks
I wanted to come into the 21st century with a fresh contribution and this album is definitely 21st century worthy. I wanted to thank as many people as I can who have made my world a better place to be either via love, friendship or showing me how to cope with aggravation. These names are not in any particular order of importance and a couple of them should have been excluded, but what the fuck. Naturally, I thank God. A shithead knows he needs to give thanks to God, if only for just allowing him to be a living shithead. My thanks to my wonderful, beautiful and loving wife, Yvonne, without whom....I'd be worm food. Thanks to the love of my last daughter Jeri, who will soon be a neurosurgeon and will be clocking the big dollars. I prayed for her and God gave her to me...I love you more than life itself. My daughters Antoinette and Desiree whom I love dearly and wish them the best of everything, forever. My Grandson, Bernard Jerry Williams, who's going to be a pro basketball player and bring in more large bucks. He has always been a good boy and a gentleman. I love you Bernie! Victoria...my pride and joy of a granddaughter, who makes me laugh, cry with happiness and wake up every morning because I know she needs me. Nine years old and don't need nobody...quiet as it's kept, she needs everybody. Little Lauren, the grandson that was born fully grown. We already know that this five year old is an aspiring dentist because he's already knocked out two of his mama's teeth. I love you Lauren and remember to go easy on granddaddy. Love to my mother, Vera...Thanks for giving birth to me and continuing to remain in my life. I deliberately left out two of my over thirty daughters, who have decided to be ass holes, but I still love em'. God bless em' and keep them and hopefully they'll become adults before they're my age. Big time love to Wilson Williams, Gene Sculatti, Deacon Roy Bailey, Marie Washington, Rev. Tony Booker, Debra Wright, Ben Wright, Dr. Julian Earls, Art Fein, Rev. Larue Smith, Janet Smith, E. Rodney Jones, Bob Merlis, Dick Blackburn, Bill & Sharon Liebowitz, Dan Bourgois, Bob Jones, Steve Turner, John & Margaret Gill, Kurt Trotman, Glenda Goddard, Norm Goodman, Dave Godin, Louis Lee Sing, Danny & Lynn Kessler, Clancy Grass, Rick Hocutt, Richard Fannan, Jeff High, Warren Lanier, Larry, Michelle & Lawrence Lowe, Ned & Ann McElroy, John Goddard, Stevie Wonder, Karimu Shaw, Leon Haywood, Carolyn & Woody, Charlie Whitehead, Gary Cardinez, Frank Blake, Mavis John, Sinclair Thompson, Peter Ray Blood, Terry Joseph, Diane Rhyner, Deacon Calvin Collier, Tosh (...sorry you had to leave), Marshall Sehorn, Howard & Joyce Liebskind anyone else who feels that they should have been included, use these fucking blanks to enter your nom de plume.
_____________________________
_____________________________
Please enjoy this first of a series of great Swamp Dogg albums geared for the 21st century. Everything I do from now on is going to be great!! Remember that life is too short to entertain the mediocre and bullshit! As you listen to this masterpiece remember to always put your trust in God, but lock your fuckin' car!!!!!
Oh yeah......Yvonne wants to send a special shout out to John Gill for taking her to a restaurant that sold tainted bake and shark cooked in old grease, that gave her the worst food poisoning known to civilized man. Hey John, I'll have mine at Friday's and KFC....fuck a shark!!!!
THE RE-INVENTION OF SWAMP DOGG [Trinidad bonus tracks edition]
(2001, CoraZong Records 255016)
1. Sugar Bum Bum (5:03)
[Lord Kitchner; additional lyrics by Jerry Williams, Jr.]
2. Ain't A Nineteen Year Old Got Nothing On You (4:25)
[Jerry Williams, Jr.]
3. I Have Touched The Sky (5:15)
[Jerry Williams, Jr. and Troy Davis]
4. Y-v-o-n-n-e (4:17)
[Jerry Williams, Jr.]
5. Artificial Insemination (4:41)
[Jerry Williams, Jr. and Troy Davis]
6. Jesus Is Alive In My Heart (3:40)
[Jerry Williams, Jr.]
7. We Need A Change (4:24)
[Jerry Williams, Jr. and Robert Carswell]
8. Galactic Zoo (3:37)
[Jerry Williams, Jr. and Troy Davis]
9. We'll Never Say Goodbye (3:37)
[Jerry Williams, Jr.]
10. It Must Be Love (3:48)
[Jerry Williams, Jr. and Bob McDill]
11. The World Beyond (3:58)
[Bobby Goldsboro]
12. We Need A Revolution (5:14)
[Jerry Williams, Jr.]
13. Mama's Maybe, Daddy's Maybe (8:14)
[Jerry Williams, Jr. and Gary Bonds]
NOTES:
Corazong Records, P.O. Box 1053, 1943 EB Beverwijk, The Netherlands. Manufactured in EC. Made in Trinidad. Includes 3 bonus tracks from "2 Meter Sessions" [2 Meter Sessies], a TV show broadcast in The Netherlands. The bonus tracks were recorded live at NOB Audio Studio 1 in October 1997 and broadcast on January 2, 1998. Derwood Andrew plays guitar and provides backup vocals on The 2 Meter Sessions; Swamp Dogg plays keyboards. Special thanks to Jan-Douwe Kroeske and his 2 Meter Team. The cover and all photos in this edition are different from the 2000 S.D.E.G. Records release. The booklet notes are the same as the 2000 S.D.E.G. Records release. Track 13 is incorrectly titled; it should read "Mama's Baby, Daddy's Maybe". This edition is available for purchase at: http://www.corazong.com
Related links:
http://www.2metersessies.nl/
http://omroep.nl/nps/tv/2meter/98/0102.html
http://www.muziekweb.nl/m0/shared/cat/ti/ti.php?t=JK107770
RESURRECTION
(2007, S.D.E.G. 1955)
1. In Time Of War Who Wins (3:38)
[Jerry Williams, Jr. and Bob Jones]
2. No Deposit No Return (3:29)
[Jerry Williams, Jr. and Beverly Green]
3. I Need Some Money I Want Some Money (5:45)
[Jerry Williams, Jr. and Beverly Green]
4. They Crowned An Idiot King (3:54)
[Jerry Williams, Jr. and Ned McElroy]
5. Since I Fell For You (4:44)
[Buddy Johnson]
6. America Is Bleeding (3:55)
[Jerry Williams, Jr. and Troy Davis]
7. Resurrection (12:05)
[Jerry Williams, Jr. and Beverly Green]
8. Raw Spitt (5:25)
[Jerry Williams, Jr. and Troy Davis]
9. Love Song 4 U (5:36)
[Jerry Williams, Jr. and Beverly Green]
10. One Man's Freedom Is Another Man's Dream (5:20)
[Jerry Williams, Jr. and Beverly Green]
11. Today I Got Married (4:45)
[Jerry Williams, Jr.]
12. Soul To Blessed Soul (5:39)
[Jerry Williams, Jr. and Beverly Green]
13. Be Anything (But Be Mine) (3:55)
[Irving Gordon]
14. Lost and Alone (5:33)
[Jerry Williams, Jr. and Troy Davis]
15. Crawdad Hole (4:11)
[Joe Turner]
NOTES:
EPISTLES [the booklet/insert page listing the song credits]
All songs published by Jerry Williams Music, LLC (BMI) except where noted(*) ["In Time Of War Who Wins", "They Crowned An Idiot King", "Since I Fell For You", "Be Anything (But Be Mine)", and "Crawdad Hole"] and administered by BUG Music (Hollywood, CA.)
Troy Davis A/K/A Robert Madden (R.I.P.)...You was a crazy son-of-a-bitch but I'll miss you and I loved you. Don't run God crazy with your bullshit!
DISCIPLES [the booklet/insert page listing the production and credits]
Produced and arranged by Jerry "Swamp Dogg" Williams.
Executive producer: Dr. Beverly Green-Williams.
Music Direction: Victoria Williams, my 16 year old granddaughter, who made sure that I kept the music and the songs in the Swamp Dogg genre and not infuse it or confuse it with hip-hop and R'N'B as it's known today: thus staying true to my fan base worldwide.
String and horn arrangements (track #'s 3,4,5,9,10,11 and 15) Wayne Boyer.
Piano: Swamp Dogg.
Guitar: (Lucky) Lloyd Wright
Keyboards and organ: Jan Garfinkle
Drums: Craig Kimbrough
Bass: Stoney Dixon
Trumpets: Mack Johnson and Wayne Boyer
Tenor sax, baritone sax, alto sax: Jerry Peterson
Trombone: Evan Pigford
Congas, bongos, percussions: Bob Conti
Violins, cellos, violas, oboe, french horns: Swamp Dogg Little Symphony under the direction of Wayne Boyer.
Recorded @ The Dogg House (Northbridge, CA.) January 2007.
Strings and horns recorded @ Wayne Boyer's Studio (Reseda, CA) January 2007.
Recording and Remix Engineers: Leanard Jackson, Bret Newman and Wayne Boyer.
Graphics and Art Layout: Shaman Silicon, LLC (Las Cruces, NM. and San Jose, CA.)
Mastered at Capitol Records (Hollywood, CA.): Evren Goknar (Engineer) February 2007.
Management: Frank VanHoorn (frank@vanhoorn.com), P.O. Box 94266, Amsterdam, The Netherlands. Phone: 31-20-573 3833. Fax: 31-20-573 3838.
Special Thanks To......
God, Beverly (my new wife and angel), my five daughters Dr. Jeri Yvonne, Michelle, Toni, Desiree, Joy, my band (see above), my mother (Vera Lee), Frank VanHoorn, Steve Turner, Bob Jones, Lee Parker, Wilson Williams (my best man), Chuck & Sharon King, Shaila (stay sweet and stay in school for Uncle Dogg), Gary Neville, Trevor Walker (partner), Guitar Shorty, Lucille Barnes-Lewis, Maxine Deberry-Hines, Curtis and Leslie Jordan, Reverend Tony L. Booker, Helen Booker, Deacon Roy Bailey, Ernestine Bailey, Al Bell, Bill Boykins, David Cutlip (partner), Sunshine & Jimmy Faines, Ben & Deborah Wright, Sandra & Jimmy Martin, Carolyn & Wood, Barbara Cross-Mann, Ray, Goodman & Brown, Miles & Arminta Cross, Jewel Horde, Ernestine & Herman Hall, Ramona Dale-Dempsey, Barry Dolan, Ray Ellis, Art Fein (fraternity brother), Travis Gardner, Lenis Guess, Barbara Peeters, Pelham Goddard (we're going to do another one together real soon), Moses Gonzales (my Austin, Texas messenger), Leon Haywood, Hilda Hicks (as always, thanks), Bobby Patterson, David "Bat" Johnson, Larry Katz (my attorney), Ben McClane (my attorney), Jim Christie (my attorney), Packard Phillips (my attorney), Wally & Marge Roker, Adam Levy, M.C. World A/K/A Hump Dogg, Ned & Ann McElroy (partners), Lemuel Munez, Bob Merlis (fraternity brother), & Linda, Chester & Sarah Madison, Otis Borwn, Andy McElroy, Norm Goodman, James Porter, Durie Purvis, Rodger Redding, Canned Heat, Willie Clayton, Benny Lattimore, Betty Wright, TK Soul, John Goddard, Dick Blackburn (fraternity brother), Gene Sculatti (fraternity brother) & Marsha, Johnny Sandlin, Dan Bourgoise, Fred Bourgoise, Jim Hawkins, Robert Popwell, Joyce Sanders, Andy & Scarlett Stroud, Frans Penas (concert promoter), Walter Stokman, L-P Anderson, David Hirshland, Kyle Staggs, Jeremy Crowder, Karimu Shaw, Ron Toussaint, Dave Jones, Lonzo Williams, Marie Washington, Hugh & Liz Brown, Cartez & Virginia Kirby, Marilyn Madison, Lezlie Ross and Sharon Leibowitz (Good Luck.) and Viva La Bill always.
JEWEL CASE TRAY BACK INSERT:
Produced, conceived and arranged by Jerry "Swamp Dogg" Williams. Executive producer: Dr. Beverly Green Williams. Manufactured by S.D.E.G. Records/Films LLC, 6433 Topanga Bl., #142, Canoga Park, CA. 91303. (818) 366-0510 FAX (818) 366-0520. Email: rawspitt@aol.com www.swampdogg.net
Warning: Unauthorized reproduction of this recording is prohibited by federal law and subject to criminal prosecution. Now if the bootleggers ever read this or ever give a sh**, this warning might mean something one day. The F.B.I. and the RIAA may become more diligent after we've all been run out of business. C. P. 2007 S.D.E.G. Records. Barcode 722247-1955-23.
ADDITIONAL NOTES:
Released March 2007. The CD contains a Parental Advisory / Explicit Content notice. The booklet/insert contains the lyrics to "Resurrection", Jerry Williams and Beverly Green, published by Jerry Williams Music (BMI).
The booklet/insert contains two written pieces, "Life Without Black People" and "Texas Lexus".
The back insert of promotional copies has the following songs in bold white print: "In Time Of War Who Wins", "They Crowned An Idiot King", "Since I Fell For You", and "Resurrection".
SURFIN' IN HARLEM
(1991, Volt VCD-3408-2)
1. Who Do They Think They Are (3:45)
[Jerry Williams, Jr. and Troy Davis]
2. She's Built To Kill (3:45)
[Jerry Williams, Jr.]
3. Surfin' In Harlem (4:28)
[Jerry Williams, Jr.]
4. Couldn't Live With You (4:17)
[Jerry Williams, Jr.]
5. Appelle-Moi Noir [Call Me Nigger] (8:08)
[Jerry Williams, Jr.]
6. I Want To Hear Some Rock 'N' Roll (4:07)
[Jerry Williams, Jr.]
7. My Blue Heaven (3:55)
[Walter Donaldson and George Whiting]
8. Love Stinks #2 (4:04)
[Jerry Williams, Jr.]
9. ...And I Get Me Somebody Else (4:15)
[Jerry Williams, Jr. and Bob Jones]
10. I've Never Been To Africa (And It's Your Fault) (5:20)
[Jerry Williams, Jr.]
NOTES:
Swamp Dogg - keyboards, vocals; Guitar Shorty, Gregory Cook - lead and rhythm guitars; Duke Jobe - bass; Brent Wrotten - drums; Charles Hayes - alto, tenor saxes; James Smith - trumpet, flugelhorn; Vince Charles - congas, percussion; Swamp Dogg, Charles Hayes, Gregory Cook - background vocals.
DeeJay - D.J. E. Hustle. Charles Hayes - horn and string arrangements. Produced, arranged, and perpetrated by Swamp Dogg. Executive producer, wife, and buddy - Yvonne Williams. Recorded at Leon Haywood's Sunnyside Recording Studio, Los Angeles. Engineer - Bill Dashiell. Remix engineer extraordinaire - Jeff "Dr. Mix" Frickman. Digital mastering - George Horn (Fantasy Studios, Berkeley). Volt Records, Tenth and Parker, Berkeley, CA 94710. Total time: 46:00. Total time has been rounded off to the nearest minute. Barcode: 0-25218-3408-2-3. Art direction--Phil Carroll. Cover photo--Steve Maruta, Frank Lindner.
Special thanks to Dr. Howard K. Liebskind, foot adviser to the stars and knows the importance of a Black Man having to dance...and addresses it. Karimu Shaw--a solid friend. Durie Purvis--Executive assistance. Dr. Julian M. Earls--My best friend from my childhood days....Please feel secure in the fact that the $11,000 you loaned me for investment in Kuwait oil, will remain our secret.
More thanks to: Phil Jones, Calvin Rhodes, Johnny Phillips, Marshall Sehorn, Bob Merlis, Norm Goodman, Art Fein, Gene Sculatti, Mike Kelsey, Troy Davis, Sanchez Chapman, E. Rodney Jones, Michael Lockett, M.C. World {Aaron Williams a.k.a. Hump Dogg}, Darin Gates, R&D Productions, King Errisson, Bill Dwyder, Ron Toussaint, Bob Jones, Randy Turrow, Bud Cort, David Robbins, Cris Darrow, Leon Haywood, John Underwood, Nancy Folgerman, Earnestine Davis, Leslie Webber, Gary Bernard, Rick Hocutt, Al Kooper, Denny Bruce, and Jimmy Cliff.
LINER NOTES:
In three thousand words or more...I love this album and feel that it's my best work to date because--
Incentive remained prevalent via somebody else wanting birth to be given to this project other than my wife, GMAC, Pinnacle Estate Properties, Pacific Bell, Montclair Prep, Mastercard, and my "always out of work" brother-in-law. Who might this warped person be that feels the necessity to unleash another ten tracks of Dogg? Phil Jones!! Let he who can live without Swamp Dogg cast the first stone upon his dam self.
This project took five months where the past LPs took five weeks...five days...and in one instance, fifty-five minutes.
Since my last album 'I Called for a Rope and They Threw Me a Rock' (a little plug there for catalog purposes...), Jim Bakker has declined a release from prison for fear of permanent separation from his in-house lover whom he blackmailed into committing sexual acts / a bald Elvis was spotted in Flint, Michigan operating a 7-11 (I'm sure he owns it) / Saddam Hussein gave a victory speech to a crowd of three screaming idiots / Ruth Gideon, the oldest campfire girl in the world, turned ninety / a UFO research team found a health and fitness manual belonging to aliens that listed among the health tips that for cancer you should sleep until cured and for obesity boost your salt intake while eating more white and green meat / it was discovered that you can't get pregnant if you have sex standing up and you can't get pregnant the first time / James Brown was released from prison, given sainthood, and is being groomed to be the next Pope / it was discovered that an eight-ounce glass of coconut milk before meals is a guaranteed weight loss method / Leonardo da Vinci's Mona Lisa, Isabella Gualandi to her clients, was unveiled as a high-priced hooker / Vanna White discovered she was Black / Fantasy informed me that the blue language I have a habit of using in my liner notes and magazine articles will not be permitted nor tolerated during my tenure there as Volt's resident radical / mad Black American. This could be a blessing in wolves' clothing...Now a whole new world of expression has opened up to me...scrotum, orgasm, penis, buttock, vagina, urine, sodomy, diphtheria, homo-whatever, homo-whoever, clitoris, sperm, ejaculate, protoplasm, cunnilingus, feces, mammary glands, nipple, anus, and round-eye. Signing with Fantasy will not only be financially rewarding but a source of mandatory higher learning. You might say that I matriculated to Fantasy State, Berkeley, where I'm majoring in speech pathology.
This album is for everyone except the faint of heart. It's like black shoes, a simple strand of pearls, mayonnaise or an egg bagel...it goes with everything. E.g., gazing into the fireplace, listening to the rain, plotting the downfall of a country, neutering the cat/a cat/any cat, creating racial tension or just bumping the ol' proverbial donkey.
I dedicate this album to Desiree Anita, Antoinette Denise, Jocelyn Marie, Michelle Cecelia, and Jeri Yvonne, my daughters who if God had denied me the pleasure...and I mean pleasure in the Biblical sense...I would be ten years younger, ten dollars richer, and walking on the right side of sanity.
Now kick back and enjoy a serving of a Swamp Dogg maternal intercourse!
--Swamp Dogg
ADDITIONAL NOTES:
An 8-page digest-sized cookbook was released as a promotional item to accompany Surfin' In Harlem, titled "Swamp Dogg Presents: The Swamp Dogg Cook Book - Recipes Heard Around The World (Excerpt From Swamp Dogg's "If You Can Kill It I Can Cook It" Cookbook, Available This Winter." Page 2 includes the wording: Swamp Dogg describes his Volt debut, Surfin' In Harlem, as "the best balance and blend of material and arrangements and vocals that I've ever done, and I'm up to 17 albums now." This one includes such instant Swamp classics as "She's Built To Kill," "Appelle-Moi Noir," and "I've Never Been To Africa (And It's Your Fault)." Surfin' In Harlem (VCD-3408-2). Produced, arranged, and perpetrated by Swamp Dogg. Recipes include: Swamp Dogg Polynesian Beef Thins, Phil Jones' Turkey Scallopini, Libby's Portsmouth Virginia Peach Cobbler, File Gumbo Fats Domino (3 Tracks), Too Hot To Hold Bar-B-Que Sauce, Pigmeat (Spareribs) Markham, B.B. King Crown Roast, Nashville Pancakes Orange, Swamp Dogg's Orange Syrup, Midem Grated Sweet Potato Pudding, Soul Fried Chicken Licking, and Lil' Jeri's Cornbread. Copyright 1976, 1980, 1991.
SWAMP DOGG
(1982, Ala Records ALA 1990)
Side 1:
1. Right Arm For Your Love / For Your Love (Medley) (6:23)
[Jerry Williams, Jr.] / [Ed Townsend]
2. Come Get It (Come Get My Love) (5:08)
[Jerry Williams, Jr.]
3. Salty Dog (7:53)
[Jerry Williams, Jr.]
Side 2:
1. Happy Birthday You Dawg You (4:15)
[Jerry Williams, Jr.]
2. Come On And Dance With Me (11:00)
[Jerry Williams, Jr.]
LINER NOTES:
Very special thanks and love to Wayne Bennett......
From The Dogg: In keeping with the Swamp Dogg tradition this album is designed to make you think, smile and shuffle your funky little feet simultaneously.
Produced by Jerry Williams, Jr. (The Swamp Dogg) for Atomic Art Productions, Inc.......Milano/Madrid/Bruxelles/Hamburg/London/Tokyo/Paris/Barbados/Hollywood......... Rhythm arrangements: Swamp. String and horn arrangements: Art Freeman. Piano: Swamp Dogg. Percussions: King Errisson. Guitar: Bob Etoll. Fender Rhodes: David Ervin. Bass: Kenny Lewis/Robert Popwell. Drums: Willie Ornelas/Harvey Mason. Album co-ordinator and personal manager: Yvonne Williams, Inc., 256 S. Robertson Bl., Beverly Hills, CA 90211. All selections written by Jerry Williams, Jr. and published by Gorilla Queen Music, Inc. (BMI), except "For Your Love" Ed Townsend and published by Screen Gems. All selections published by Gorilla Queen Music, Inc. (BMI). Manufactured and distributed worldwide by Ala Records, 4218 W. Jefferson Blvd., Los Angeles, Calif. 90016. Cover design: Rhonda Voo. [Back cover song listing for Side B has songs in reverse order; record label has correct song order as given above.]
SWAMP DOGG DROPPIN'S
(2008, S.D.E.G./Catch A Fire CAF ??????)
Disc 1:
Swamp Dogg - Total Destruction To Your Mind
Disc 2:
Swamp Dogg - Rat On!
Disc 3:
Doris Duke - I'm A Loser
Disc 4:
Z.Z. Hill - The Brand New Z.Z. Hill
Disc 5:
Ruth Brown - Brown, Black & Beautiful
NOTES:
5-CD box set issued in the Netherlands. Compiled by Dutch journalist Gijsbert Kamer. Each CD comes with a replica of the original covers of each of the 5 albums. Barcode: 212488980430. Order website: http://webwinkel.volkskrant.nl/home/index.php?a=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
Review: http://blokhuis.radio6.nl/2008/06/23/swamp-dogg-droppins/print/
SWAMP DOGG'S GREATEST HITS?
(1976, Stone Dogg SD-3002)
Side One:
1. Paradoxical (No Bugles) (2:07)
[Jerry Williams, Jr.]
2. Buzzard Luck (3:38)
[Jerry Williams, Jr.]
3. Ebony And Jet (2:44)
[Jerry Williams, Jr.]
4. Eat The Goose (Before The Goose Eats You) (2:57)
[Jerry Williams, Jr.]
5. Don't You Try To Be My Man (2:49)
[Jerry Williams, Jr.]
Side Two:
1. Call Me Nigger (7:08)
[Jerry Williams, Jr.]
2. I Can't Stand To Hear Her Say Please (3:20)
[Jerry Williams, Jr. and Stan McKenney]
3. I'm Still In Love With You (3:18)
[Jerry Williams, Jr.]
4. Or Forever Hold Your Peace (2:23)
[Jerry Williams, Jr. and Stan McKenney]
5. I've Never Been To Africa (3:18)
[Jerry Williams, Jr.]
NOTES:
All songs written by Jerry Williams, Jr., except "Or Forever Hold Your Peace" and "I Can't Stand To Hear Her Say Please", Jerry Williams, Jr. and Stan McKenney. All selections published by Jerry Williams Music, Inc. (BMI). Produced and arranged by Jerry Williams, Jr. (The Swamp Dogg), PhD., DDT., VD., B.S., R.F.D.
1976, Stone Dogg Records, a div. Of T.K. Productions, Inc. Tm Stone Dogg Records. Distributed by T.K. Productions, Inc., 495 S.E. 10th Court, Hialeah, Fla.
LINER NOTES:
Special thanks to the Holiday Inn who made me pay in advance and then double locked my door.
My gratitude to Steve Alaimo who pointed out all of my artistic shortcomings, lack of talent, and inability to negotiate on a higher plane. Thanks Steve, for buying this LP.
And then there is Henry Stone, kind granddaddy of pseudo-Miami soul...I'll never forget his words..."Money? Why do you need money? All you're gonna do is spend it foolishly on your home, family, career, etc., etc., etc. Stay in the studio where you belong, everything will be all right." I took his advice and stayed in the studio eight months, without coming out for food, drink, clothes or bath. My family was gone, my house was converted to a Qwki Car Wash, and other people were singing my style. Henry, you got some advice for a niggers ass!!
You also might be wondering why this album is entitled "Swamp Dogg's Greatest Hits"...That's only because you haven't every heard any of the songs, which is due mainly to the fact that you don't listen to rock stations in Santa Domingo, Aruba, Tel-Aviv, Capetown, Forte de France, Pakistan, Sudan, and Bethlehem, Pa., just to name a few.
A Swamp Dogg fan is a devoted fan! When you enter a Swamp Dogg fan's home, you'll find that they have secured every means of Swamp Dogg communication possible: posters, reel to reel, eight track, cassettes, LP's, EP's, 45's, 78's, 8 x 10's, sheet music, Swamp Dogg magnetic cleaning cloths, Swamp Dogg display racks, needles, browser boxes, divider cards, special playback and recording equipment that is geared only for Swamp Dogg paraphernalia, and let's not forget my special polyethylene bags which you give to your younger brothers and sisters to play with while you're worshipping the dogg.
Why am I loved so by these people? This was answered by the noted Polish doctor and philosopher Iamsuri Boondiskulchok Noritaka Musikverlage Dacla who said, "If you funk King Kong long enough you'll learn to love him."
MUSICIANS:
Keyboards: Me Again! / Guitar: Travis Wammack / Drums: Jimmy "Be-Bop" Evans / Organ: Randy McCormick / Bass: Bob Wray / Congas and Percussion: Audie "Ed" Watkins / Horns: Harvey Thompson, Sonny Royal, Stacy Goss, Mike Stough, Charles Rose, and Ronnie Eades / Banjo: Rual Yarbourgh / Engineer: David "Bat" Johnson / Assistant Engineer: Steve "Murphy Man" Herbert / Album Concept and Coordinator: Yvonne Williams / Recorded at Broadway Sound (Studio C), Muscle Shoals, Alabama / Sugar Sweet Inspiration: Yvonne, Michelle, Debbie, Toni, Joy, David Johnson, Howard Roberts, "Dutch" Maxwell, Earl Rhone, Johnny Jenkins, Donnie Fritts, "Rico", Candy, Matt Parsons, Cher, Joe Turnage, Charlie Whitehead, Sam Trust, Ernie Leaner, Richard Gossert, Phyllis White, Joe McEwen, Johnny Carson, Harold Carter, Steve Turner, Mary Mason, and Lassie.
ADDITIONAL NOTES:
Regarding the song "Call Me Nigger", "the banjo was being played by a Klansman [Raul Yarbrough]!" [Roctober no.28 (Summer 2000), page 61, phone interview by James Porter]; see: http://www.roctober.com/roctober/contact.html
SWAMP DOGG'S GREATEST HITS VOL. 1
(1989, P-Vine PCD-2113 [Japan])
1. God Bless America For What
[Jerry Williams, Jr. and Troy Davis]
2. Call Me Nigger
[Jerry Williams, Jr.]
3. Eat The Goose (Before The Goose Eats You)
[Jerry Williams, Jr.]
4. A Hundred And
[Jerry Williams, Jr.]
5. Do You Believe
[Jerry Williams, Jr. and Troy Davis]
6. Captain Of Your Ship
[Jerry Williams, Jr. and Don Hollinger]
7. Sam Stone
[John Prine]
8. If It Hadn't Been For Sly
[Jerry Williams, Jr.]
9. I'm Gonna Keep On Loving You No. 9
[Jerry Williams, Jr.]
10. Rhythm 'N' Blues
[Jerry Williams, Jr.]
11. Complication #5
[Jerry Williams, Jr. and Troy Davis]
12. Right Arm For Your Love / For Your Love (Medley)
[Jerry Williams, Jr.] / [Ed Townsend]
13. Total Destruction To Your Mind
[Jerry Williams, Jr.]
14. Synthetic World
[Jerry Williams, Jr.]
15. Mama's Baby, Daddy's Maybe
[Jerry Williams, Jr. and Gary Bonds]
16. In My Resume
[Jerry Williams, Jr. and Troy Davis]
SWAMP'S THINGS: THE COMPLETE CALLA RECORDINGS PLUS!
(2000, Demon-Westside WESM 500)
1. If You Ask Me (Because I Love You) (2:51)
[Jerry Williams, Jr. and Rick Spain]
2. Yvonne (2:45)
[Jerry Williams, Jr.]
3. Just What Do You Plan To Do About It (2:45)
[Jerry Williams, Jr.]
4. Baby You're My Everything [Take 4 - Master] (2:59)
[Jerry Williams, Jr.]
5. What's The Matter With You Baby (2:23)
[Jerry Williams, Jr. and Yvonne Williams]
6. Baby, Bunny (Sugar, Honey) (2:46)
[Jerry Williams, Jr. and Rick Spain]
7. Philly Duck (2:28)
[Jerry Williams, Jr. and Richard Rome]
8. Your Man (3:32)
[Jerry Williams, Jr.]
9. Kiss Me (2:55)
[Jerry Williams, Jr. and Yvonne Williams]
10. Baby You're My Everything [Take 3] (3:21)
[Jerry Williams, Jr.]
SWAMP DOGG'S GREATEST HITS?
11. Paradoxical (No Bugles) (2:09)
[Jerry Williams, Jr.]
12. Buzzard Luck (3:39)
[Jerry Williams, Jr.]
13. Ebony And Jet (2:45)
[Jerry Williams, Jr.]
14. Eat The Goose (Before The Goose Eats You) (2:56)
[Jerry Williams, Jr.]
15. Don't You Try To Be My Man (2:52)
[Jerry Williams, Jr.]
16. Call Me Nigger (7:05)
[Jerry Williams, Jr.]
17. I Can't Stand To Hear Her Say Please (3:23)
[Jerry Williams, Jr. and Stan McKenney]
18. I'm Still In Love With You (3:16)
[Jerry Williams, Jr.]
19. Or Forever Hold Your Peace (2:25)
[Jerry Williams, Jr. and Stan McKenney]
20. I've Never Been To Africa (3:19)
[Jerry Williams, Jr.]
NOTES:
Tracks 1-10 recorded/released as Jerry Williams/Little Jerry Williams. Tracks 11-20 recorded/released as Swamp Dogg. Concept and compilation: Tony Rounce. Annotation: John Ridley. Cover photograph courtesy of Gilles Petard. All labels and sleeve art courtesy of Tony Rounce and John Ridley. Package design by Brian Burrows. Digitally remastered from original 1/4 inch production masters (except tracks 6&7, remastered from pristine vinyl due to disappearance of master tapes) by Denis Blackham at Country Masters, Frimley, Camberley, Surrey, England. Additional front cover wording: Jerry Williams Jr A.K.A. Swamp Dogg; Also Features Rare 1976 "Greatest Hits?" Album.
"If You Ask Me (Because I Love You)" includes a 4-second count-in to the song ("1, 2, 1, 2, 3, 4"). The instrumental break is 15 seconds long at 1:50-2:05. It is not known (by the discographer) whether or not this is the original 1966 version due to the 4-second count-in, or if this count-in appears only on this compilation.
LINER NOTES:
Swamp Dogg! SWAMP DOGG!! Soul music's maverick figure, unique social commentator on the human condition, author, DJ, chef, raconteur, wit, man of a thousand faces and a million ideas - the self-styled "most successful failure" in the US. Swamp is all these things and much more besides - but, mostly, he's a writer/pianist/arranger/producer of immense talent, an off-the-wall artist occupying a special place in the musical pantheon and a cult hero to many discerning fans. There are numerous collectors out there still looking for obscure 45s with that magic imprint "produced by Jerry Williams Jr." on them. Because that was the name he was christened with, and the name he used for well over a decade in the music business before he re-invented himself as the Dogg at the end of the 60s.
This CD showcases both aspects of his schizophrenic career. All his surviving Calla tracks from the 60s are here and kicking off this CD, including an alternate take of his hit and two bonus cuts scheduled for, but never reaching, issue status for the label. Then in the second half of the Disc we feature his complete "Greatest Hits?" LP, cut in 1973 for release on the short-lived Brut label, but finally released on Stone Dogg (a joint venture of Swamp and TK Records boss Henry Stone) some years later. Perhaps the only thread that links these two distinct phases of his musical life is the bewildering array of labels that his productions/releases appeared (and continue to appear!) on.
Jerry Williams Jr. was born in 1942 in Portsmouth, Virginia and was a precocious child, showing early entrepreneurial skills in getting his first record pressed mail order, from an ad he found in a magazine, at the tender age of 14! {Website owner's note: Jerry was 12 years old when his first record was cut, as per a conversation with Swamp Dogg, June 2006.} Although the 78 r.p.m. "HTD Blues"/"Nat's Wailing" on Mechanic Records didn't sell many copies (distribution via Jerry's own efforts notwithstanding) it was a start in the music business. It also earned him the tag "Little Jerry Williams" which would stay with him right until his metamorphosis.
After a gap of a couple years, while Jerry's boundless energy earned him some small notoriety in Virginia's music circles, he recorded again - this time more commercially - for Ember Records. "There Ain't Enough Love" sold well enough to persuade Jerry that music was to be his living. Hustling for gigs, promoting himself as a blues singer/rock'n'roll star, touring as "Larry Williams" or "Little Willie John", Jerry just about scraped by. Single releases were still sporadic at this time - one on Golden Crest at the end of the 50s, another on the short-lived Aldo label in 62 - by which time he was resident in Philadelphia, commuting to the Big Apple still looking for a break.
Obscure releases on V-Tone (the appalling "Let's Do The Wobble (Before Chubby Gets It)") and Academy were followed in 1964 by releases for Southern Sound Records, one of which was picked up by Bob Krasnow for Loma. "I'm The Lover Man" (Loma 2005) offers the first sign that Williams was going to amount to something. His high baritone voice, with slight but obvious nasal twang, carried the song well and his writing talents more focused. The success of this 45 led him - via another Southern Sound release - to his first real stay with a company...
Williams himself took "Baby You're My Everything" to Calla after Southern Sound passed on the track. It became his first national hit, reaching no. 34 on the Billboard charts early in '66 - and what a cracking uptown beat ballad it is. Take 4 gives full reign to Jerry's own beautifully chorded piano, one of the number's highlights, while take 3, at a slightly slower tempo, brings out the vocals, particularly those of the girl chorus featuring Cissy Houston. (Take your pick!) Incidentally, the voice in the control booth belongs to Ritchie Rome, Williams' key New York associate who he met when he first went to Philly. He also gets a co-writer credit here, and on some other Calla sides, as "Rick Spain". The flip to Calla 105 was the uptempo "Just What Do You Plan To Do About It".
Jerry's next 45 returned to the mid-pace of "I'm The Lover Man", but "Baby Bunny, (Sugar, Honey)" (Calla 109) didn't have quite the same appeal. The song was weaker and the lyrics were as poor as the title suggested, although the backing track had much merit and was alter resurrected by Williams as the track to "Run Run Roadrunner", which he produced on himself, Gene Pitney and Charlie Thomas & the Drifters for Musicor. The flip of BBSH, "Philly Duck" - an attempt to cash in on the current dance fad - has lasted rather better. His third 45 in 1966 was the pounding "If You Ask Me" (Calla 116) which did little at the time but was subsequently rediscovered in 1973 by, and has since become a classic of, the UK Northern Soul scene. "Yvonne", the b-side is a touching hymn of love, presumably dedicated to his wife. Williams' final official release for Calla coupled the funky Joe Tex-like R&B of "What's The Matter With You Baby" with a reprise of "Just What Do You Plan To Do About It". The splendid topside, with its raw, harsh sound, seems to me to be a taster for the stripped down approach he would adopt in a few years when he moved South.
Now we come to one of those mysteries that plague Swamp's career. Calla scheduled another 45 "Your Man" and "Kiss Me" as single #124, but it was never issued. Neither was the projected album, which was to feature the singles plus those two cuts and others like "Oh Lord What Are You Doing To Me" and "Lovey Dovey", the tapes of which are sadly lost. But we're proud to include the missing 45 here - a treat for all Williams freaks everywhere. One of the songs, "Your Man", (or a version of it!) may have seen the light of day on 8730 records (#102) but I don't know anybody who's seen it. {Website owner's note: that record on the 8730 label was released with the B-side being the instrumental "Give The Disc Jockey Some"; I have a copy.}
Williams, by now a confident producer, worked himself a job with Musicor and put out discs by Tommy Hunt (including a version of "Your Man" that utilized his own version's Miami-recorded backing track), the Toys and the Exciters among others, as well as cutting his own 45 (the aforementioned "Run Run Roadrunner"/"I'm In The Danger Zone") and a raucous duet with Brooks O'Dell, "I Got What It Takes Pts. 1 & 2" ("and 3 - IF we have time!"). Hitting big with Inez and Charlie Foxx ("Count The Days") and Gene Pitney ("She's A Heartbreaker") didn't stop him moving on to a similar deal with Atlantic, via Henry Stone, at the end of 1968. Further producer credits on the Commodores' "Keep On Dancing" - their first 45 - Patti Labelle and the Bluebells and the Drifters followed, as well as hits for C and the Shells (and a couple of 45s under his own name) for Cotillion. But by now the strain of working for others, and the restrictions placed on his efforts, brought about the biggest change in his life. He boarded a plane in New York as Jerry Williams, and emerged in Macon, Georgia at the end of his journey as that Southern fried soulman, and off-beat socio-political musical agitator, Swamp Dogg...
...And over the next few years, in a prodigious burst of creativity, he wrote and produced a huge catalogue of music. Working on the principle that if you issue enough product some of it is bound to be successful, he made records with well-known stars like Solomon Burke and Irma Thomas as well as more obscure artists like Bette Williams and Wolfmoon. What is surprising is how high the quality threshold was that Swamp managed to maintain, despite the speed at which he was cutting sides. Working closely with a small group of individuals like Charlie Whitehead a.k.a. Raw Spitt and Gary US Bonds, the songs that were written were lyrically inventive and melodically interesting. Not surprisingly, hits for artists like Doris Duke, Freddie North and ZZ Hill followed. Much of this material from the very early 70s has by now achieved classic status - Doris Duke's "I'm A Loser" album for example - but the vast majority of it was orthodox southern soul. Using the famous Quinvy/Broadway studios in Muscle Shoals, and his old buddy Ritchie Rome to add the sweetening, the tales of infidelity Swamp spun were right in the soul mainstream. For some recordings - like Raw Spitt - and the ones under his own new alias, though, it was a rather different story.
For these Swamp became an LP oriented artist, giving himself more room to let his imagination, conscience and poetic talents run free. These iconoclastic tendencies and his outspoken, but nevertheless pertinent, views on race and other social issues of the day did not necessarily endear him to radio program controllers or even label owners. But he continued to pursue his own musical visions throughout the 70s releasing a string of fascinating discs on an ever-growing variety of labels (usually a different one for each album). His first long-player "Total Destruction To Your Mind" (Canyon) set the scene well, featuring a raft of different styles from blues to soul to rock all touched by that unique Swamp Dogg touch. "Rat On!" (Elektra) followed in 1971, and "Cuffed Collared And Tagged" (Cream) a year later.
The second half of this CD was to have been his fourth set. It was cut, towards the end of the summer of 1973 and in Muscle Shoals, for Brut records - who went bust before a release could be organized. There are rumors that a Brut 45 featuring "Buzzard luck" and "Ebony and Jet" exists but, again, I don't know anybody who has a copy. {Website owner's note: the Brut single was released and does exist, Brut BR 818.} In the end Swamp and Henry Stone put the LP out on Stone Dogg in 1976, after his excellent 1975 Island set "Have You Heard This Story", which had followed 1974's Stone Dogg debut "Gag A Maggot". With typical Dogg humor it was entitled "Greatest Hits?", the "?" indicating his own view of it's probably fate.
Musically it's quite an eclectic mixture, with his usual rhythm section and horns plowing a determinedly southern soul approach, but the inclusion of a banjo here and there and some hillbilly or rock guitar hither and yon make the overall sound impossible to put in a convenient pigeonhole. And that's the whole point of course. Just as the lyrics - notably on "Call Me Nigger", a number he had previously cut in a far less arresting fashion on Raw Spitt, for the latter's now-rare Canyon album - proclaim the crucially important point that people are individuals who should be treated as unique human beings and entitled to respect for their individuality, so the music shows Swamp's particular and special instrumental feel. (Besides, I'm sure the guys were hanging round the studio looking for a session!)
Particular highlights from the set include Swamp's desperate cry for fame on "Ebony And Jet" and the splendidly sly "Eat The Goose (Before The Goose Eats You)". To balance the LP, and to show that he can do straight soul music as well as anyone when he wants to, there are a couple of fine ballads. "I Can't Stand To Hear Her Say Please" and "I'm Still In Love With You" feature some typical Dogg chord changes as well as his super piano playing - an aspect of his music that has never received as much attention as it's deserved. But for me, and most fans of this album for that matter, the track that comes from the heart is "I've Never Been To Africa", where the poignant lyrics seem all the more compelling in the context of the rest of the LP, and all the truer for the absence of the usual Dogg jokes.
Further albums for DJM, Musicor, Takoma and Wizard followed this set during the 70s and he continued to release material - albeit at a slower pace - during the 80s. He was outspoken in his views about disco music, CDs and black radio during this period, but a new generation of fans appreciating his earlier productions brought him back to producing artists like Tommy Hunt, Bobby McClure and Ruby Andrews into the 90s. "I Called For A Rope And They Threw Me A Rock" on his own Swamp Dogg Entertainment Group (SDEG) label closed out the 80s for the man. A set for Volt ("Surfing in Harlem") and an obscure semi-hits CD release for Virgin's blues subsidiary Point Blank in 1995 are his own most recent CDs, along with a 2-on-1 reissue of "Total Destruction Of Your Mind" and "Rat On!" as "The Most Excellent Sides Of Swamp Dogg" (SDEG). But at the end of last year he took excellent blue-eyed soulman Billy Price into the studio for a splendid Green Dolphin album almost entirely made up of new Dogg material, and after years of being an almost-exclusively studio-bound artist he has finally started to play selected live shows in North America and Europe.
What is difficult to convey in notes like these is Swamp's irrepressible lust for life. His sense of humor, enthusiasm and sheer joie de vivre are much better appreciated through his own writings - not just his articles for soul fanzine "Voices From the Shadows" and his musical autobiography in "Soul Survivor" in the 80s, but especially his own liner notes to his LPs. Short sharp and to the point, they are the best indicators of all to his character - check them out.
To conclude, we must thank the man himself for all the great music he's made for us. As he signs himself off on the original cover of the "Greatest Hits?" album - "produced and arranged by Jerry Williams Jr. (the Swamp Dogg), PhD, DDT, VD, BS, RFD."
-- John Ridley
January 2000
Special thanks to the Dogg's number one fan, Mr. Jan Barker. Thanks also to Tony Rounce for interference and info embellishment.
TOTAL DESTRUCTION OF YOUR MIND / RAT ON
(1991, Charly/Snapper [UK] 301)
TOTAL DESTRUCTION TO YOUR MIND
1. Total Destruction To Your Mind
[Jerry Williams, Jr.]
2. Synthetic World
[Jerry Williams, Jr.]
3. Dust Your Head Color Red
[Jerry Williams, Jr. and Gary Bonds]
4. Redneck
[Joe South]
5. If I Die Tomorrow (I've Lived Tonight)
[Jerry Williams, Jr.]
6. I Was Born Blue
[Jerry Williams, Jr. and Dee Erwin]
7. Sal-A-Faster
[Jerry Williams, Jr.]
8. The World Beyond
[Bobby Goldsboro]
9. These Are Not My People
[Joe South]
10. Everything You'll Ever Need
[Jerry Williams, Jr. and Gary Bonds]
11. The Baby Is Mine
[Jerry Williams, Jr.]
12. Mama's Baby, Daddy's Maybe
[Jerry Williams, Jr. and Gary Bonds]
RAT ON...
13. Do You Believe
[Jerry Williams, Jr. and Troy Davis]
14. Predicament #2
[Jerry Williams, Jr.]
15. Remember I Said Tomorrow
[Jerry Williams, Jr. and Troy Davis]
16. Creeping Away
[Jerry Williams, Jr. and Gary Bonds]
17. Got To Get A Message To You
[Barry Gibb, Robin Gibb and Maurice Gibb]
18. God Bless America For What
[Jerry Williams, Jr. and Troy Davis]
19. I Kissed Your Face
[Jerry Williams, Jr., Gary Bonds and Tobie Milit]
20. That Ain't My Wife
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
21. She Even Woke Me Up To Say Goodbye
[Mickey Newbury and Douglas Gilmore]
22. Do Our Thing Together
[Jerry Williams, Jr. and Troy Davis]
NOTE:
The title is incorrectly given as Total Destruction OF Your Mind; rather it should be Total Destruction TO Your Mind.
TOTAL DESTRUCTION TO YOUR MIND
(1970, Canyon LP-7706; 1972, Mojo [UK] 2916014; 1973, Vogue [France] SLDRK 780)
Side 1:
1. Total Destruction To Your Mind (3:24)
[Jerry Williams, Jr.]
2. Synthetic World (3:23)
[Jerry Williams, Jr.]
3. Dust Your Head Color Red (2:48)
[Jerry Williams, Jr. and Gary Bonds]
4. Redneck (2:47)
[Joe South]
5. If I Die Tomorrow (I've Lived Tonight) (2:50)
[Jerry Williams, Jr.]
6. I Was Born Blue (2:58)
[Jerry Williams, Jr. and Dee Erwin]
Side 2:
1. Sal-A-Faster (2:48)
[Jerry Williams, Jr.]
2. The World Beyond (3:39)
[Bobby Goldsboro]
3. These Are Not My People (2:36)
[Joe South]
4. Everything You'll Ever Need (2:51)
[Jerry Williams, Jr. and Gary Bonds]
5. The Baby Is Mine (2:48)
[Jerry Williams, Jr.]
6. Mama's Baby, Daddy's Maybe (4:08)
[Jerry Williams, Jr. and Gary Bonds]
LINER NOTES:
Biographical Trifles
I was born in Portsmouth, Virginia, July 12, 1942 and was fortunate enough to move away as soon as I became of age. Without any formal training I awakened one morning only to find that I was a genius and could master a number of musical instruments including piano, tambourine, sticks, finger cymbals, tweezers, washboard and bobby pin. At eighteen years old I was Captain of the volleyball team. Got married when I was 21, Yvonne: damn near ruined her life - so I filed for a divorce which wasn't granted, blah, blah, blah, blah, yak, yak, etc., and so on... Became a bartender by day and a carpenter by night while she stayed at home to raise our new born orangutan. We later moved into a one room, cold water flat with Wally Roker, Phil Walden, Jerry Wexler, Gene Autry, Snow White, Moms Mabley and a whole bunch of other people who are going to be uptight because their names aren't listed in detail with their social views and other fetishes.
I owe all my present success to a very dear person, someone who stuck by me when things were really bad and has never made a motion to harm me or my talents in any way. A person whom I love, worship and admire beyond any shadow of doubt - ME!!!
Recorded and mixed at Capricorn Studios, Macon Georgia.
People Whose Heads Were The Same Place As Mine:
Jesse (Beaver) Carr - guitar; Johnny (Duck) Sandlin - drums; Robert (Pop) Popwell - bass; Paul (Berry) Hornsby - organ, piano; Jerry Williams, Jr. - piano; Jim (Fantastic) Hawkins - engineer; Jackie Avery Singers - background vocals; cover photos - Willis Hogans, Jr.; The Maconites - horns; Yvonne Williams - album co-ordinator; Jerry Williams, Jr. - producer and arranger; Frank Fenter - wheeler - dealer.
Relevant Quotes
"No commercial possibilities." --A Very Big Man at Canyon Records
"Swamp Dogg would have all the 'ear-marks' of a winner if he would change his name to something catchy and clever, for instance Jerry Williams." --Don Quixote
"It'll be a great day for us when Swamp Dogg hits the charts." --Elmhurst Finance Co.
"We have finally convinced the present-day composer to join A.S.C.A.P." --A Very Big Man at B.M.I.
"I'd like to guide your career. I honestly believe you could be as big as Clarence Reid." --Henry Stone
Canyon Records, Inc., 1242 N. Highland Avenue, Hollywood, California 90028.
ADDITIONAL NOTES:
The album cover was photographed at LaGuardia Airport in New York NY, as revealed by Swamp Dogg in his February 24, 2008 interview on The Right Track Soul Show.
...the cover was shot by some guy who took mug shots for the New York Police Department. "That's why the album cover is so grainy and fucked up. They don't care about what your picture looks like in the NYPD! But everybody loved that washed-out cover! If I tried to duplicate that, I couldn't. 'Cause I don't know what we did! There was no strategy! I wish I could sit here and say (adopts nonchalant voice) 'Well yes, well see, then we...' We didn't plan to do a motherfuckin' thing but cut an album, put a cover on it---the only plan was, the original album was a gatefold. The company tried to talk me out of it, and I was gonna walk away from the company because I wanted a gatefold. I was so impressed with niggers whose albums opened up; I had to have one. Niggers was still buyin' 45's. They would've bought eight 45's from that album, but they wouldn't buy the album.'..."I wasn't shooting for anything," he now says. "I cut that first album, I really didn't know what I was doing. That's why the material is so disjointed, although over the years, people have decided that it is a powerful fuckin' album." [Roctober no.28 (Summer 2000), page 61, phone interview with James Porter]; see: http://www.roctober.com/roctober/contact.html
NOTES FROM LITTLE JERRY WILLIAMS ANTHOLOGY (1954-1969):
"The next project was on a Macon, Georgia girl, JoAnn Bunn, who sang like forty canaries in rehearsal but froze in the studio. I salvaged her two tracks by overdubbing my voice. Immediately after I flew back to Los Angeles to make a deal. On the plane I'm thinking, "I don't want to be Jerry Williams, "Little" Jerry or any of those Jackie Wilson, Ben E. King prototypes anymore. I want to sing about women, politics, screwing, television, syphilis and anything else I feel is pertinent and I want a name that will shock and be remembered." I decided to call myself The Dogg. Upon presentation of the two sides to Wally Rocker he asked "who's the artist?" I answered, "Dogg". "What kind of Dogg?" he asked. "He needs a first name," I assured him that by the time I completed the album the name would also be complete. To complete the album I returned to Macon where the rhythm section branded my album as Swamp Music, likened to Tony Joe White, etc. That's it!! Swamp Dogg! "Total Destruction To Your Mind", was the album - over a million sales to date worldwide, not counting the bootlegs. By the way, if you listen to "Everything You'll Ever Need" and "If I Die Tomorrow I've Lived Tonight", you can hear JoAnn Bunn's voice faintly where it leaked through the piano track to live on forever."
In Swamp Dogg's February 24, 2008 Right Track Soul Show interview he further explained that, at the prompting of Macon disc jockey Hamp Swain, he had recorded "Everything You'll Ever Need" and "If I Die Tomorrow I've Lived Tonight" for a single by JoAnn Bunn. After the recording Swain informed Swamp that Joann confessed to being 13 years old, pregnant and wanting to raise a family instead of pursuing a singing career. Thus Swamp recorded over her vocals, though they still leaked through on the finished product.
UNCUT AND CLASSIFIED 1A
(1981, Charly CRB1026)
Side 1:
1. Buzzard Luck (@3:42)
[Jerry Williams, Jr.]
2. Don't You Try To Be My Man (@2:53)
[Jerry Williams, Jr.]
3. Forever Hold Your Peace (@2:26)
[Jerry Williams, Jr. and Stan McKenney]
4. Creeping Away (@2:50)
[Jerry Williams, Jr. and Gary Bonds]
5. Remember I Said Tomorrow (@2:41)
[Jerry Williams, Jr. and Troy Davis]
6. Mama's Baby, Daddy's Maybe [live-in-studio 3/72] (@7:42)
[Jerry Williams, Jr. and Gary Bonds]
Side 2:
1. Ebony And Jet (@2:41)
[Jerry Williams, Jr.]
2. Swamprapp One [live-in-studio 3/72] (@1:06)
[spoken by Jerry Williams, Jr.]
3. God Bless America For What [live-in-studio 3/72] (@10:42)
[Jerry Williams, Jr. and Troy Davis]
4. Lucille And Her Man (@5:24)
[Jerry Williams, Jr.]
5. Swamprapp Two [live-in-studio 3/72] (@4:11)
[spoken by Jerry Williams, Jr.]
6. Synthetic World [live-in-studio 3/72] (@5:40)
[Jerry Williams, Jr.]
NOTES:
A Swamp Dogg production, featuring: Swamp Dogg - vocals, piano and rapping; Jesse "Pete" Carr - guitar; with two or three editions of the Swamp Dogg Band. Compilation and sleeve note: Cliff White. Sleeve design: Hamish. All tracks licensed from Atomic Art Productions/Jerry Williams, Jr. Produced and arranged by Jerry Williams, Jr. "Swamprapp One" and "Swamprapp Two" are spoken word (studio chat) by Jerry Williams, Jr. Charly Music Ltd., 9 Beadon Rd., London W.6 OEA. Made in France. Label Side 1 has the record title misspelled 'Uncunt & Classified 1A'. According to Clive Richardson, "The mis-print on the label actually prompted Cliff White, who I believe co-ordinated the release, to send out a press release to reviewers explaining/mitigating/apologizing for the error!!" The error was never spotted by Swamp Dogg until the issue came up on The Southern Soul List (Yahoo) in June 2007: "Well I be damned. All these years and I never noticed the error until a moment ago."
LINER NOTES:
Swamp Dogg was born one mystical night in 1970. Born in the mind of an outwardly unassuming character who for the previous 28 years had masqueraded as Jerry Williams, Jr., an itinerant singer, writer and producer of little renown, save perhaps as co-creator of hits for Gene Pitney and Inez & Charlie Foxx and as sole creator/performer of one minor mid-60s soul ballad hit, "Baby You're My Everything".
Jerry Williams Jr. had spent most of his adult life knocking on East Coast doors, up from his birth town of Portsmouth, Virginia, to the mean streets of New York and Philadelphia. Along the way he'd intermittently recorded a few "collectors items" - including a baroque little opus called "Let's Do The Wobble (before Chubby gets it)" - and written and/or produced good but unsuccessful sides for the likes of Tommy Hunt, Patti Labelle & The Bluebelles, The Commodores (their first record) and Gary U.S. Bonds.
Then came the night of the Dogg and the light of a New Day. Coming from a whole 'nother direction - Macon, Georgia, by way of a cerebral short-circuit - Swamp Dogg emerged with his 'Total Destruction To Your Mind' album, the first of an occasional series of erratic but frequently sharp observations on the individual nature of The States ("Synthetic World", "God Bless America For What", "Remember I Said Tomorrow", "Mighty Mighty Dollar Bill") and the state of its individuals ("Mama's Baby, Daddy's Maybe", "Predicament No.2", "Wife Sitter", "The Other Man").
Unfortunately neither America nor the rest of the world were quite ready to be upbraided in so forthright a fashion, especially by a musician of no easily definable status. For whereas Jerry Williams Jr. might have been type-cast as a regular soul singer, Swamp Dogg was no such animal. An eclectic beast, crossed between '50s r&b and blues, southern white rock 'n' roll and the New Breed ideas of Sly Stone and George Clinton, the Dogg was an altogether unfamiliar mongrel whose music rarely fitted any known programming formula. As a rock encyclopedia commented in 1976, "Because of his healthy disregard for commercial trends he has not yet received widespread recognition, although he's becoming increasingly known for the powerful imagery of his songs".
Two years earlier Swamp Dogg had simply put it, "I have come to the conclusion that I'm a freak for rejection...hurt me!!...I think I love it".
Mind you, it hasn't all been such a determinedly destructive career as it sounds. For while Swamp Dogg went his esoteric way, since the late 60's Jerry Williams Jr. has been up and over and down the rags-to-riches-to-rags parabola at least twice, primarily on the strength of his "powerful imagery" projected through less controversial performers set to more easily accessible music. Two contrasting examples of his work with other artists have already been released on Charly - albums by Irma Thomas ('In Between Tears', CRB1020) and Solomon Burke ('From The Heart', CRB1024) - and others will follow. Here, however, we present uncut Swamp Dogg; so raw and rare in fact that a goodly part of the album is previously unissued Swamp Dogg.
To the best of my knowledge only "Creeping Away" and "Remember I Said Tomorrow" have previously been issued on album (his second, 'Rat On', in 1971) while "Buzzard Luck" was a 1973/4 single that, together with "Ebony and Jet", "Don't You Try To Be My Man" and "Forever Hold Your Peace", formed part of a projected LP that never got beyond promo-copy stage. This is in the main the wittier, more lyrical side of Swamp, with the musical zone split about even between New Orleans-to-Memphis southern soul and white rock ("E&J" being a black equivalent to Dr. Hook's "Rolling Stone" and "Tomorrow" a ghetto response to the Stones' "Sympathy For The Devil").
With the possible exception of "Lucille And Her Man" (a.k.a. "Do The B.B. King") - an instrumental featuring Jesse Carr on guitar and Swamp on piano that may have briefly seen vinyl in the early '70s - the balance of the tracks stem from a March '72 live-in-studio session that was too hot to handle at the time and has lain on the shelf ever since. This is the deeper side of Swamp, the no commercial potential but fuck it let's lay it down like it is side of Swamp, with the music cutting clean thru from blues and gospel roots, untouched by marketing moguls, media misinterpretation or public ear. (Swamp freaks please note: these recordings of "Mama's Baby", "America" and "Synthetic World" are not the known versions from his first two albums).
Jerry Williams Jr. and Swamp Dogg both still exist in everlovin' tandem. To catch up on Jerry's latest work check out the new Charly single "15 Minutes" by Maggi (CYS1078). As for Swamp, the last I heard he'd just written a song called "Your Love Ain't Worth No More To Me Than Two Dead Flies". Did I say no commercial potential?
--Cliff White
May 1981
UNMUZZLED!
(1983, Charly CRB 1045)
Side 1:
1. Gazelle (Part 1) (@2:21)
[Jerry Williams, Jr.]
2. What My Woman Can't Do For Me (@2:22)
[Jerry Williams, Jr.]
3. I Lay Awake (@2:41)
[Jerry Williams, Jr.]
4. Wonder How I Got Here (Took His Name In Vain) (@8:09)
[Jerry Williams, Jr.]
5. The Baby Is Mine
[Jerry Williams, Jr.]
6. I've Never Been To Africa
[Jerry Williams, Jr.]
Side 2:
1. Barney's Beanery (@2:41)
[Jerry Williams, Jr.]
2. Paradoxical (No Bugles)
[Jerry Williams, Jr.]
3. I Should Never Have Written This Song (@3:48)
[Jerry Williams, Jr.]
4. Eat The Goose (Before The Goose Eats You)
[Jerry Williams, Jr.]
5. Call Me Nigger
[Jerry Williams, Jr.]
6. Gazelle (Part 2) (@3:53)
[Jerry Williams, Jr.]
NOTES:
Session Details: Jerry Williams Jr - piano and vocals, unknown horns; Paul "Berry" Hornsby - piano and organ; Jesse "Pete" Carr - guitar; Robert "Pop" Popwell - bass; Johnny "Duck" Sandlin - drums; The Maconites - backing vocals. Arranged and produced by Jerry Williams, Jr at Capricorn Studios, Macon, Georgia, 1970.
"The Baby Is Mine": Jerry Williams Jr - organ; The Muscle Shoals Horns (Harrison Calloway, Stacy Goss - trumpet; Charles Rose - trombone; Sonny Royal, Harvey Thompson - tenor sax; Mike Stough - trumpet; Ronnie Eades - baritone sax; Jesse Carr - guitar; unknown bass, drums, percussion; rhythm arranged and produced by Jerry Williams Jr at Broadway Sound Studios, Muscle Shoals, Alabama, 1972. The Miami Symphony Orchestra arranged and conducted by Mike Lewis at Criteria Studios, Miami, Florida, 1972.
"Gazelle": Jerry Williams Jr - keyboards, vocals, 2nd vocal; The Muscle Shoals Horns minus Harrison Calloway; Randy McCormick - organ; Travis Wammack - guitar; Rual Yarborough - banjo; Bob Wray - bass; Jimmy Evans - drums; Ed "Audie" Watkins - percussion and congas. Arranged and produced by Jerry Williams Jr at Broadway Sound Studios, August 10, 1973.
"I've Never Been To Africa", "Paradoxical (No Bugles)"; "Eat The Goose (Before The Goose Eats You)"; "Call Me Nigger": Jerry Williams Jr - piano and vocals; Jesse Carr, Lonnie Mack - guitars; unknown bass and drums. Arranged and produced by Jerry Williams Jr at the Fillmore West, San Francisco, 1973.
"Wonder How I Got Here (Took His Name In Vain)": Jerry Williams Jr - piano, vocals, backing vocals; Travis Wammack - guitar; Bob Wray - bass; Jimmy Evans - drums and percussion. Arranged and produced by Jerry Williams Jr at Broadway Sound Studios, Muscle Shoals, 1975.
"What My Woman Can't Do For Me", "I Lay Awake", "Barney's Beanery", "I Should Never Have Written This Song": previously unissued. [A note on the Travis Wammack website states that these four songs were recorded in 1975 in Muscle Shoals.]: http://www.traviswammack.com/traviswammack%20site/discography.htm
Compilation: Trevor Swaine. Sleeve design: Hamish. All tracks licensed from Atomic Art Productions/Jerry Williams Jr. Charly Records Ltd., 156-166 Ilderton Road, London SE15 1NT.
LINER NOTES:
Hello world! Yes once again the time seems right for yet another full frontal assault from the man known as Swamp Dogg. Can the world take it?
For the uninitiated among you (are there any?) Swamp Dogg has been with us since 1970 but before that spent many unrewarding years dragging the line on the r'n'b circuit as plain ol' Jerry, Little Jerry, Jerry Williams or any other name that caught his imagination.
Born Jerry Williams Jnr. in Portsmouth, Virginia on July 12, 1942, he recorded his first record, "The Shape You Left Me In", for the Ace label in 1959. Since those days he's appeared on countless labels, rarely staying for more than two releases.
An acquired taste as a singer, he is probably much better known as either writer or producer of some of the rawest r'n'b, mainly by southern based artists, although sorties to New York and Philadelphia have also brought rewards.
Since the last installment of vintage Dogg material (see CRB 1026) he has recorded a fine album for the Takoma label, featuring the amusingly titled "The Love We Got Ain't Worth Two Dead Flies", which marked his first duet with a female artist, namely the magnificent Esther Phillips. They were billed as "The New Sweethearts Of Rock And Roll" - move over Shirley and Lee!
Swamp also contributed two songs to the biggest album Malaco Records and Z.Z. Hill in particular have ever had, "Down Home Blues", and has been largely instrumental in the relaunching of another of the sixties' finest talents, Miss Darlene Love. Just recently he has signed a recording deal with British label Ensign, for whom he has an album due for release in the summer of '83 and plans to record his charming daughter Michele. On top of that, a projected European tour is in the pipeline for this summer, which will at last give us all a chance to experience his highly original style in person.
The material on this collection is again a cross section of little known album tracks plus a few from the vaults. The instrumental "Gazelle" was originally on Charlie Whitehead's Fungus album and is quite a change from the norm, being a highly orchestrated mock-Philly sound with Swamp much to the fore on organ. Strong lyrical songs abound, including the stark reality of "Call Me Nigger", which hits hard at the bigots of the world and harks back to the black explanation of the NAACP organization that "Nigger's Aren't Always Colored People".
"The Baby's Mine" is a continuation of the classic "Mama's Baby" and was previously cut by Oscar Toney Jnr. "Wonder How I Got Here" was recorded live at the Fillmore West and although leaning towards one of Swamp's heroes Tony Joe White and his hit "Polk Salad Annie", proves what can be achieved with just a rhythm section. Political statements such as "I've Never Been To Africa" deserve special attention, in direct contrast is the plaintive "I Should Never Have Written This Song".
His highly individual style is now very much back in vogue and people are even posing the question, did George Clinton write "Automatic Dog" about our man? So we present the one and only Swamp Dogg unmuzzled and ready to bite all non-believers.
--Trevor Swaine, April 1983
Souled Out and New Blackbeat magazines
YOU AIN'T NEVER TOO OLD TO BOOGIE
(1976, DJM Records/Vee Jay International/This Record Co. Ltd. DJF 20476)
Side One:
1. Sweetest Thing In California (@5:34)
[Jerry Williams, Jr.]
2. The Other Man (@3:16)
[Jerry Williams, Jr.]
3. I Can Stand The Lonely Days (But Can't Stand The Lonely Nights) (@2:39)
[Jerry Williams, Jr.]
4. Dyn-o-mite (@3:03)
[Jerry Williams, Jr. and Charles Whitehead]
5. You Ain't Never Too Old To Boogie (@3:23)
[Jerry Williams, Jr.]
Side Two:
1. I Sure Love To Ball (And You Do Too) (@2:57)
[Jerry Williams, Jr. and Charles Whitehead]
2. Believe In Me Baby (@6:40)
[Jerry Williams, Jr.]
3. It's A Bitch (@3:56)
[Jerry Williams, Jr.]
4. I Had A Ball (I Did It All) (@3:09)
[Jerry Williams, Jr.]
NOTES:
A Vee Jay recording. DJM (Distributors) Limited, James House, 71-75 New Oxford Street, London WC1A 1DP. Produced by Jerry Williams Jnr. (The Swamp Dogg). Engineer: David Johnson. Sleeve design: Scutt : Irvine : Wilson. Shorepack by Shorewood Packaging Co. Ltd. England. ATV Music Ltd. Made in England.
=================
GUEST APPEARANCES:
=================
209's MOST VICIOUS VOLUME 1
(1995, G.H. Entertainment/Treatment Team Records TT05 0c)
Hurricane J and Swamp Dogg - Demons
NOTES:
A Various Artists compilation. "Demons" produced by and recorded at Way Deep. Track time = 5:49. This is a gangster rap song with brutally violent lyrics. Although it is difficult to make out Swamp Dogg in the song, he assures me that he is present on the recording; my guess is that he supplies the high-pitched synthesized vocals of the "demons". "209" refers to the telephone area code of the cities of Stockton, Modesto, Merced, Madera and Fresno California; these cities are noted on the front cover graphics in small red print.
RUBY ANDREWS - KISS THIS
(1991, Ichiban ICH 1104)
1. I Want To Rock With You Baby No. 2 (3:40)
[Jerry Williams, Jr.]
2. Since I Met You (5:05)
[Jerry Williams, Jr.]
3. Que Pasa (4:18)
[Jerry Williams, Jr.]
4. To The Other Woman (I'm The Other Woman) (3:30)
[Jerry Williams, Jr. and Gary Bonds]
5. Kiss This (3:55)
[Jerry Williams, Jr.]
6. Lovey Dovey (3:15; actual time = 3:31)
[{King} Curtis and Nugetre {Ahmet Ertegun}]
7. Throw Some More Dirt On Me (The Shacking Song) (3:33)
[Jerry Williams, Jr.]
8. Loving You No. 44 (3:15)
[Jerry Williams, Jr.]
9. I Got What I Want At Home (3:14)
[Jerry Williams, Jr. and Bob Jones]
10. As In Always (3:43)
[Jerry Williams, Jr.]
NOTES:
Swamp Dogg produced and arranged the record, plays piano and sings background vocals. Swamp Dogg duets with Ruby Andrews on "Lovey Dovey". Recorded at Technosound Studio, Baton Rouge, Louisiana. Liner note excerpt by Swamp Dogg: "A very special thanks and with gratitude to Oliver Sain for doing something insane for me."
BURN HOLLYWOOD BURN: THE SOUNDTRACK
(1998, Priority Records P2 50740)
Swamp Dogg - Synthetic World [new version]
NOTES:
A Various Artists compilation. Produced by DJ Hurricane for Street N.I.G.Z. Productions. Executive produced by Jason Rothberg. Track time = 3:57. "Synthetic World" appears courtesy of Arc 21 Records/S.D.E.G. Records. Mastered by Don C. Tyler at Precision Mastering, Hollywood Ca.
COLD BLUE [Eugene Russell] - 4-EVER STUCK "N" DA GAME
(2004, S.D.E.G. 1952)
1. (Intro) They Let The Doggs Out The Closet
2. S.D.E.G.
3. Roll With A Thug
4. This Pen Is My Girlfriend
5. Can U Keep A Secret
6. Tell That Nigga To Walk (Battered Womens Anthem)
7. Baby Baby
8. Puff 'N' Pass
9. Face The Judge
10. Pimpin
11. Better Place
12. Flossin
13. Shoot For The Stars
14. Don't Worry About A Dam Thang
15. Shipwrecked #2
16. Kiss Da Kitty
17. Mafia
18. 4-Ever Stuck 'N' Da Game
NOTES:
Swamp Dogg provides guest vocals on "S.D.E.G.", "Tell That Nigga To Walk (Battered Women's Anthem)" and "Shipwrecked #2" (a re-working of his 1968 song "Shipwrecked" from which samples are taken). He also plays keyboards on "Tell That Nigga To Walk (Battered Women's Anthem)", "Baby Baby", "Shoot For The Stars" and "Shipwrecked #2". "Tell That Nigga To Walk (Battered Women's Anthem)" written and produced by Cold Blue and Swamp Dogg. "Baby Baby" written by Jerry Williams, Rick Spain and Cold Blue, produced by Cold Blue and Swamp Dogg; this song is a re-working of "Baby, You're My Everything" using samples from the original recording. "Shoot For The Stars" produced by Cold Blue and Swamp Dogg. "Shipwrecked #2" written and produced by Cold Blue and Swamp Dogg. Website: http://cdbaby.com/cd/coldblue1
GENERATIONS I: A PUNK LOOK AT HUMAN RIGHTS
(1997, Ark 21 10000; 1997, Ark 21 TOCP-50207; 2000, Ark 21 6-1868-10000-2-0)
Swamp Dogg Does Moon Dogg - Synthetic World [new version]
NOTES:
A Various Artists compilation. Track time = 4:39. Swamp Dogg - vocals; Derwood Andrews - guitar; Jerry Judd - drums. Swamp Dogg. Produced and recorded by: Derwood Andrews (Moon Dogg). Recorded at: Ark 21 Studios and Rubber Cheese Studios. Engineered by: Scott Mathers.
GODCHILDREN OF SOUL - ANYONE CAN JOIN!
(1994, Adageo BV/Rhino/Forward R2 71739)
Swamp Dogg with Godchildren Of Soul - Life
NOTES:
A Various Artists compilation. Track time = 4:47. Lead vocal: Biti. Background vocals: Mic Murphy, Biti, Chris Kellow, Stephan Miller. Published by Nuffloot Music/Nomad/Noman/Warner Tamerlaine/EMI Music, ASCAP. Produced by Mic Murphy and Andre Betts; additional production and remix by Ben Wolff and Andy Dean for the Boilerhouse. Engineered and mixed by Kennan Keating. Executive producer: Steve Greenberg. Barcode: 0-8122-71739-2-0.
Comment by Swamp Dogg on The Southern Soul List (Yahoo) 3/16/99: "The "Godchildren Of Soul" was a concept that was perpetrated by Steve Greenberg (Mercury Exec VP) who thought that teaming me up as a rapper with then hot producer Mic Murphy would spawn something earth shattering."
GOLDEN CREST INSTRUMENTALS FEATURING THE WAILERS
(1999, Ace CDCHD 724)
Little Jerry Williams - Jerry's Monkey
Little Jerry Williams - Miami Dreams
NOTES:
A Various Artists compilation. "Jerry's Monkey" track time = 2:48. "Miami Dreams" track time = 2:09. Both songs written by Jerry Williams and published by Jerry Williams Music. Jerry Williams (piano and vocal shouts); probably Joe Jefferson (tenor saxophone); Norman Harris (guitar); rest unknown. The liner notes state, recorded at Frank Virtue's Studio, Philadelphia circa late 1962. Produced by Matt Parsons and Jerry Williams.
Swamp revealed the existence of the acetate for these two songs on The Southern Soul List (Yahoo) 3/16/08: "Miami Dreams (originally Matt's Groove) b/w Jerry's Monkey (originally Jerry's Thing). Artist: Little Jerry. Dated: Approx 1961 / cut at Variety Recording Services (NYC) / recorded at Frank ("Guitar Boogie") Virtue's Studio in Philadelphia."
LINER NOTE EXCERPT:
In 1962, the young Jerry Williams, later known famously as Swamp Dogg, teamed up with promo man Matt Parsons in Philadelphia. They produced a moonlight session by the hit-making Majors (who had just come off 'A Wonderful Dream') that ended up as a single in the name of the Suburbans on the Shelley label. At this same session, Jerry recorded two instrumentals, 'Jerry's Monkey' and 'Miami Dreams', that see their first-ever release here. 'Jerry's Monkey', in particular, shows that Williams already was in the forefront of the James Brown R&B-to-soul movement.
KAKO & HIS ORCHESTRA / MENIQUE Y KAKO - SOCK IT TO ME LATINO
(1968, Musicor MS-6049; 1970, Artol ACS-6049; 1998, West Side Latino 4269; 2007, Bomba 24126 [Japan])
Includes "Kako's Boogaloo" featuring Jerry Williams, Jr. on background vocals; this song later appeared on the Little Jerry Williams Anthology (1954-1969) [2001, S.D.E.G. 1942]. Kako's real name is Francisco Bastar. Vocalist Menique's full name is Meñique Barcasnegras. The 2007 Japanese reissue has the title variation Sock It To Me, Latino!
Comments by Swamp Dogg regarding the song "Kako's Boogaloo" on The Southern Soul List (Yahoo) 2/23/02: "Kako was an artist on Musicor International and I was on Musicor. We started hanging out and partying together. He didn't speak any English and I no Spanish, nevertheless we became great buddies in New York. One night while he was recording his album I went into the studio and he asked me to add some soul to track they were completing. I listened and about two hours later we put on all of the vocals, vocalist and musicians simultaneously. That's the way the bands from South America recorded then....everything at once while standing in a big circle. The album charted on the Cashbox and Billboard Pan American charts and did very well for Kako, who was a dance hall favorite in New York, Cuba and all through S.A."
MISS VERA'S BOYS - Kiss Me Hit Me Touch Me / Moon Mixture
(1985, Rare Bullet RB 12-2022, 12" single)
Produced by Swamp Dogg. Both songs written by Jerry Williams, Jr. and Michelle Williams. Side One track time = 7:49. Side Two track time = 7:52. Miss Vera's Boys is comprised of Swamp Dogg on vocals and keyboards plus unknown musicians. "Miss Vera" refers to Swamp Dogg's mother, Vera Lee.
PILY [PILAR NIEBLAS] - SI YO FUESE UN ANGEL (IF I WAS AN ANGEL)
(2006, S.D.E.G./Moon & Stars Studio M&S 5640)
1. Life's A Game (featuring Cold Blue)
[Pilar Nieblas and Eugene Russell]
2. Don't Leave Me This Way
[Kenneth Gamble, Cary Gilbert and Leon Huff]
3. Fantasy Baby Fantasy Love (featuring Swamp Dogg)
[Jerry Williams, Jr., Beverly Green and Wayne Boyer]
4. Si Yo Fuese Un Angel
[Jerry Williams, Jr., Ned McElroy and Pebe Serbert]
5. It's Ecstasy When You Lay Down Next To Me
[N. Pigford and E. Harris]
6. Get Back
[John Lennon and Paul McCartney]
7. Cisco Kid (featuring D.W.)
[T. Allen, H. Brown, M. Dickerson, L. Jordan, Lee Oskar, C. Miller and H. Scott]
8. Eres Tu
[Juan Lopez Calderon]
9. Signed Sealed Delivered I'm Yours
[Lula Hardaway, Stevie Wonder, Syreeta Wright and Lee Garrett]
10. Sugar Bum Bum
[Lord Kitchener]
11. Cuban Senorita
[un-credited, registered to Jerry Williams Music]
12. Oh Freedom (featuring Swamp Dogg)
[Jerry Williams, Jr. and Beverly Green]
NOTES:
Produced by Jerry "Swamp Dogg" Williams. The liner "Thanks" notes include a nod from Pily to Swamp Dogg: "Thanks to Swamp Dogg for teaching me so many things, helping me to discover hidden skills in my voice and being like a father." Website: http://www.holidayproduction.com/latin/index.html
A 2006 promotional video for "Don't Leave Me This Way" can be viewed at: http://www.youtube.com/watch?v=tmet4PQSl8M
A 2005 promotional video for "Life's A Game" (featuring Cold Blue) can be viewed at: http://www.youtube.com/watch?v=KfTuSkLLEPw
A 2006 promotional video for "Si Yo Fuese Un Angel" can be viewed at: http://www.youtube.com/watch?v=83RcbEF8xJY
TED & VENUS: ORIGINAL MOTION PICTURE SOUNDTRACK
(1992, Warlock/S.D.E.G. WARCD-2734)
1. Remember I Said Tomorrow - Swamp Dogg (3:26)
[Jerry Williams, Jr. and Troy Davis]
--longer intro than on Rat On!
2. Mind Does The Dancing #2 - Swamp Dogg (7:20)
[Jerry Williams, Jr.]
--same version as what appears on Have You Heard This Story??
3. I Guess That Don't Make Me A Loser - Ruby Andrews (2:50)
[Bridges, Knight and Eaton]
4. Theme For An Un-Made Movie - Nat Cross (2:33)
[Jerry Williams, Jr. and Nat Cross]
5. My Life Ain't Nothing But A Blues Song - Swamp Dogg (3:37)
[Jerry Williams, Jr.]
6. Sidewalks, Fences & Walls - Swamp Dogg Band (5:05)
[Jerry Williams, Jr. and Maurice Gimbel]
7. Baby You're My Everything - Swamp Dogg (2:43)
[Jerry Williams, Jr. and Rick Spain]
--shorter than what appears on Little Jerry Williams Anthology and Swamp's Things
8. I Finally Found Myself Something To Sing About - Charlie Whitehead (3:47)
[Jerry Williams, Jr.]
9. Since I Found Out - Ruby Andrews (2:44)
[Black/Beanum Davis]
10. Say Nothing - King Errisson (4:44)
[King Errisson]
11. Boogie Down Down Down - Dave "Baby" Cortez (3:30)
[Jerry Williams, Jr. and David Clowney]
12. Sweet Breezes - Dave "Baby" Cortez (3:10)
[Jerry Williams, Jr. and David Clowney]
13. Mad Love - Michelle Williams (5:02)
[Jerry Williams, Jr.]
14. Happy Birthday, You Dawg You - Swamp Dogg (4:15)
[Jerry Williams, Jr.]
--new version
NOTES:
A Various Artists compilation. All songs produced and arranged by Swamp Dogg except tracks 3 and 9 produced and arranged by Fred Bridges, track 6 produced and arranged by Swamp Dogg and King Errisson, and track 10 produced and arranged by King Errisson. All songs published by Jerry Williams Music/BMI except tracks 3, 6, 9 and 10. Original soundtrack from the 1990 motion picture starring: Bud Cort, James Brolin, Carol Kane, Martin Mull, Rhea Perlman, Woody Harrelson, and Kim Adams. Music supervisor and soundtrack executive producer: Swamp Dogg. Manufactured and distributed by Warlock Records, Inc. 200 Park Avenue South, New York, N.Y. 10003.
"I managed and produced "Baby" Cortez circa 74' and 75', and we cut some great sides in Muscle Shoals. I believe that Pete [Carr] played guitar on them. I caused one track to be released on the soundtrack CD of the Bud Cort movie, Ted and Venus, for which I was the music supervisor. I have about four more tracks in the can." --Swamp Dogg, The Southern Soul List (Yahoo), 10/25/08
THE ULTIMATE NORTHERN SOUL: FEATURING THE ARTISTICS, FRANK WILSON, EDWIN STARR, KIM WESTON, LAURA LEE
(2005, Pegasus Entertainment PEG CD 538/GAS 0000538 PEG)
Jerry Williams - If You Ask Me (Because I Love You)
NOTES:
A Various Artists compilation. This version of "If You Ask Me (Because I Love You)" is not the original version; it has been re-recorded (date uncertain) and has a track time of 2:58. This CD is disc 2 of a 3-CD box set titled "The Ultimate Northern Soul: featuring Frank Wilson, Kim Weston, Earl Van Dyke, P.P. Arnold, Laura Lee" (2005, Pegasus Entertainment PEG BX 085/GAS 0000085 PBX). Pegasus Entertainment is a division of Eagle Rock Entertainment Limited.
X-MAS BALLS - SHE LEFT ME FOR RANDOLPH
(2004, S.D.E.G./Moon & Stars Studio SDEG 1953)
1. She Left Me For Randolph
[Jerry Williams, Ned McElroy and Robert Morris, Jr.]
2. You Lose Mr. Scrooge
[Ned McElroy and Robert Morris, Jr.]
3. If I Was An Angel
[Jerry Williams, Ned McElroy and Pebe Sebert]
4. Cajun Daze Of Christmas
[Ann McElroy and Ned McElroy]
5. Noel The Christmas Mouse
[Ned McElroy and Robert Morris, Jr.]
6. Santa's Mailbox
[Jerry Williams, Ned McElroy and Robert Morris, Jr.]
7. Hillbilly Christmas
[Ned McElroy and Robert Morris, Jr.]
8. (All I Want For Christmas Is) A Soldier Coming Home
[Jerry Williams, Jr. and Ned McElroy]
9. King Of Kings
[Jerry Williams, Jr. and Ned McElroy]
10. Foggy Xmas Breakdown
[Ann McElroy and Ned McElroy]
11. You're Working For Me
[Ned McElroy and Robert Morris, Jr.]
12. She Left Me For Randolph (instrumental) / [The Star-Spangled Banner]
[Jerry Williams, Jr. Ned McElroy and Robert Morris, Jr.]
NOTES:
Featuring Monty Lane Allen, Swamp Dogg and Ned McElroy. Executive producers: Lemuel B. Muniz, H. David Cutlip, James R. Christie, J.G. Cutlip. Produced by Jerry "Swamp Dogg" Williams and Ned McElroy for Holiday Music and Productions LLC. Recorded and Mixed at The Bunker, Brentwood, Tn. Engineer: Phil Kenzie. Swamp Dogg contributes vocals on "Santa's Mailbox", "King Of Kings", and "You're Working For Me". Contains a bonus DVD with videos for the Monty Lane Allen songs "(All I Want For Christmas Is) A Soldier Coming Home" and "If I Was An Angel". Website: http://www.holidayproduction.com/holiday/index.cfm
A 2006 promotional video for "If I Was An Angel" can be viewed at: http://www.youtube.com/watch?v=QaZ7-JvrlxY
A 2006 promotional video for "(All I Want For Christmas Is) A Soldier Coming Home" can be viewed at: http://www.youtube.com/watch?v=krZqnC6bKuA
A 2006 promotional video for "King Of Kings" can be viewed at: http://www.youtube.com/watch?v=d0MP-IgKc9o
========================
PRODUCTION & ARRANGEMENT:
========================
This section is likely incomplete. It will be updated as further information is located; additions and/or corrections are certainly welcome: chancede@slu.edu
...AND SWEETS THE MC. - What's Up What's Up / What's Up (Beat Box)
(1987, S.D.E.G. 9585, 12" single)
Notes:
"What's Up What's Up" written by Brian Donaldson. Published by Jerry Williams Music (BMI). Produced by Swamp Dogg and Robert Mercer via special arrangement with Mercer Project Records. Arranger & Programmer: Robert Mercer. Engineer: John Henning. Re-Mix Engineer: Doctor Robert Feist. Side A track time = 6:30. Side B track time = 5:48. Distributed by Quicksilver Records, 6914 Canby Ave., Suite 110, Reseda, CA 91335.
RUBY ANDREWS & GLORIA LYNNE - THE BOSS LADIES OF SOUL
(2007, S.D.E.G. 1965)
RUBY ANDREWS
1. I Want To Rock With You Baby (3:43)
[Jerry Williams, Jr.]
2. Since I Met You (5:08)
[Jerry Williams, Jr.]
3. Que Pasa (4:23)
[Jerry Williams, Jr.]
4. To The Other Woman (I'm The Other Woman) (3:36)
[Jerry Williams, Jr. and Gary Bonds]
5. Kiss This (4:01)
[Jerry Williams, Jr.]
6. Lovey Dovey (duet with Swamp Dogg) (3:16)
[{King} Curtis and Nugetre {Ahmet Ertegun}]
7. Throw Some More Dirt On Me (The Shacking Song) (3:43)
[Jerry Williams, Jr.]
8. Loving You #44 (3:25)
[Jerry Williams, Jr.]
9. I Got What I Want At Home (3:28)
[Jerry Williams, Jr. and Bob Jones]
10. As In Always (3:50)
[Jerry Williams, Jr.]
GLORIA LYNNE
11. Whatever It was You Just Did (3:15)
[Frank Clark]
12. How Did You Make Me Love You (2:50)
[Frank Clark and Dee Ervin]
13. Can You Take What I'm Gonna Do (3:03)
[Frank Clark]
14. If You Don't Get It Yourself (2:54)
[Frank Clark]
15. I Just Gotta Tell Somebody (3:01)
[Dee Ervin and Lynn Farr]
16. Love's Finally Found Me (3:03)
[Dee Ervin and Alex Brown]
17. What Else Can I Do (4:14)
[Frank Clark]
18. Seems Like I Gotta Do Wrong (3:11)
[Jerry Williams, Jr. and Dee Ervin]
19. Don't Tell Me How To Love You (4:40)
[Frank Clark]
20. I'm So In Love (3:07)
[Dee Ervin and Janet Spagg]
21. I'll Take You All The Way There (2:35)
[Dee Ervin and Monk Higgins]
NOTES:
Digitally re-mastered reissues of Ruby Andrews' 1991 Swamp Dogg-produced album "Kiss This" (Ichiban ICH 1104) and Gloria Lynne's 1970 album "Happy And In Love" (Canyon 7709). The insert is a 12-page booklet containing memorabilia related to Ruby Andrews - a Zodiac Records promotional photo, a copy of a 1990 recording contract with Jerry Williams, Jr., her correspondence to Jerry Williams regarding the contract, an invoice from Technosound for the cost of the recording [$2627.50], a memo from Bob Jones to Ruby Andrews releasing her from her contract, a 1975 Chicago Tribune review of a live performance, a personal memo from Ruby to Jerry and Yvonne Williams, and a copy of a 1995 recording contract with Jerry Williams, Jr. The first pressing of this CD contains an error on the back insert spines and on the CD face: the title is listed as The Boss Ladies Of Song rather than The Boss Ladies Of Soul.
Ruby Andrews tracks credits - Produced and arranged by Jerry "Swamp Dogg" Williams and Michael Lockett for Yvonne Williams Productions. Co-producer: M.C. World a/k/a Aaron Williams a/k/a Hump Dogg. Piano: Swamp Dogg. Bass, Drums, Keyboards, Programming: Michael Lockett. Guitar: Melvin Veazie. Horns: The Hustlers. Strings: Gonzales Community Players. Background vocals: Swamp Dogg, Ruby Andrews, Carolyn Basley. Recorded at Technosound, Baton Rouge, La. Engineers: Nelson Blanchard and Tony Daigle.
Gloria Lynne tracks credits - Produced by Wally Roker and Frank Clark for Wally Roker & Associates through special arrangements with Swamp Dogg. Executive Producer: Dr. Beverly Green-Williams. Drums: Johnny (Duck) Sandlin and Paul Humphrey. Bass: Robert (Pops) Popwell and Rinie Press. Piano: Paul Hornsby and Evelen Freeman. Guitar: Jessie (Pete) Carr, Mike Deasy and Al Vescovo. Vibes and Percussions: Victor Feldman. Horns: Gene "Bowlegs" Miller & Maconites. French Horn: Art Maebe. String Concert Master: Bill Kurasch. Background Vocals: Lady Helena, Elaine Hill and Genie Brown. Recorded in Macon, Ga., at Capricorn, Engineer: Jim Hawkins and in Hollywood, Ca., at I.D. Sound, Engineer: Ivan Fisher. Remix Engineer: Frank Clark.
Notes from Swamp Dogg's record store website regarding the Gloria Lynne tracks:
Gloria Lynne journeyed to Capricorn studio in Macon, Georgia with Wally Roker and Frank Clark at the suggestion of Swamp Dogg. Once there, they utilized the genius southern-boogie rhythm section that made hits for Swamp Dogg, Doris Duke, Irma Thomas, Arthur Conley, Wet Willie, Cowboy, Livingston Taylor, Martin Mull, Oscar Toney, Jr., etc. This was Gloria's first venture into southern funk. Nevertheless, it came off great and garnered critical acclaim. Gloria maintained her vocal sophistication while applying an equal dose of funky r'n'b.
THE ANGLOS - 4 unreleased tracks
(@1963)
Billy Webster [of Billy Webster And The Club Rockers] is the given name of Lil' Joe, lead singer of the Anglos; whom I also have four unreleased masters on." --Swamp Dogg, The Southern Soul List (Yahoo), 3/31/08
The Anglos had a single on the Scepter label circa 1965, Scepter 12204, Since You've Been Gone / A Small Town Boy. "Since You've Been Gone" has appeared on several soul anthologies.
ROSE BATISTE - What Happened To The Love We Had / Everybody's Talking
(unreleased)
Both songs produced by Jerry Williams, Jr. "I signed her without ever meeting her. Her producer was George McGregor, whose work I was crazy about. I actually was signing George's talent." -Swamp Dogg, private email 8/29/08
BLAME IT ON THE DOGG: THE SWAMP DOGG ANTHOLOGY 1968-1978
(2008, Ace/Kent CDKEND 293)
1. On Your Way Home - C & The Shells (3:40)
2. She's A Heartbreaker - Gene Pitney (3:14)
3. Shipwrecked - Jerry Williams (2:48)
4. He's Gone - Patti LaBelle & The Blue Belles (2:54)
5. I Need A Woman Of My Own - Tommy Hunt (3:04)
6. (1-2-3-4-5-6-7) Count The Days - Inez & Charlie Foxx (2:33)
7. Your Best Friend - The Drifters (2:28)
8. Your Man - Jerry Williams (3:31)
9. I'm Glad You're Back - Gary US Bonds (2:27)
10. Please Open Up The Door - Little Charles & The Sidewinders (2:39)
11. Run Run Roadrunner - Jerry Williams (2:50)
12. What's So Wrong With You Loving Me - Kenny Carter (2:25)
13. Don't Trust A Woman - Slick 'n' The Family Brick (2:30)
14. Straight From My Heart - Swamp Dogg (3:24)
15. Touch 'Em With Love - Z.Z. Hill (1:46)
16. Who's The Blame - Obe Jessie & The Seeds Of Freedom (3:46)
17. Don't Throw Your Love To The Wind - Swamp Dogg (2:34)
18. Plea #3 (Is It True Boy?) - Eleanor Grant (3:09)
19. Complication #4 - Arthur Conley (3:31)
20. Shu-Doo-Pa-Poo-Poop (Love Being Your Fool) - Helen Curry (2:54)
21. The Other Woman - Eleanor Grant (3:08)
22. Stop Knocking - Ruth Brown (5:07)
23. God Bless - Wolfmoon (3:37)
24. Rockin' Your Baby Now - Eleanor Grant (5:03)
NOTES:
Track 1 = Cotillion 44033 (1969). Track 2 = Musicor 1308 (1968). Track 3 = Cotillion 44022 (1969). Track 4 = Atlantic 2610 (1969). Track 5 = Dynamo 113 (1967). Track 6 = Dynamo 112 (1967). Track 7 = Atlantic 2624 (1969). Track 8 = 8730 Records 102 (1968). Track 9 = Botanic 1002 (1968). Track 10 = Botanic 1001 (1968). Track 11 = Musicor 1285 (1968). Track 12 = previously unissued. Track 13 = Swamp Dogg Presents 500 (1971). Track 14 = Swamp Dogg Presents 501 (1971). Track 15 = Rare Bullet 4241 (1984, recorded 1971). Track 16 = Stone Dogg 801 (1972). Track 17 = Swamp Dogg Presents 501 (1971). Track 18 = previously unissued. Track 19 = P-Vine Special LP PJ 122 (1988, recorded 1973). Track 20 = Sweetheart 28 (1975). Track 21 = previously unissued. Track 22 = President LP PTLS 1067 (1976). Track 23 = Fungus 15118 (1973). Track 24 = previously unissued.
Mono tracks = 3-14, 16, 17, 22. Stereo tracks = 1, 2, 15, 18-21, 23, 24.
Includes a 16-page booklet. Compilation and notes by Tony Rounce. Mastered by Nick Robbins; audio restoration by Rob Shread at Sound Mastering Ltd. Package designed by Niall McCormack. Front cover photograph of Swamp Dogg courtesy of Blues & Soul. Barcode = 0-29667-22932-6.
Back tray insert comment: "An appreciation of the all-around talents of one of 60s and 70s soul's most beloved musical mavericks. Most tracks new to CD."
LINER NOTES:
26-year-old Portsmouth, Virginia native Jerry Williams, Jr. joined Atlantic's A&R department and signed his own recording deal with the company's all-R&B subsidiary Cotillion in 1969. Fresh from a modicum of success with New York R&B imprint Calla Records, and slightly more success with Musicor and its R&B subsidiary Dynamo - both as a producer and a recording artist - Williams was already well into his second decade in the music business. He'd started out as a kid in the very late 1950s, recording as would-be Little Richard copyist Little Jerry. By the mid-60s, he was based in Philadelphia and recording as Little Jerry Williams, under which name he almost scored with "I'm The Lover Man" for Southern Sound/Loma Records (1965) and did score with the brilliant "Baby You're My Everything" for Calla (#32 R&B in early '66). Short on stature but long on talent, Jerry was as gifted a songwriter as he was unique as a singer.
Williams' tenure with Atlantic yielded little in the way of hits. Although they were still having great success in their core business, with artists such as Aretha Franklin, Wilson Pickett and Clarence Carter, Atlantic was becoming increasingly committed to their expanding international rock market. It's likely that money that might have been spent on promoting the records that Jerry produced was being diverted towards the promotion of Led Zeppelin, yes, the Bee Gees, Stephen Stills, Eric Clapton, the Allman Brothers and others whose work was appearing under the Atlantic umbrella. (Ironically, the Brothers' stellar lead guitarist, Duane Allman, would figure significantly in Swamp's immediate post-Atlantic future.)
It's unclear if Williams quit - or was fired from - his Atlantic gig in late 1969. He wasted little time, quickly moving on to what most of us would regard as his golden era, ushered in by a new (and all too short-lived) label that gave him the creative freedom that he needed. His reputation as a maverick genius is based upon the four albums and associated singles released there. Canyon Records was owned and operated by Wally Roker, a former member of doo wop greats the Heartbeats. Roker had spent most of the 1960s as a producer, publisher and promoter, but Canyon lasted not much more than a year and it is largely remembered for the records that were produced by Jerry Williams Jr.
All of these were recorded in Muscle Shoals or Macon, GA, using local pickers from a pool of musicians that were loosely associated with the Allman Brothers (including Duane Allman, keyboardist Paul Hornsby and the Brothers' producer, Johnny Sandlin, on drums) augmented with a few of Swamp's own discoveries, including the brilliantly fluid Robert "Pop" Popwell on bass. Swamp's own songwriting style was moving away from the straightforward love songs that had been his stock-in-trade to encompass previously taboo themes, such as adultery and prostitution, that had been banned on radio until then. With a selection of co-writers that included Gary US Bonds, Troy Davis, and a young man who stuck with Swamp for years afterwards, Charlie Whitehead, Swamp turned out classic after classic, almost always enhanced by the superior playing of his southern rhythm section and the beautifully sweeping orchestrations of his former Calla collaborator, the arranger Richard Rome.
The Canyon albums line up as follows: Doris Duke's "I'm A Loser" is a strong candidate for the greatest deep soul album of all time. Sandra Phillips' "Too Many People In One Bed" is almost as good as "I'm A Loser" in the opinion of many soul connoisseurs. Raw Spitt's "Raw Spitt" is a wonderful debut set for Charlie Whitehead, who Swamp had first recorded for Musicor's Dynamo subsidiary. Lastly, Swamp Dogg's "Total Destruction To Your Mind" is an unsurpassable opening salvo, even given the quality the albums that succeeded it.
And that, of course, is where Jerry Williams left the building and Swamp Dogg arrived in earnest. When Williams took the masters of "Total Destruction" to Roker, he told him that he was going to release them with an artist credit of "Dogg", in an attempt to give the world something to immediately remember. "Dogg" quickly morphed into "Swamp Dogg" ("Swamp Rock" being very 'in' in rock circles at that point in time) and a legend was not too much born as reinvented. Which is where our story really begins.
Throughout the 1970s, Swamp changed labels constantly. In 1971 - following the demise of Canyon - he was on Elektra. The following year, he joined Los Angeles-based indie Cream, run by ex-head of Liberty Records Alvin "Al" Bennett. Come 1973, Swamp was in bed (figuratively speaking) with another veteran record man, Miami's Henry Stone, for the joint venture that was Stone Dogg Records. He next pitched up briefly and less than a year later on a short-lived label that was owned by the men's cologne manufacturers Brut.
In 1975 he was on the roster of the US division of Island Records, then one of the hottest labels in the world. But Island couldn't do for him what it had done in the UK for artists such as Cat Stevens, Free, Traffic, Bob Marley and Mott The Hoople, and so by 1976 Swamp Dogg was back with Henry Stone, releasing an ironically titled "Greatest Hits?" album that had originally been recorded for Brut and that contained no actual hits (although it did contain some of his best-ever songs).
In 1976, Swamp also signed to a temporarily-revitalized Vee-Jay Records, but the label was already in trouble when he joined and his album for them only seems to have been released outside the USA. 1977 saw a release on the terminally obscure Wizard label, followed by a brief return to Musicor, under new ownership but still bearing the same distinctive logo that had graced "Run Run Roadrunner" a decade earlier. Another reunion was effected in 1978, this time with Cream, but the "Doin' A Party Tonite" album was a long way from Swamp's best and was issued only in Europe. The closing years of the 1970s introduced Ala, Takoma and his own Atomic Art label to Swamp's discography, with the same brevity that marked his time with the imprints that preceded them.
Stability arrived with the dawn of the 1980s since when Swamp Dogg's recordings have been issued on either his own Rare Bullet or, primarily, SDEG labels - where, if a record doesn't sell, at least he has the satisfaction of knowing that it's nobody else's fault.
Over the years Swamp has also produced a huge number of recordings, both for the labels he was signed to and others. On Mankind and Fungus (joint ventures between Swamp and Excello and tape manufacturers BSF respectively) he worked with Doris Duke, Freddie North, Irma Thomas, Charlie Whitehead, his old pal Brooks O'Dell and Brooks' protégé, Tyrone "Wolfmoon" Thomas. During the same timeframe, Swamp produced artists such as Arthur Conley for Capricorn, Jay Dee Bryant and Charlie Whitehead (again) for Island, Eleanor Grant for Columbia, Charlie Whitehead (yet again!) for UA, Atomic Art and Stone Dogg, Ruth Brown for President and plenty of others. Swamp's 1970s output was as consistently good as it is plentiful. It's one of life's great mysteries why so much of it wasn't more commercially successful.
This compilation covers just under ten years in the recording life of Jerry Williams Jr., running from 1968 to 1977 approximately. His earlier career prior to 1968 has been covered by two previous CDs. His Calla era was featured extensively on the now deleted 1999 Westside CD "Swamp's Things", while everything that he recorded from Little Jerry to Calla is to be found on an "Anthology" CD on his SDEG lael.
Kent has already issued several CDs featuring Swamp's productions on ZZ Hill, Freddie North, Doris Duke, Irma Thomas, Charlie Whitehead and Brooks O'Dell, so the repertoire for this compilation has been selected from the work of artists with whom Swamp enjoyed briefer encounters. His time with Musicor/Dynamo is represented by productions/compositions on Inez & Charlie Foxx, Tommy Hunt, Brooks [O'Dell] & Jerry [Williams Jr.] and his own "Run Run Roadrunner". The Cotillion/Atlantic era is covered by selections from the Drifters, erstwhile Sandpebbles C & The Shells, Patti La Belle & the Blue Belles and more from Jerry himself. His early independent work of the period is represented by Gary US Bonds and Little Charles & the Sidewinders, as well as his Slick 'n' The Family Brick project that featured Bonds, Swamp and Kenny Carter. Prime quality out-takes from Arthur Conley and ZZ Hill show that the 70s southern soul he created that was passed over was every bit as good as the issued stuff. The most recent tracks in our compilation, from Eleanor Grant and ex-member of the Independents Helen Curry, prove that anything disco could do, Swamp could do better.
Let's take a look at the treats we have in store, in approximately chronological order.
(1-2-3-4-5-6-7) Count The Days - Inez & Charlie Foxx
I Need A Woman Of My Own - Tommy Hunt
Run Run Roadrunner - Jerry Williams
She's A Heartbreaker - Gene Pitney
Swamp really hit his stride as an all-rounder during his time with Art Talmadge's Musicor Records and its R&B subsidiary Dynamo. He'd been allowed to run his own sessions as a Calla artist, but it was at Musicor that he first moved into the world of tailoring his personal cloth to suit the means of others.
His first big success on the other side of the mixing desk came in late 1967 with the now-classic "(1-2-3-4-5-6-7) Count The Days" by brother and sister act Inez & Charlie Foxx, which made #17 R&B / #76 Pop in the early weeks of 1968, their first Top 20 R&B entry since the success of "Mockingbird" in 1963. Swamp had been teamed with the Foxxes by Inez' husband, Dynamo's A&R manager Luther Dixon. Although he's subsequently claimed that Foxx's involvement in the sessions was passive rather than active, Charlie is credited as a co-writer of several of the tracks from the Musicor/Dynamo era and also as the producer of many of the recordings, while Swamp is hiding under songwriting aliases, possibly to circumnavigate a still-active contract with Calla. "Count The Days" is Swamp Dogg through and through, both melodically and lyrically. Recognizing the value of a good copyright, Swamp and Charlie would also cut the song on Gene Pitney later in the year, while Swamp alone would give it a third go round in 1969 at Atlantic, where Patti La Belle & the Blue Belles' excellent rendition went unreleased for almost 35 years.
Former Flamingo, Scepter solo star and Dynamo's first signing Tommy Hunt go uncharacteristically funky on "I Need A Woman Of My Own", a song that Swamp composed with New York tunesmith Stanley Kahan aka Bob Elgin. It didn't give anyone a hit, but it set up further Hunt-Williams Dynamo collaborations.
The beguiling "Run Run Roadrunner" should have given Swamp his second chart single as an artist. Its inexplicable failure did not deter him from having another go with the song, at the Gene Pitney sessions later in the year. In the USA, Gene's version appeared only on the album that was put together to capitalize on the success of "She's A Heartbreaker", although nearly four years later it was issued on 45 in the UK to a modest response. In 1975, the backing track was dusted down for a third Musicor version by ex-drifter Charlie Thomas. This creative recycling process actually stemmed back to Swamp's own version of the song, as the same backing track had previously been utilized behind his Calla recording "Baby, Bunny (Sugar, Honey)". Although not a hit, "Run Run Roadrunner" is a favorite on both the Northern/Crossover and, latterly, Island Soul collectors scenes and has been bootlegged in Jamaica on the Calla label.
Swamp's biggest hit of the period was "She's A Heartbreaker", a sock-it-to-me stomp of a tune that didn't so much break the previously-established mould of Gene Pitney as intense balladeer as smash it to smithereens. As Swamp tells it, Gene apparently heard him working on "Run Run Roadrunner" at a session that he was booked to follow and indicated that he would like them to work together in an attempt to try something outside the established Pitney "norm". Musicor's boss Talmadge was not keen on the idea or the results. Early pressings of "Heartbreaker" appeared with an artist credit just to "G P" but no one was fooled, and with a full artist credit installed, the record gave Gene his biggest Hot 100 hit in almost five years when it peaked at #16 in the Spring of '68. Any one of Gene's other Swamp collaborations could have followed "Heartbreaker" into the Top 20 but Musicor chose to lose the momentum by issuing two non-Pitney/Williams 45s, which flopped, before throwing "Baby You're My Kind Of Woman" into the market in February 1969. By that time, Swamp had moved on to other things, and other labels.
Your Man - Jerry Williams
Please Open Up The Door - Little Charles & The Sidewinders
I'm Glad You're Back - Gary Us Bonds
On Your Way Home - C & The Shells
Your Best Friend - The Drifters
He's Gone - Patti La Belle & The Blue Belles
Shipwrecked - Jerry Williams
After falling out with Musicor/Dynamo but before moving to Atlantic, Swamp had a brief fling with a small, New York-based indie, Botanic Records - run out of that legendary Big Apple address, 1650 Broadway. The label lasted between September and November 1968, long enough to issue three singles. The best sides of the two singles that involved Swamp directly are included here. Little Charles Walker and his six-piece Sidewinders had been releasing records since the mid-60s (including one, "I Got My Own Thing Going", on Drum, another Luther Dixon enterprise). "Please Open Up The Door" shows that he was already a formidable vocalist, and the busy Teacho Wiltshire arrangement should have caught enough ears to make the track at least a small national hit rather than merely a good local seller. With a new song, "Ship Wrecked", on the top, Swamp recycled the rhythm of "Door" on one side of his first Cotillion single, which should have done better that it did.
Virginia homeboys Swamp and Gary US Bonds went way back and their songwriting collaborations of the early 70s would rank among their best work. In 1968, they were concentrating on trying to get Bonds back on the charts after a gap of nearly six years since "Dear Lady Twist" hit #5 R&B / #9 Pop in early 1962. The rabble-rousing "I'm Glad You're Back" did not have the desired chart effect (he had no further hits until his 1980s association with Bruce Springsteen) but that did not stop Swamp making Gary his first signing once he joined Atlantic as an A&R man-cum-artist in 1969.
Swamp has said that his few months with Atlantic/Cotillion were among the most frustrating of his career. He felt he was being handed too many artists that were coming up for their sell-by date (including the Drifters and Patti La Belle & the Blue Belles - ironically, given the massive career resurgence that both acts experienced less than five years later) and that the company was not getting behind the other acts that he was bringing to the table. Given the massive 70s success of the Commodores on Motown, this may well have been the case. The only artist that Swamp produced who had hits during this era was C & the Shells - formerly Calla Records act the Sandpebbles. The group enjoyed two moderate R&B chart hits on Cotillion, just weeks apart, in the spring of '69 with "You Are The Circus" (#28) and "Good Morning Starshine" (#46) from the musical Hair (everyone was doing Hair songs back then). But Atlantic shamefully buried the best of the group's recordings, "On Your Way Home", on the flip of "Starshine", where only soul collectors would hear and treasure it. Swamp cut a subsequent session with the trio, but the results - which included a version of "Private Number" - were shelved and the whole session was re-recorded with Atlantic's latest flavor-of-the-month, Dave Crawford, when Swamp and Atlantic parted ways.
Swamp's other release of this era was his own version of "Your Man", which appeared, in fairly appalling sound quality, on the mysterious and short-lived 87-30 label. This version used the same backing track as Tommy Hunt's Dynamo recording, but that backing track was actually cut for an unreleased Calla version of the much loved "Oh Lord, What Are You Doing To Me", the acetate of which is still in Swamp's possession. Swamp then cut "Your Man" himself for a proposed Calla single that didn't happen, before taking the tape to Musicor/Dynamo and cutting Tommy's version of the song over it. Creative recycling at its best, you will agree!
(Talking of recycling, the sharp of eye will have noticed that both the Drifters and Patti La Belle sides featured here were re-arranged and re-cut by Swamp for inclusion on Doris Duke's "I'm A Loser" - which also featured two Clarence Carter songs, "I Can't Do Without You" and "The Feeling Is Right", from an album that came out during Swamp's brief Atlantic tenure.)
What's So Wrong With You Loving Me - Kenny Carter
Don't Trust A Woman - Slick 'n' The Family Brick
Straight From My Heart - Swamp Dogg
Don't Throw Your Love To The Wind - Swamp Dogg
Touch 'Em With Love - Z.Z. Hill
Who's The Blame - Obe Jessie & The Seeds Of Freedom
Swamp's musical relocation to the American South and the wonderful sounds that resulted is thoroughly documented in the sleeve notes to the Doris Duke, Charlie Whitehead, Irma Thomas and Brooks O'Dell CD projects. The tracks in this grouping all emanate from 1969-71 and provide a useful complement to that material.
After the demise of Canyon Records, and before the establishment of Mankind, Swamp briefly set up a Swamp Dogg Presents label which lasted for just three singles. We've included both sides of Swamp's own single for the label here. The vitriolic blues "Straight From My Heart" is very much in the vein of "Mama's Baby - Daddy's Maybe" from Swamp's "Total Destruction To Your Mind" album and, given that "Baby" made #33 R&B as Canyon 30 in May 1970, it was undoubtedly conceived specifically as a follow-up. (The presence of guitar legend Lonnie Mack should be noted and can hardly be missed.) Swamp's appreciation of the great songwriting of Atlanta's Joe South was embellished further by his recording of "Don't Throw Your Love To The Wind", a perfect complement to his versions of South's "Redneck" and "These Are Not My People" on "Total Destruction".
The other Swamp Dogg Presents artist to feature here is Slick 'n' the Family Brick, a loose aggregation that featured Swamp, US Bonds (patently audible as the lead singer on the humorous "Don't Trust A Woman") and Kenny Carter, a New York-based singer with whom Swamp worked for quite a while without ever releasing anything. For this CD we've prised Carter's original demo of "What's So Wrong With You Loving Me" - a song that was recorded later by Irma Thomas and Brooks O'Dell - out of Swamp's vaults.
The SDP label was quickly iced as Swamp began to have success with Freddie North, Doris Duke and ZZ Hill on Mankind. Prior to Mankind's formation he had been recording Arzel Hill at his preferred studio, David Johnson's Broadway Sound (formerly Quinvy Studios) in Sheffield, Alabama. Among the tracks that were in contention for inclusion on "The Brand New ZZ Hill" album was "Touch 'Em With Love", a recent mini-hit for both Bobbie Gentry and Brook Benton. Even though it's patently unfinished (no strings or horns), it's a great track and it fully deserved its eventual release in the mid-80s in the wake of ZZ's massive success with Malaco Records.
As the Mankind door closed, another one opened, when Swamp started Stone Dogg with Henry Stone. The first release, "Who's The Blame", was not a Swamp Dogg production or song. The featured artist, Obediah "Young" Jessie, had co-written "Straight From My Heart" with Swamp. He also wrote "Who's The Blame" with Kent Harris, on whose Romark label the record had originally been issued before being picked up by Stone Dogg. It was not a hit, but it's a fine and very collectable item on both labels.
God Bless - Wolfmoon
Complication #4 - Arthur Conley
Stop Knocking - Ruth Brown
Plea #3 (Is It True Boy?) - Eleanor Grant
The Other Woman - Eleanor Grant
Rockin' Your Baby Now - Eleanor Grant
Shu-Doo-Pa-Poo-Poop (Love Being Your Fool) - Helen Curry
The final grouping of tracks on this CD give a good representation of Swamp's activities over the rest of the 1970s. Another Virginian, Tyrone Thomas, had been introduced to Swamp by mutual friend Brooks O'Dell. Thomas had been among the support acts for O'Dell at a show in Portsmouth, VA. The older man was impressed enough to recommend Thomas to his pal Swamp, who immediately changed his recording name to Wolfmoon and recorded enough material for an album to be issued on his next label after Stone Dogg, Fungus. The album didn't sell and nor did Tyrone's version of the winsome "God Bless"; Swamp recycled the song with Otis Redding's young son Dexter. Tyrone went on to form the Whole Darn Family, whose recording of "Seven Minutes Of Funk" on the Soul International label provided the break beat behind enough contemporary R&B hits to fill a couple CDs of its own.
"God Bless" had been recorded by Arthur Conley (in a version not produced by Swamp) and gave him his last R&B chart hit (#33) in the spring of 1970. Although he was a popular live act, Arthur's uniformly excellent Capricorn 45s stubbornly refused to make any chart impact, despite the fact that they included some of the best Jerry Williams copyrights of the period. As well as the three issued singles - and a fourth, "Stop Knocking", that seems to have been issued in a Conley stronghold, South Africa - several other tracks were recorded to be shelved until they pitched up on a Japanese P-Vine mini album in the late 1980s. "Complication #4" was one of them, and it will be a revelation to anyone who thinks that Arthur Conley was "Sweet Soul Music" and very little else.
Swamp recycled "Stop Knocking" almost immediately. With an elongated and sassy rap outro, it became one of the highlights of a largely ignored album by revered R&B queen Ruth Brown. Those who loved Ruth's Atlantic recordings of the 1940s and 50s were delighted by the album, but with disco about to descend on black American music and the resurgence of "Miss Rhythm" as a star of stage and screen some years away, the LP got lost in a very big shuffle.
Big-voiced Eleanor Grant was someone else whose career was re-routed by disco. Swamp had produced some initial recordings which led to her being signed by Columbia. One of his productions, the prosaically-titled "Tap Dancing For A Blind Man" - was used as the flip of her first 45 for the label, but other sides that were cut around the same time were never issued. Until now, that is. We're happy to give three excellent Eleanor Grant tracks their CD debut, a mere 30 years or so after they were first committed to tape.
The last track in our collection features someone who'd already tasted success earlier in the 1970s as one-third of Chicago soul trio the Independents. Helen Curry had not featured too prominently on their recordings, but she'd recorded as a solo in her native Chicago prior to joining the group and thus was suitably equipped to rise to the challenge when Swamp cut her in 1980 on "Shu-Do-Pa-Poo-Poop (Love Being Your Fool)", a song that had taken Charlie Whitehead to #24 R&B / #106 Pop five summers earlier. Ms. Curry was unable to repeat that success and as far as is known, the record became her vinyl swansong. The Sweetheart label, another Swamp Dogg enterprise, joined its predecessors in mothballs shortly after the record flopped, having survived the issue of only two singles.
Even though Swamp Dogg is now at an age where most of us would be content to put our feet up and relax with a nice glass of wine and a good book, he continues to make his own music and to work with other artists who might now be considered "veterans". While these notes were being written, a press release arrived to say that he's just signed Blue Lovett's West Coast version of the Manhattans (featuring Gerald Alston) and that he's about to release the first new album on the group in some years. Not only that, at the dawn of the 21st century he finally embraced the concept of performing live and is now a frequent visitor to Europe.
If time is just beginning to try to catch up with Swamp, it will never catch up with the music that he has created - whether single-handedly or in collaboration - during his 60-year love/hate relationship with popular music. Somebody needs to take the blame for all the good stuff that's featured on this CD. Why not the Dogg?
--Tony Rounce, 2008
BOBBY & WALLACE - Unusual Love / Move On Drifter
(1966, Garrison GAR 3006, 7" single)
Produced by Jerry Williams Productions. "Unusual Love" written by Jerry Williams and Bobby Dukoff. Side A track time = 2:40.
"I did this when I lived in Miami. Wallace was my barber and Bobby was his buddy. Bobby Dukoff had some hit albums on RCA in the 50's and he owned Dukoff recording studio where I produced these sides." --Swamp Dogg, private email 9/4/07
GARY (U.S.) BONDS - I'm Glad You're Back / Funky Lies
(1968, Botanic B-1002, 7" single)
Both sides produced by Jerry Williams, Jr. Both songs written by Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison. Side A track time = 2:25. Side B track time = 2:10. Both songs available on "Certified Soul" [1982, Rhino Records RNLP 805] and "The Star" [1994, Rajon Entertainment/Success {Australia} 16220].
GARY (U.S.) BONDS - Lover's Question / Bad Things Happen (When You Leave Me)
(1968, unissued single ??)
Both sides produced by Jerry Williams, Jr. "Bad Things Happen (When You Leave Me)" written by Gary Bonds and Jerry Williams, Jr. Recorded July 24, 1968 at Bell Sound, New York NY. An acetate of this single is known to exist.
GARY (U.S.) BONDS - One Broken Heart / I Can't Use You In My Business
(1970, Sue 17, 7" single)
Both sides produced by Jerry Williams, Jr. "One Broken Heart" written by Jerry Williams, Jr., Gary Bonds and T. Milit. "I Can't Use You In My Business" written by Jerry Williams, Jr. and Gary Bonds. Side A track time = 2:44. Both songs available on "Certified Soul" [1982, Rhino Records RNLP 805] and "The Star" [1994, Rajon Entertainment/Success {Australia} 16220].
GARY (U.S.) BONDS - The Star / You Need A Personal Manager
(1969, Atco 45-6689, 7" single)
Both sides produced by Jerry Williams, Jr. Arranged by The Zoo. "The Star" written by Jerry Williams, Jr. and Gary Bonds. "You Need A Personal Manager" written by Jerry Williams, Jr. Side A track time = 2:13. Both songs available on "Certified Soul" [1982, Rhino Records RNLP 805], "The Star" [1981, Charly 200, 10" EP] and "The Star" [1994, Rajon Entertainment/Success {Australia} 16220].
GARY U.S. BONDS - 16 BIG HITS
(1986, Deluxe DLX 7795 [UK]; 1988, Fest FST-4405)
1. Quarter to Three
2. School Is Out
3. New Orleans
4. Dear Lady Twist
5. Twist Twist Senora
6. I'm Glad You're Back
[Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
7. U.S. Stomp
[Jerry Williams, Jr.]
8. Bad Things Happen When You Leave Me
[Gary Bonds and Jerry Williams, Jr.]
9. The Star
[Jerry Williams, Jr. and Gary Bonds]
10. Trying to Get My Baby
[Chuck Fredericks and Jerry Williams, Jr.]
11. High Blood Pressure
[Dorain Burton]
12. Personal Manager
[Jerry Williams, Jr.]
13. One Broken Heart
[Jerry Williams, Jr., Gary Bonds and T. Milit]
14. I Can't Use You in My Business
[Jerry Williams, Jr. and Gary Bonds]
15. Funky Lies
[Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
16. Don't Trust a Woman
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
NOTES:
Tracks 6-16 produced by Jerry Williams, Jr. "U.S. Stomp" is the same instrumental as "The Pelican" which is found on the single by Slick 'n' The Family Brick [Swamp Dogg Presents SD-500/SDP-SFB].
GARY U.S. BONDS - CERTIFIED SOUL
(1982, Rhino RNLP 805)
Side One:
1. Trying To Get To My Baby
[Chuck Fredericks and Jerry Williams, Jr.]
2. I'm Glad Your Back
[Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
3. Personal Manager
[Jerry Williams, Jr.]
4. A Lover's Question
[Brook Benton and Jimmy T. Williams]
5. The Star
[Jerry Williams, Jr. and Gary Bonds]
Side Two:
1. Dr. Highblood [a.k.a. High Blood Pressure]
[Dorain Burton]
2. I Can't Use You In My Business
[Jerry Williams, Jr. and Gary Bonds]
3. Don't Trust A Woman
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
4. Funky Lies
[Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
5. One Broken Heart
[Jerry Williams, Jr., Gary Bonds and T. Milit]
NOTES:
Produced by Jerry Williams, Jr. (Swampdogg). Songs recorded 1968-70. "Most of the songs on this LP were co-written by Gary and Swampdogg and were released on Swamp's own labels."
GARY U.S. BONDS - GREATEST HITS
(1993, Peachtree Music/Classic Sound, Inc. Classic 7537)
1. The Star
[Jerry Williams, Jr. and Gary Bonds]
2. Trying To Get My Baby
[Chuck Fredericks and Jerry Williams, Jr.]
3. High Blood Pressure
[Dorain Burton]
4. Personal Manager
[Jerry Williams, Jr.].
5. One Broken Heart
[Jerry Williams, Jr., Gary Bonds and T. Milit]
6. I Can't Use You In My Business
[Jerry Williams, Jr. and Gary Bonds]
7. Funky Lies
[Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
8. I'm Glad You're Back
[Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
9. Don't Trust A Woman
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
10. Bad Things Happen When You Leave Me
[Gary Bonds and Jerry Williams, Jr.]
NOTES:
All tracks produced by Jerry Williams, Jr.
GARY U.S. BONDS - HIGH BLOOD PRESSURE: ROCK MASTERS
(2005, Carinco AG ???)
1. The Star
[Jerry Williams, Jr. and Gary Bonds]
2. Trying To Get To My Baby
[Chuck Fredericks and Jerry Williams, Jr.]
3. High Blood Pressure
[Dorain Burton]
4. Personal Manager
[Jerry Williams, Jr.].
5. One Broken Heart
[Jerry Williams, Jr., Gary Bonds and T. Milit]
6. I Can't Use You In My Business
[Jerry Williams, Jr. and Gary Bonds]
7. Funky Lies
[Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
8. I'm Glad You're Back
[Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
9. Don't Trust A Woman
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
10. U.S. Stomp
[Jerry Williams, Jr.]
11. Bad Things Happen When You Leave Me
[Gary Bonds and Jerry Williams, Jr.]
12. They're Dancing To My Song
[Jerry Williams, Jr.]
NOTES:
All tracks produced by Jerry Williams, Jr. "U.S. Stomp" is the same instrumental as "The Pelican" which is found on the single by Slick 'n' The Family Brick [Swamp Dogg Presents SD-500/SDP-SFB].
GARY (U.S.) BONDS - THE STAR
(1981, Charly 200, 10" EP)
Side A:
1. The Star
[Jerry Williams, Jr. and Gary Bonds]
2. Trying To Get To My Baby
[Chuck Fredericks and Jerry Williams, Jr.]
Side B:
1. Dr. Highblood
[Dorain Burton]
2. You Need A Personal Manager
[Jerry Williams, Jr.].
NOTES:
Produced by Jerry Williams, Jr. Licensed from Atomic Art Productions.
GARY (U.S.) BONDS - THE STAR
(1994, Rajon Entertainment/Success [Australia] 16220)
1. The Star
[Jerry Williams, Jr. and Gary Bonds]
2. Trying To Get To My Baby
[Chuck Fredericks and Jerry Williams, Jr.]
3. High Blood Pressure
[Dorain Burton]
4. You Need A Personal Manager
[Jerry Williams, Jr.].
5. One Broken Heart
[Jerry Williams, Jr., Gary Bonds and T. Milit]
6. I Can't Use You In My Business
[Jerry Williams, Jr. and Gary Bonds]
7. Funky Lies
[Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
8. I'm Glad You're Back
[Jerry Williams, Jr., Gary Bonds and Larry Harrison]
9. Don't Trust A Woman
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
10. U.S. Stomp
[Jerry Williams, Jr.]
11. Bad Things Happen When You Leave Me
[Gary Bonds and Jerry Williams, Jr.]
12. They're Dancing To My Song
[Jerry Williams, Jr.]
NOTE:
All tracks produced by Jerry Williams, Jr. "U.S. Stomp" is the same instrumental as "The Pelican" which is found on the single by Slick 'n' The Family Brick [Swamp Dogg Presents SD-500/SDP-SFB].
BOTTOM POSSE' - I Feel Like Pulling The Trigger (radio friendly) / Angola Bound (absolutely not radio friendly)
(1994, Shanachie/S.D.E.G. 7050, 12" single)
Produced by Jerry Williams, Jr.
BOTTOM POSSE' - 2 SAGGIN' STRAIGHT FROM HELL
(1993, Ichiban/S.D.E.G. 3101)
1. I Feel Like Pulling The Trigger
2. Angola Bound
3. A Gangster's Story
4. Rattin M.F.'s
5. Graveyard Shift
6. Life Is A Bitch
7. Fuck What You Heard (Just Put Your Hands Up)
8. Get 'Em Up Saggin'
9. Saggin' Straight From Hell
10. Rollin' On Em'
11. I Feel Like Killin' A Saggi'
12. Shout Out To
13. White Man's Justice
NOTE:
Produced by Jerry Williams, Jr.
RUTH BROWN - I Want To Sleep With You / What Color Is Blue
(1990, Ichiban/S.D.E.G. SDE 4023, 7" single)
Both sides produced and written by Swamp Dogg. Originally recorded in 1975. Side A track time = 4:10. Side B track time = 3:55. Both songs are available on "Brown, Black & Beautiful" [1990, Ichiban/S.D.E.G. 4023], "Brown Sugar" [1988, P-Vine {Japan} PCD-906], "Soul Masters: I Want To Sleep With You" [2005, Carinco AG], "Sugar Babe" [1976, President PTLS 1067] and "What Color Is The Blues" [1993, Pilz Entertainment 449303-2].
RUTH BROWN - Sugar Babe / Stop Knocking
(1975, President PT 457, 7" single)
Produced by Jerry Williams, Jr. Both songs written by Jerry Williams, Jr. and available on "Brown, Black & Beautiful" [1990, Ichiban/S.D.E.G. 4023], "Brown Sugar" [1988, P-Vine {Japan} PCD-906], Miss Rhythm & Miss Blues [2007, S.D.E.G. 1961], "Soul Masters: I Want To Sleep With You" [2005, Carinco AG], "Sugar Babe" [1976, President PTLS 1067] and "What Color Is The Blues" [1993, Pilz Entertainment 449303-2]. "Stop Knocking" is also available on Blame It On The Dogg: The Swamp Dogg Anthology 1968-1978 [2008, Ace/Kent CDKEND 293].
RUTH BROWN - Sugar Babe / SAMMY TURNER - Always // THE SHOWMEN - In Paradise / SONNYBOY WILLIAMSON - Don't Start Me To Talking
(19??, Ripete REP-1030, 7" single)
RUTH BROWN - ALL RUTH
(1993, Classic Sound CSI 7532)
1. Sugar Baby
2. Stop Knocking
3. Old Fashioned Good Time Loving You
4. I Love My Man
5. My Ol' Bed
6. Brown Sugar
7. I Want To Sleep With You
8. What Color Is Blue
A repackaging of "Sugar Babe" minus "You're Gonna See A Lot More Of Me Leaving" and "Life Ain't No Piece Of Cake". Reissued as part of Miss Rhythm & Miss Blues (2007, S.D.E.G. 1961).
RUTH BROWN - BROWN, BLACK & BEAUTIFUL
(1990, Ichiban/S.D.E.G. 4023)
1. I Want To Sleep With You
[Jerry Williams, Jr.]
2. What Color Is Blue
[Jerry Williams, Jr.]
3. Brown Sugar
[Jerry Williams, Jr.]
4. Lots More Of Me Leaving (Less Of Me Coming Home)
[Jerry Williams, Jr.]
5. Ain't No Piece Of Cake
[Jerry Williams, Jr.]
6. Stop Knocking
[Jerry Williams, Jr., Vera Cross and Nat Cross]
7. Old Fashioned Goodtime Loving You
[Jerry Williams, Jr.]
8. Sugar Babe
[Jerry Williams, Jr.]
9. My Ol' Bed
[Jerry Williams, Jr.]
10. I Love My Man
[Jerry Williams, Jr.]
NOTE:
A repackaging of "Sugar Babe". Reissued as part of Miss Rhythm & Miss Blues (2007, S.D.E.G. 1961).
RUTH BROWN - BROWN SUGAR
(1988, P-Vine [Japan] PCD-906)
1. Sugar Babe
[Jerry Williams, Jr.]
2. Stop Knocking
[Jerry Williams, Jr., Vera Cross and Nat Cross]
3. Old Fashioned Good Time
[Jerry Williams, Jr.]
4. I Love My Man
[Jerry Williams, Jr.]
5. My Old Bed
[Jerry Williams, Jr.]
6. Brown Sugar
[Jerry Williams, Jr.]
7. I Want To Sleep With You
[Jerry Williams, Jr.]
8. What Color Is Blue?
[Jerry Williams, Jr.]
9. You're Gonna See A Lot More Of Me Leaving
[Jerry Williams, Jr.]
10. Life Ain't No Piece Of Cake
[Jerry Williams, Jr.]
NOTE:
A repackaging of "Sugar Babe". Reissued as part of Miss Rhythm & Miss Blues (2007, S.D.E.G. 1961).
RUTH BROWN - SOUL MASTERS: I WANT TO SLEEP WITH YOU
(2005, Carinco AG ??)
1. I Want To Sleep With You
[Jerry Williams, Jr.]
2. What Color Is Blue?
[Jerry Williams, Jr.]
3. Brown Sugar
[Jerry Williams, Jr.]
4. Lot More Of Me Leaving
[Jerry Williams, Jr.]
5. Ain't No Piece Of Cake
[Jerry Williams, Jr.]
6. Stop Knocking
[Jerry Williams, Jr., Vera Cross and Nat Cross]
7. Ol' Fashioned Good Time Loving You
[Jerry Williams, Jr.]
8. Sugar Babe
[Jerry Williams, Jr.]
9. My Ol' Bed
[Jerry Williams, Jr.]
10. I Love My Man
[Jerry Williams, Jr.]
11. Everday Is A Good Day
[??]
12. I'm Really Smokin'
[??]
13. Christin
[??]
14. Rose Come Home
[??]
15. Over The Mountain
[??]
16. Flow Gently
[??]
17. A Truly Good Song
[??]
NOTE:
A repackaging of "Sugar Babe" plus 7 additional tracks. Partially reissued as part of Miss Rhythm & Miss Blues (2007, S.D.E.G. 1961).
RUTH BROWN - SUGAR BABE
(1976, President PTLS 1067)
Side One:
1. Sugar Babe
[Jerry Williams, Jr.]
2. Stop Knocking
[Jerry Williams, Jr., Vera Cross and Nat Cross]
3. Old Fashioned Good Time
[Jerry Williams, Jr.]
4. I Love My Man
[Jerry Williams, Jr.]
5. My Old Bed
[Jerry Williams, Jr.]
Side Two:
1. Brown Sugar
[Jerry Williams, Jr.]
2. I Want To Sleep With You
[Jerry Williams, Jr.]
3. What Color Is Blue?
[Jerry Williams, Jr.]
4. You're Gonna See A Lot More Of Me Leaving
[Jerry Williams, Jr.]
5. Life Ain't No Piece Of Cake
[Jerry Williams, Jr.]
NOTE:
All songs produced, arranged and written by Jerry Williams, Jr. Recorded at Broadway Sound in Muscle Shoals, Alabama. Reissued as part of Miss Rhythm & Miss Blues (2007, S.D.E.G. 1961).
Comments by Swamp Dogg from The Southern Soul List (Yahoo) 3/14/99:
"...following are some facts about my relationship with Ruth Brown:
1. We're from the same hometown, Portsmouth, Virginia and as a little boy I used to stare at her car going by with the thoughts that this was the prettiest woman I'd ever seen and that her records were the greatest.
2. I finally, formally met Ruth in the early 70's while we were both living in Long Island, N.Y. She was working clubs on the weekends and as a maid during the week.....I was at my third career peak. I went out to see her at Sonny's lounge and asked her to sign with me.
3. We went to Muscle Shoals, cut a great session, leased it to Buk Records in the U.K. who went bellyup right after giving me a 50k bogus cashier's check for the rights. Later my attorney made a deal with President (Eddie Kasner), who exploited it to his fullest throughout Europe.....a gratuitous advance was given but royalties still have not been received.....but that's another story.
4. During the same year, while planning a release strategy for the album, Ruth wanted to go to Los Angeles and renew an old friendship with Redd Foxx. I thought it was a good idea, he sent her a ticket and when I heard from or about her again (..although she was under management and production contracts to my companies) she was playing a maid on a sitcom, and giving interviews about how bad I had fucked her, I was the scum of the earth...... you get the idea.
5. Until today, I have not had a chance to speak to her to find out what the fuck became the problem, but I haven't lost over two nights sleep in reference to it."
Comments by Ruth Brown from her autobiography [Miss Rhythm: The Autobiography of Ruth Brown, Rhythm and Blues Legend, 1996 Donald I. Fine Books/Penguin Books USA, Inc., New York NY, ISBN 1-55611-486-9, pages 165-167]:
"A guy named Jerry Williams, a.k.a. Swamp Dogg, introduced himself one day. He said I had attended high school in Portsmouth with his mama, that he had worked at Atlantic, and that he would like to produce me. His set-up was impressive. He had a beautiful house in Long Island, with limos and town cars always at the door, and he mentioned a wealthy backer putting up the bulk of the money for his "Ruth Brown project.
"I was about to ask to see his line of credit at the bank, eager instead just to grab at whatever straw came along to keep my career alive. The album, with every track written by Jerry, was recorded with only basic rhythm tracks in Muscle Shoals, Alabama. The intention, he assured me, was to sweeten it later when his backer coughed up more loot.
"A few weeks after returning from Muscle Shoals, Jerry phoned me to say that Mr. Money had backed out. Since the tapes he had were unreleasable in their present state, he told me he had no alternative but to abandon the project. Oh, and a check for $600 for my services was in the mail. I was disappointed but philosophical. He had tried his best, after all.
"As soon as that check arrived I rushed across the street to Wheatley Heights, a garage run by a real friendly bunch of guys I'd gotten to know. Owner Joe Caldwell cashed it for me, allowing me to pay off my longest-standing debts. A few days later he called me. The check had bounced. I suggested he re-deposit it, that it must be a mistake. It bounced again.
"Frantic, I tried calling Jerry. A machine took every message, but no reply came. I contacted my brother Leonard and asked him to accompany me to his house in Hempstead. I had often visited when the album was in the planning stages, and I had played with Jerry's children in their front room and broken bread in their kitchen. This time was different. When he saw the two of us on his doorstep Jerry went crazy. He screamed at us like a wild man, threatened to set his German shepherds loose and to shoot us if we as much as set foot in his house. Then he slammed and bolted the door in our faces, leaving us standing there, shaking and powerless, completely taken aback at the savagery of his reception.
"I had been through a lot, but in many ways this was the worst of all. I had to make amends to Joe at the garage, paying him off slowly, and I was mortified to have been humiliated like that in front of Leonard. A year or so later someone called to say the album, Brown Sugar, was in the stores, and exactly as laid down at Muscle Shoals, no strings added, nothing. Having discovered that Jerry Williams had moved from Long Island, I spoke to his stepfather when I visited Virginia soon afterwards, and asked if he knew his whereabouts. To quote him directly: "Don't ask me.""
RUTH BROWN - WHAT COLOR IS THE BLUES
(1993, Pilz Entertainment 449303-2)
1. I Want To Sleep With You
[Jerry Williams, Jr.]
2. What Color Is Blue
[Jerry Williams, Jr.]
3. Brown Sugar
[Jerry Williams, Jr.]
4. Lots More Of Me Leaving (Less Of Me Coming Home)
[Jerry Williams, Jr.]
5. Ain't No Piece Of Cake
[Jerry Williams, Jr.]
6. Stop Knocking
[Jerry Williams, Jr., Vera Cross and Nat Cross]
7. Old Fashioned Goodtime Loving You
[Jerry Williams, Jr.]
8. Sugar Babe
[Jerry Williams, Jr.]
9. My Ol' Bed
[Jerry Williams, Jr.]
10. I Love My Man
[Jerry Williams, Jr.]
NOTES:
A repackaging of "Sugar Babe". All songs produced, arranged and written by Swamp Dogg, and published by Mr. Dogg Music and ATV Music (BMI) except "Stop Knocking" Swamp Dogg, Vera Cross [Swamp Dogg's mother] and Nat Cross [Swamp Dogg's step-father]. Recorded in Muscle Shoals, Alabama. Reissued as part of Miss Rhythm & Miss Blues (2007, S.D.E.G. 1961).
RUTH BROWN / SANDRA PHILLIPS - MISS RHYTHM & MISS BLUES
(2007, S.D.E.G. 1961)
RUTH BROWN
1. Sugar Babe
[Jerry Williams, Jr.]
2. Stop Knocking
[Jerry Williams, Jr., Vera Cross and Nat Cross]
3. Old Fashioned Good Time
[Jerry Williams, Jr.]
4. I Love My Man
[Jerry Williams, Jr.]
5. My Old Bed
[Jerry Williams, Jr.]
6. Brown Sugar
[Jerry Williams, Jr.]
7. I Want To Sleep With You
[Jerry Williams, Jr.]
8. What Color Is Blue?
[Jerry Williams, Jr.]
9. You're Gonna See A Lot More Of Me Leaving
[Jerry Williams, Jr.]
10. Life Ain't No Piece Of Cake
[Jerry Williams, Jr.]
SANDRA PHILLIPS
11. Rescue Song
[Jerry Williams, Jr.]
12. I've Been Down So Long
[Jerry Williams, Jr. and Gary Bonds]
13. My Man And Me
[Jerry Williams, Jr.]
14. To The Other Woman (I'm The Other Woman)
[Jerry Williams, Jr. and Gary Bonds]
15. Now That I'm Gone (When Are You Leaving)
[Jerry Williams, Jr. and Charles Whitehead]
16. Someday We'll Be Together
[Beaver, Bristol and Johnson]
17. After All I Am Your Wife
[Jerry Williams, Jr. and Gary Bonds]
18. Ghost Of Myself
[Jerry Williams, Jr.]
19. If You Get Him (He Was Never Mine)
[Jerry Williams, Jr.]
20. She Didn't Know (She Kept On Talking)
[Jerry Williams, Jr. and Gary Bonds]
21. Please Don't Send Him Back To Me
[Jerry Williams, Jr. and Gary Bonds]
22. Some Mother's Son
[Jerry Williams, Jr. and Charles Whitehead]
NOTES:
The initial pressing has the word "rhythm" misspelled on the insert back and spine.
JAY DEE BRYANT & THE KIDDIE-OS - I Want To Know (Do You Want Me) / Don't Stop Now
(1961, Alfa AL-201, 7" single)
Both sides produced by Matt Parsons and Jerry Williams, Jr., who was not credited on the label. "I Want To Know (Do You Want Me)" written by Jay Dee Bryant and Matt "Nosrat" Parsons, track time = 2:03. "Don't Stop Now" written by ?? Houston, Jerry Williams, Jr. and Matt "Nosrat" Parsons, track time = 2:05. Alfa Records, subsidiary of Gerald Records, Inc. Both songs published by Rose City Music Pub. Corp. (BMI).
"I co-produced both sides with Matt Parsons but I did not get any label credit or production money. Those things were mostly unheard of at that time." --Swamp Dogg, private email 11/8/07
JAY DEE BRYANT - Standing Ovation For Love / I Want To Thank You Baby
(1974, Island IS008, 7" single; 1976, Island WIP 6273, 7" single)
Produced and arranged by Jerry Williams, Jr. "Standing Ovation For Love" written by Jerry Williams, Jr., Gary Bonds and Charles Whitehead. "I Want To Thank You Baby" written by Jerry Williams, Jr. and Jay Dee Bryant. Side B track time = 3:10.
SOLOMON BURKE - Please Don't You Say Goodbye To Me [mono] / Please Don't You Say Goodbye To Me [stereo]
(1978, Amherst 736, DJ/promotional, 7" single)
Produced by Swamp Dogg. Written by Jerry Williams, Jr.
SOLOMON BURKE - Please Don't You Say Goodbye To Me / See That Girl
(1978, Amherst AM-736, 7" single)
Both sides produced by Jerry Williams, Jr. (Swamp Dogg) and King Errisson. Both songs written by Jerry Williams, Jr. Side A track time = 4:12. Side B track time = 4:25. Recorded at Quad Teck Studio. Engineer: Pat Burnette. From the Amherst album "Please Don't You Say Goodbye To Me" AMX-1018.
"I put his first product out on Amherst. The first record hit the chart, then Amherst shut the label down. I had Solomon under contract, but somehow Solomon cut another album for Amherst. Nobody told me shit about it. I didn't know it until it came out on Infinity! They had taken a couple of my songs and put it on the Infinity set. But they re-mixed them." --Swamp Dogg, from "A Dogg's Tale", 1998/2001 interview with Ray Ellis published in Juke Blues #49.
SOLOMON BURKE - Sidewalks, Fences And Walls [short version] / Sidewalks, Fences And Walls [long version]
(1979, Infinity INF 50,046, 7" single, DJ/promotional)
Produced by Jerry Williams, Jr. (Swamp Dogg) and King Errisson of Atomic Arts Productions Inc. for Amherst Records. Written by Jerry Williams, Jr. Side A contains the additional label number IN100,281E; track time = 3:39; mixed with higher volume levels than side B. Side B contains the additional label number IN100,281; track time = 5:15.
SOLOMON BURKE - Sidewalks, Fences And Walls / Boo Hoo Hoo (Cra-Cra-Craya)
(1979, Infinity INF 50 046, 7" single)
Produced by Swamp Dogg. "Sidewalks, Fences And Walls" written by Jerry Williams, Jr. and Maurice Gimbel. "Boo Hoo Hoo (Cra-Cra-Craya)" written by Jerry Williams, Jr. Side A contains the additional label number IN100,281E; track time = 3:39. Side B track time = 4:17. Both songs available on "From The Heart" [1981, Charly {UK} 1024], "Hold On" [2003, Fruit Tree 828], "The Incredible Solomon Burke At His Best!" [2002, Amherst CD-AMH 5509-2], "Let Your Love Flow" [1993, Shanachie 9202], "Sidewalks, Fences And Walls" [1979, Infinity INF 9024] and "Soul Lucky" [2005, Music Avenue Records 250105].
SOLOMON BURKE - FROM THE HEART
(1981, Charly 1024)
1. Boo Hoo
[Jerry Williams, Jr.]
2. Hold On I'm Coming
[Isaac Hayes and David Porter]
3. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
4. Sidewalks, Fences And Walls
[Jerry Williams, Jr. and Maurice Gimbel]
5. Let Your Love Flow
[Jerry Williams, Jr.]
6. The More
[Jerry Williams, Jr.]
7. Lucky
[Jerry Williams, Jr.]
8. Please Come Back Home To Me
[Jerry Williams, Jr.]
NOTES:
A repackaging of "Sidewalks, Fences And Walls" minus the remixed Amherst 736 single tracks ("Please Don't You Say Goodbye To Me" and "See That Girl").
SOLOMON BURKE - HOLD ON
(2003, Fruit Tree 828)
1. Boo Hoo
[Jerry Williams, Jr.]
2. Hold On I'm Coming
[Isaac Hayes and David Porter]
3. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
4. Sidewalks, Fences And Walls
[Jerry Williams, Jr. and Maurice Gimbel]
5. Let Your Love Flow
[Jerry Williams, Jr.]
6. The More
[Jerry Williams, Jr.]
7. Lucky
[Jerry Williams, Jr.]
8. Please Come Back Home To Me
[Jerry Williams, Jr.]
NOTES:
A repackaging of "Sidewalks, Fences And Walls" minus the remixed Amherst 736 single tracks ("Please Don't You Say Goodbye To Me" and "See That Girl").
SOLOMON BURKE - HOLD ON! - HE'S COMING
(2007, Dressed To Kill METRO479)
1. Boo Hoo
[Jerry Williams, Jr.]
2. Hold On I'm Coming
[Isaac Hayes and David Porter]
3. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
4. Sidewalks, Fences And Walls
[Jerry Williams, Jr. and Maurice Gimbel]
5. Let Your Love Flow
[Jerry Williams, Jr.]
6. The More
[Jerry Williams, Jr.]
7. Lucky
[Jerry Williams, Jr.]
8. Please Come Back Home To Me
[Jerry Williams, Jr.]
NOTES:
A repackaging of "Sidewalks, Fences And Walls" minus the remixed Amherst 736 single tracks ("Please Don't You Say Goodbye To Me" and "See That Girl").
SOLOMON BURKE - THE INCREDIBLE SOLOMON BURKE AT HIS BEST!
(2002, Amherst CD-AMH 5509-2)
1. Please Don't Say Goodbye To Me
[Jerry Williams, Jr.]
2. See That Girl
[Jerry Williams, Jr.]
3. Yes, I Love You
[??]
4. Heavenly
[??]
5. Does Life Have A Meaning
[??]
6. Please Come Back Home To Me
[Jerry Williams, Jr.]
7. Boo Hoo Hoo (Cra-Cra-Craya)
[Jerry Williams, Jr.]
8. The More
[Jerry Williams, Jr.]
9. Hold On I'm Coming
[Isaac Hayes and David Porter]
10. Let Your Love Flow
[Jerry Williams, Jr.]
11. Sidewalks, Fences And Walls
[Jerry Williams, Jr. and Maurice Gimbel]
12. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
13. Lucky
[Jerry Williams, Jr.]
NOTE:
A repackaging of "Sidewalks, Fences And Walls" plus 3 additional tracks.
SOLOMON BURKE - THE KING OF SOUL
(1980, Charly 1024 [vinyl]; 1995, Charly 8014 [CD])
1. Boo Hoo Hoo (Cra-Cra-Craya)
[Jerry Williams, Jr.]
2. Hold On! I'm Comin'
[Isaac Hayes and David Porter]
3. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
4. Sidewalks, Fences and Walls
[Jerry Williams, Jr. and Maurice Gimbel]
5. Let Your Love Flow
[Jerry Williams, Jr.]
6. The More
[Jerry Williams, Jr.]
7. Lucky
[Jerry Williams, Jr.]
8. Please Come Back Home To Me
[Jerry Williams, Jr.]
NOTE:
A repackaging of "Sidewalks, Fences And Walls".
SOLOMAN BURKE - LET YOUR LOVE FLOW
(1993, Shanachie 9202)
1. Boo Hoo Hoo (Cra-Cra-Craya)
[Jerry Williams, Jr.]
2. Sidewalks, Fences and Walls
[Jerry Williams, Jr. and Maurice Gimbel]
3. Lucky
[Jerry Williams, Jr.]
4. The More
[Jerry Williams, Jr.]
5. Please Come Back Home To Me
[Jerry Williams, Jr.]
6. Let Your Love Flow
[Jerry Williams, Jr.]
7. See That Girl
[Jerry Williams, Jr.]
8. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
9. Please Don't You Say Goodbye To Me
[Jerry Williams, Jr.]
10. Hold On! I'm Comin'
[Isaac Hayes and David Porter]
NOTE:
A repackaging of "Sidewalks, Fences And Walls". Solomon is misspelled Soloman.
SOLOMON BURKE - SIDEWALKS, FENCES AND WALLS
(1979, Infinity INF 9024)
1. Please Don't You Say Goodbye To Me
[Jerry Williams, Jr.]
2. Hold On! I'm Comin'
[Isaac Hayes and David Porter]
3. Sidewalks Fences And Walls
[Jerry Williams, Jr. and Maurice Gimbel]
4. Boo Hoo Hoo (Cra-Cra-Craya)
[Jerry Williams, Jr.]
5. Lucky
[Jerry Williams, Jr.]
6. Let Your Love Flow
[Jerry Williams, Jr.]
7. The More
[Jerry Williams, Jr.]
8. See That Girl
[Jerry Williams, Jr.]
9. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
10. Please Come Back Home To Me
[Jerry Williams, Jr.]
NOTES:
Swamp Dogg produced the record, provided rhythm arrangements, plays piano and sings background vocals.
"I put his first product out on Amherst. The first record hit the chart, then Amherst shut the label down. I had Solomon under contract, but somehow Solomon cut another album for Amherst. Nobody told me shit about it. I didn't know it until it came out on Infinity! They had taken a couple of my songs and put it on the Infinity set. But they re-mixed them." --Swamp Dogg, from "A Dogg's Tale", 1998/2001 interview with Ray Ellis published in Juke Blues #49.
SOLOMON BURKE - SOUL LUCKY
(2005, Music Avenue 250105)
1. Boo Hoo (Cry Over You)
[Jerry Williams, Jr.]
2. Lucky
[Jerry Williams, Jr.]
3. Hold on I'm Coming
[Isaac Hayes and David Porter]
4. Please Come Back To Me
[Jerry Williams, Jr.]
5. The More
[Jerry Williams, Jr.]
6. Sidewalks, Fences and Walls
[Jerry Williams, Jr. and Maurice Gimbel]
7. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
8. Let Your Love Flow
[Jerry Williams, Jr.]
9. Music To Make Love By
[??]
10. Let Me Wrap My Arms Around You
[??]
11. Everlasting Love
[??]
NOTE:
A repackaging of "Sidewalks, Fences And Walls" minus the remixed Amherst 736 single tracks ("Please Don't You Say Goodbye To Me" and "See That Girl") plus 3 additional tracks.
SOLOMON BURKE - SOUL MAN
(2002, Fruit Tree ??)
1. Boo Hoo Hoo (Cra-Cra-Craya)
[Jerry Williams, Jr.]
2. Hold On! I'm Comin'
[Isaac Hayes and David Porter]
3. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
4. Sidewalks, Fences and Walls
[Jerry Williams, Jr. and Maurice Gimbel]
5. Let Your Love Flow
[Jerry Williams, Jr.]
6. The More
[Jerry Williams, Jr.]
7. Lucky
[Jerry Williams, Jr.]
8. Please Come Back Home To Me
[Jerry Williams, Jr.]
NOTE:
A repackaging of "Sidewalks, Fences And Walls" minus the remixed Amherst 736 single tracks ("Please Don't You Say Goodbye To Me" and "See That Girl") plus 3 additional tracks.
BYTTEN MC'S FEATURING SCIENTIFIC LOVER, ICE GENERAL & MC READY - I Know You Want Me, I'm Your Best Bet (Bonus), I Know You Want Me (Instr-Ice Cold Mix) / Fresh Jeans
(1987, D&D Enterprises DD 5245-12, 12" maxi-single)
Produced by Swamp Dogg and Robert Mercer. All songs written by Jerry Williams, Jr., J. James, B. Moore and J. Lewis. Track times: I Know You Want Me = 5:33; I'm Your Best Bet (Bonus) = 1:42; I Know You Want Me (Instr-Ice Cold Mix) =3:37; Fresh Jeans = ???.
C & THE SHELLS - Good Morning Starshine / On Your Way Home
(1969, Cotillion 44033, 7" single)
Both sides produced by Jerry Williams, Jr., arranged by Garry Sherman. "Good Morning Starshine" written by J. Rado, G. Ragni and G. MacDermot; from the Broadway musical score "Hair". "On Your Way Home" written by Jerry Williams, Jr. Side A track time = 3:12. Side B track time = 3:41.
C & THE SHELLS - I Don't Need You No More / Warm And Tender Love
(1969, Cotillion 45-44041, 7" single)
Both sides produced by Jerry Williams, Jr., arranged by Garry Sherman. "I Don't Need You No More" written by Jerry Williams, Jr., C. White [probably Charles Whitehead] and Larry Harrison. "Warm And Tender Love" written by B. Robinson. Side A has the additional label number CO-16070 SP. Side B has the additional label number CO-16737 SP. Side A track time = 2:47. Side B track time = 2:39.
C & THE SHELLS - I've Fallen In Love / You Are The Circus
(1969, Cotillion 44024, 7" single)
Both sides produced by Jerry Williams, Jr., arranged by Garry Sherman. "I've Fallen In Love" written by Yvonne Williams and Jerry Williams, Jr. "You Are The Circus" written by Jerry Williams, Jr. Side A contains the additional label number CO-16068-PL. Side B contains the additional label number CO-16069-PL and is noted as "New Version". Side A track time = 3:02. Side B track time = 3:03. "You Are The Circus" also available on "Beg, Scream & Shout!: The Big 'Ol Box Of '60s Soul" (1997, Rhino R2 72815) and "Atlantic Soul (1959-1975)" (2007, Rhino R2 7739).
Comments by Swamp Dogg on The Southern Soul List (Yahoo) 2/4/02: "C & Shells were formerly the Sandpebbles ("Never My Love", etc.) and I produced an album's worth of material but it was released as singles only with about five cuts remaining unexposed to the world. "You Are The Circus" charted and sold 50k the first week out based on the fact that I again pushed the envelope and wrote the channel release to say "you don't give a damn about me at all". This language was unheard of and taboo for radio. King Curtis and Henry Allen ordered me to change the line to "You don't seem to care about me at all". As a result, the record died...the impact was gone."
KENNY CARTER - I Ain't Nobody / What's So Wrong With You Loving Me
(@1969, unreleased)
Both sides produced by Jerry Williams, Jr. "I Ain't Nobody" written by Jerry Williams, Jr. "What's So Wrong With You Loving Me" written by Jerry Williams, Jr. and Charles Whitehead. "What's So Wrong With You Loving Me" was released on the compilation Blame It On The Dogg: The Swamp Dogg Anthology 1968-1978 (2008, Ace/Kent CDKEND 293). "I Ain't Nobody" remains unreleased, though Swamp Dogg was considering selling the acetate to this single in March 2008 on Craig's List. Both songs recorded circa 1969 at Atlantic Studios.
THE COMMODORES - Keep On Dancing / Rise Up
(1969, Atlantic 2633, 7" single; Atlantic [UK] 584273, 7" single)
"Keep On Dancing" produced by Jerry Williams, Jr.
THE COMMODORES - Keep On Dancing / T.S.U. TORONADOES - Getting The Corners
(1969, Atlantic 45-2502, 7" single)
"Keep On Dancing" produced by Jerry Williams, Jr. Also reissued as part of the limited edition "Funk 45's Box Set" (2005, Atlantic Records [UK]). Both singles (remastered) available on "What It Is!: Funky Soul and Rare Grooves" (2006, Rhino 74167, 25 vinyl 45s boxset and 4-CD boxset). "Keep On Dancing" also available on 101 Blues & Soul Classics (1986, S.D.E.G. ??).
THE COMMODORES - EARLY GOLD AND NEW SPINS
(2000, Goldenlane CLP 0847-2)
Includes songs produced by Jerry Williams, Jr. at Atlantic Records' New York Groove Sound Studio on February 4, 1969: "Cowboys To Girls", "Sing A Simple Song", "Who's Making Love", and "Keep On Dancing". Also includes new remixes (by Julian Beeston) of two of the four Jerry Williams, Jr.-produced songs: "Keep On Dancing (Funk It Mix)" and "Sing A Simple Song (Style Mix)".
THE COMMODORES - THE GREAT COMMODORES
(1996, Intermusic/Movieplay GLD 63027)
Includes songs produced by Jerry Williams, Jr. at Atlantic Records' New York Groove Sound Studio on February 4, 1969: "Cowboys To Girls", "Sing A Simple Song", "Who's Making Love", and "Keep On Dancing".
THE COMMODORES - GREATEST HITS
(2004, Classic World Productions, Inc. CWP 1008)
Includes songs produced by Jerry Williams, Jr. at Atlantic Records' New York Groove Sound Studio on February 4, 1969: "Cowboys To Girls", "Sing A Simple Song", "Who's Making Love", and "Keep On Dancing".
THE COMMODORES - LIVE!
(1994, Columbia River Entertainment Group CRG 100013)
Includes songs produced by Jerry Williams, Jr. at Atlantic Records' New York Groove Sound Studio on February 4, 1969: "Cowboys To Girls", "Sing A Simple Song", "Who's Making Love", and "Keep On Dancing".
THE COMMODORES WITH LIONEL RICHIE - RISE UP
(1984/1998/2002, MagMid/TKO Magnum Music MMCD 017)
Includes songs produced by Jerry Williams, Jr. at Atlantic Records' New York Groove Sound Studio on February 4, 1969: "Cowboys To Girls", "Sing A Simple Song", "Who's Making Love", and "Keep On Dancing".
Several Commodores CDs with this title have been released, some with the artist variation "Featuring Lionel Richie", including: 1993, Pilz ??; 1993, Selected Sound Carrier ??; 1994, Music Reflexion ??; 2002, Blue Moon ??; 2002, Hallmark ??; ????, CSI Records ??.
THE COMMODORES WITH LIONEL RICHIE - RISE UP
(1996, Magnum America MACD 027)
Includes songs produced by Jerry Williams, Jr. at Atlantic Records' New York Groove Sound Studio on February 4, 1969: "Cowboys To Girls", "Sing A Simple Song", "Who's Making Love", and "Keep On Dancing".
ARTHUR CONLEY - It's So Nice (When It's Somebody Else's Wife) / Bless You
(1974, Capricorn CPR 0047, 7" single)
Produced and arranged by Jerry Williams, Jr. "It's So Nice (When It's Somebody Else's Wife)" written by Jerry Williams, Jr. and Matt Parsons. "Bless You" written by Jerry Williams, Jr. Both songs available on "One More Sweet Soul Music" [1988, P-Vine {Japan} PJP-122].
ARTHUR CONLEY - Rita / More Sweet Soul Music
(1972, Capricorn 0006, 7" single; 1972, Capricorn K 17506 [UK], 7" single; 1972, Warner Bros. WBS 86 [South Africa], 7" single)
Produced and arranged by Jerry Williams Jr. "Rita" written by Jerry Williams, Jr. and Arthur Conley. "More Sweet Soul Music" written by Jerry Williams, Jr. and Charles Whitehead. Side B track time = 2:55.
Note: There is also a 45 single with the label number Capricorn 0006 being The Allman Brothers Band - Pegasus / Can't Take It With You / Blind Love.
ARTHUR CONLEY - Walking On Eggs / More Sweet Soul Music
(1972, Capricorn CPR 0001, 7" single)
Both sides produced and arranged by Jerry Williams, Jr. "Walking On Eggs" written by Jerry Williams, Jr., Charles Whitehead and Don Hollinger. "More Sweet Soul Music" written by Jerry Williams, Jr. and Charles Whitehead. Side A track time = 2:44. Side B track time = 2:55.
ARTHUR CONLEY - ONE MORE SWEET SOUL MUSIC
(1988, P-Vine PJP-122 [Japan], 7" EP)
Side A:
1. Do We Need A Change
[Jerry Williams, Jr. and Robert Carswell]
2. Complication #4
[Jerry Williams, Jr.]
3. Do It Shake Your Booty
[Jerry Williams, Jr.]
4. I Want Your Love
[Jerry Williams, Jr.]
Side B:
1. God Bless
[Jerry Williams, Jr.]
2. Bless You
[Jerry Williams, Jr.]
3. Somebody Else's Wife
[Jerry Williams, Jr.]
4. Stop Knocking
[Jerry Williams, Jr., Vera Cross and Nat Cross]
NOTES:
Produced and arranged by Jerry Williams, Jr. Engineer: Jim Hawkins (Capricorn Studio, Macon, Ga). Piano: Swamp Dogg. Guitar: Jessie (Pete) Carr. Bass: Robert Popwell. Drums: Johnny Sandlin. Organ: Paul Hornsby. Originally recorded in 1973. According to Tony Rounce in his liner notes to "Blame It On The Dogg: The Swamp Dogg Anthology 1968-1978" [2008, Ace/Kent CDKEND 293], the song "God Bless" was not produced by Swamp Dogg.
Reissued as part of Three Sweet Soul Music Kings (2007, S.D.E.G. SDEG 1967). "Stop Knocking" also available on "Peaches: Pick Of The Crop" (1974, Capricorn PRO 588).
ARTHUR CONLEY, BOBBY MCCLURE & EDDIE FLOYD - THREE SWEET SOUL MUSIC KINGS
(2007, S.D.E.G. SDEG 1967)
ARTHUR CONLEY
1. Complication #4 (3:30)
[Jerry Williams, Jr.]
2. Do We Need A Change (2:55)
[Jerry Williams, Jr. and Robert Carswell]
3. I Want Your Love (3:08)
[Jerry Williams, Jr.]
4. Stop Knocking (2:43)
[Jerry Williams, Jr., Vera Cross and Nat Cross]
5. Bless You (3:17)
[Jerry Williams, Jr.]
6. It's So Nice When It's Somebody Else's Wife (2:42)
[Jerry Williams, Jr. and Matt Parsons]
7. Do It Shake Your Booty (2:57)
[Jerry Williams, Jr.]
BOBBY MCCLURE
8. Cherry Pie (3:56)
[M. Phillips and J. Josea]
9. When The Flavors Gone (3:45)
[Jerry Williams, Jr.]
10. I Can't Get Enough (5:05)
[Jerry Williams, Jr.]
11. Do Do Do Doop (Please Come Back) (4:20)
[Jerry Williams, Jr.]
12. I Need A Job (4:40)
[Jerry Williams, Jr.]
13. Please Don't Put Me Out Of The Band (4:14)
[Jerry Williams, Jr.]
14. I Write Another Love Song (3:47)
[Jerry Williams, Jr.]
15. I Brought It Back (3:34)
[Jerry Williams, Jr.]
16. Younger Man Blues (6:33)
[Jerry Williams, Jr.]
17. Leaving Him Loving Me (4:07)
[Jerry Williams, Jr.]
EDDIE FLOYD
18. I've Got A Reason To Smile (3:41)
[Eddie Floyd]
19. Knock On Wood (3:21)
[Eddie Floyd and Steve Cropper]
20. Got To Make A Comeback (2:31)
[Eddie Floyd and J. Shamwell]
NOTES:
The Arthur Conley tracks are from One More Sweet Soul Music (1988, P-Vine PJP-122 [Japan], 7" EP). According to Tony Rounce in his liner notes to "Blame It On The Dogg: The Swamp Dogg Anthology 1968-1978" [2008, Ace/Kent CDKEND 293], the song "God Bless" was not produced by Swamp Dogg, thus its omission here. The Bobby McClure tracks are from The Cherry LP (1989, Ichiban/S.D.E.G. SDE 4008). The Eddie Floyd tracks are re-recordings produced by Marshall Sehorn in collaboration with Swamp Dogg. The insert includes two articles: "Arthur Conley and The Original Sixties R&B and Soul Show" by Ray Ellis; and "Memphis Soul Revue", an incomplete article. First pressings of this CD contain an error in the insert: on the track listing page track 18 has an incomplete track time (listed as 3:4 - it should be 3:41).
Arthur Conley tracks credits - Produced and arranged by Jerry "Swamp Dogg" Williams. Engineer: Jim Hawkins (Capricorn Studio, Macon, Ga). Piano: Swamp Dogg. Guitar: Jessie (Pete) Carr. Bass: Robert Popwell. Drums: Johnny Sandlin. Organ: Paul Hornsby. Originally recorded in 1973.
Bobby McClure track credits - Produced and arranged by Jerry "Swamp Dogg" Williams. Executive producer: Dr. Beverly Green Williams. Album co-ordinator: Yvonne Williams. Engineers: Jeff Frickman (Clearlake Studio, N. Hollywood, Ca), Bill Dashell (Leon Haywood's Sunnyside Studio), John Carter (Track, N. Hollywood, Ca). Photographer: Michael Gaylord. Keyboards: Swamp Dogg. Acoustic piano solo on "I Write Another Love Song": William "Smitty" Smith. Guitar: Tony Mathews. Guitar: Earl Alexander. Bass: Ray Cooksey. Drums: Ed Mosley. Tenor sax: John Stephens. Trombone: Mike Daigeau. Trumpet: Ron Barrows. Alto and tenor sax solos: Ricky Woodard. Percussion: Victor Orlando. Timbales: Jeff Frickman. Background vocals: Swamp Dogg, Bobby McClure and Ray Cooksey. Original liner notes - First love, loss of virginity, turning twenty-one, high school graduation, The Cherry Lp; some of the things you'll always remember. Bobby McClure has been credited with two gold singles, "Don't Mess Up A Good Thing" on Chess Records with Fontella Bass and "Peak Of Love"; but never an album. After millions of record sales he's offering you his cherry.......LP. It's everything that an adult could hope for musically....and the greatest thing is that this cherry is not a one time occurrence. You can have Bobby's cherry.....................LP everytime you get the urge...as he says in "Younger Man Blues", four, five, six times everyday.
Eddie Floyd track credits - Produced by Marshall Sehorn. Arranger: Wardell Quezerque. Baritone sax: Carl Blouin. Trombone: Jim Duggan. Trumpet: Clyde Kerr, Jr. and John Longo. Keyboard: Sam Henry. Bass: David Barnard. Guitar: Teddy Royal and Steve Hughes.
NAT CROSS - Theme From A Yet To Be Filmed Movie / Boogie Truck
(1974, Island IS 013, 7" single)
Both sides produced by Jerry Williams, Jr. (The Swamp Dogg), arranged by Richard Rome, and engineered by David Johnson. Both songs written by Jerry Williams, Jr. and Nat Cross. Side A track time = 2:33. Side B track time = 3:14. Nat Cross is Swamp Dogg's step-father.
HELEN CURRY - (Shu-Doo-Pa-Poo-Poop) Love Being Your Fool / Such A Thrill I Feel (When You Hold My Hand)
(1980, Sweetheart 28, 7" single)
Both sides produced and arranged by Jerry Williams, Jr. (The Swamp Dogg) & King Errisson for Atomic Art Productions, Inc. by arrangement with WCB. "(Shu-Doo-Pa-Poo-Poop) Love Being Your Fool" written by Jerry Williams, Jr. and Charles Whitehead; track time = 2:55. "Such A Thrill I Feel (When You Hold My Hand)" written by Jerry Williams, Jr. and Michelle Williams; track time = 3:17.
THE DETROIT MAGNIFICENTS - Is This A Woman's Way? / Where Can I Find Love
(2006, Grapevine 2000 G2K 45-161, 7" single)
A previously unissued single circa 1973. Both sides produced and written by Jerry Williams, Jr. The group was comprised of Gary U.S. Bonds, Swamp Dogg, Kenny Carter, Charlie Whitehead, Johnny Northern and J.R. Bailey.
DIFOSCO - The I Love You Song [stereo] / The I Love You Song [mono]
(1978, 20th Century-Fox 2382, 7" single, promotional copy)
Produced and arranged by Jerry Williams, Jr. (Swamp Dogg) and King Errisson for Atomic Art Prod. Inc. and Nassau Music, Inc. through arrangement with Midget Prod., Inc. Both songs written by Jerry Williams, Jr. Track time = 3:37.
DIFOSCO - The I Love You Song / Ship Of Love
(1978, 20th Century-Fox TC-2382, 7" single)
Both sides produced and arranged by Jerry Williams, Jr. (Swamp Dogg) and King Errisson for Atomic Art Prod. Inc. and Nassau Music, Inc. through arrangement with Midget Prod., Inc. "The I Love You Song" written by Jerry Williams, Jr.; track time = 3:37. "Ship Of Love" written by Jerry Williams, Jr. and Yvonne Williams; track time =4:34.
DIFOSCO - Now That We Done Partyd' All Night (Lets Make Love) [Disco Mix] / The I Love You Song [Disco Mix]
(1980, Atomic Art DM 911, 12" single)
Both sides produced by Jerry Williams, Jr. (The Swamp Dogg) and King Errisson for Euro Mr. Dogg, Inc. Both sides written by Jerry Williams, Jr. Side A remix engineer: Paolo Bocchi. Side B remix engineer: Peter Hirsh. Side A track time = 6:20. Side B track time = 7:05. "Now That We Done Partyd' All Night (Lets Make Love)" uses the same backing track as Charlie Whitehead's "I Was Dancing When I Fell In Love" (1976, Atomic Art 1942, 7" single; 1977, Contempo CS 2120, 7" single; Whitehead At Yellowstone, 1977, Wizard W1305). Also, it sounds as though Michelle Williams is one of the background singers on the song.
THE DONNELS - Here Comes The Bride / Johnny Oh
(1964, Alpha 001, 7" single)
Both sides arranged and conducted by Jerry Williams. Both sides a Don-El Production. "Here Comes The Bride" written by Jerry Williams, Jr. and Bill Massey. "Johnny Oh" written by Jerry Williams, Jr. Side A contains the additional label number A 45-6422-6 H; track time = 2:40. Side B contains the additional label number A 45-6422-6 J; track time = 2:00. "Here Comes The Bride" also available on Girl Group Sound Vol. 7 [2005, Shaboom SB 107]. "Johnny Oh" also available on Doo-Wops Of Guys Names Volume #2 [200?, Doo-Wop DWR 021].
THE DRIFTERS - Your Best Friend / Steal Away
(1969, Atlantic 45-2624, 7" single)
Both sides produced by Jerry Williams, Jr. and arranged by Garry Sherman. "Your Best Friend" written by Jerry Williams, Jr. and Larry Harrison. "Steal Away" written by Jimmy Hughes. Side A track time = 2:31. Side B track time = 2:42. Side A contains the additional label number A-16507 SP. Side B contains the additional label number A-16508 SP.
DORIS DUKE - Congratulations Baby / Divorce Decree
(1971, RRG Records 44004, 7" single)
Both songs produced and arranged by Jerry Williams, Jr. "Congratulations Baby" written by Jerry Williams, Jr., Gary Bonds and Maurice Gimbel. "Divorce Decree" written by Jerry Williams, Jr. and Maurice Gimbel. Side A track time = 2:00. Both songs available on "Deep Soul Queens" [1991, Charly 302], "I'm A Loser" [1969, Canyon 7704; 1971, Mojo {UK} 2916001; 1981, Charly {UK} 1027; 1988, P-Vine {Japan} PCD-902] and "I'm A Loser: The Swamp Dogg Sessions...And More" [2005, Ace/Kent CDKEND 242].
DORIS DUKE - The Feeling Is Right / He's Gone
(1970, Canyon #54, 7" single)
Both songs produced and arranged by Jerry Williams, Jr. "The Feeling Is Right" written by Mickey Buckins and George Jackson. "He's Gone" written by Jerry Williams, Jr. and Larry Harrison. Side A track time = 2:44. Both songs available on "Deep Soul Queens" [1991, Charly 302], "I'm A Loser" [1969, Canyon 7704; 1971, Mojo {UK} 2916001; 1981, Charly {UK} 1027; 1988, P-Vine {Japan} PCD-902] and "I'm A Loser: The Swamp Dogg Sessions...And More" [2005, Ace/Kent CDKEND 242].
DORIS DUKE - Feet Start Walking / How Was I To Know You Cared
(1970, Canyon #35, 7" single)
Both songs produced and arranged by Jerry Williams, Jr. "Feet Start Walking" written by Jerry Williams, Jr. and Gary Bonds. "How Was I To Know You Cared" written by Jerry Williams, Jr. and Gary Bonds. Side A track time = 2:28. Side B track time = 2:38. Both songs available on "Deep Soul Queens" [1991, Charly 302], "I'm A Loser" [1969, Canyon 7704; 1971, Mojo {UK} 2916001; 1981, Charly {UK} 1027; 1988, P-Vine {Japan} PCD-902] and "I'm A Loser: The Swamp Dogg Sessions...And More" [2005, Ace/Kent CDKEND 242].
DORIS DUKE - I Don't Know How To Fall Out Of Love With You / He's Everything I Need
(1972, Mankind MK 12013, 7" single)
Both songs produced and arranged by Jerry Williams, Jr. "I Don't Know How To Fall Out Of Love With You" written by Jimmy Roach. "He's Everything I Need" written by Bob Tubert and Demetriss Tapp. Side A track time = 2:54. Both songs available on "A Legend In Her Own Time" [1971, Mankind MLP 200; Mojo {UK} 2916006] and "I'm A Loser: The Swamp Dogg Sessions...And More" [2005, Ace/Kent CDKEND 242].
DORIS DUKE - To The Other Woman (I'm The Other Woman) / I Don't Care Anymore
(1970, Canyon #28, 7" single)
Both songs produced and arranged by Jerry Williams, Jr. "To The Other Woman (I'm The Other Woman)" written by Jerry Williams, Jr. and Gary Bonds. "I Don't Care Anymore" written by Jerry Williams, Jr., Gary Bonds and Maurice Gimbel. Side A track time = 2:55. Both songs available on "Deep Soul Queens" [1991, Charly 302], "I'm A Loser" [1969, Canyon 7704; 1971, Mojo {UK} 2916001; 1981, Charly {UK} 1027; 1988, P-Vine {Japan} PCD-902] and "I'm A Loser: The Swamp Dogg Sessions...And More" [2005, Ace/Kent CDKEND 242]. An advertisement for the single in Billboard Magazine can be seen at: http://books.google.com/books?id=NSgEAAAAMBAJ&pg=PA35&lpg=PA1&ie=ISO-8859-1
DORIS DUKE & PATTI LABELLE AND THE BLUEBELLS
(2007, S.D.E.G. 1956)
I'M A LOSER - DORIS DUKE
1. He's Gone (4:34)
[Jerry Williams, Jr. and Larry Harrison]
2. I Can't Do Without You (2:07)
[George Jackson and Ronald Townsend]
3. Feet Start Walking (2:27)
[Jerry Williams, Jr. and Gary Bonds]
4. Ghost Of Myself (3:06)
[Jerry Williams, Jr.]
5. Your Best Friend (2:48)
[Jerry Williams, Jr. and Larry Harrison]
6. The Feeling Is Right (2:46)
[Mickey Buckins and George Jackson]
7. I Don't Care Anymore (3:10)
[Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
8. Congratulations Baby (2:04)
[Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
9. We're More Than Strangers (3:31)
[Jerry Williams, Jr. and Gary Bonds]
10. Divorce Decree (2:29)
[Jerry Williams, Jr. and Maurice Gimbel]
11. How Was I To Know You Cared (2:37)
[Jerry Williams, Jr. and Gary Bonds]
12. To The Other Woman (I'm The Other Woman) (2:57)
[Jerry Williams, Jr. and Gary Bonds]
A LEGEND IN HER OWN TIME - DORIS DUKE
13. I Wish I Could Sleep (3:41)
[Jimmy Roach]
14. It Sure Was Fun (2:38)
[Jerry Williams, Jr. and Gary Bonds]
15. I Don't Know How To Fall Out Of Love With You (2:55)
[Jimmy Roach]
16. He's Everything I Need (3:25)
[Demetriss Tapp and Bob Tubert]
17. I'd Do It All Over You (2:55)
[Jerry Williams, Jr.]
18. If She's Your Wife (Who Am I) (3:57)
[Jerry Williams, Jr. and Charles Whitehead]
19. Since I Fell For You (2:46)
[Buddy Johnson]
20. Don't Let The Green Grass Fool You (2:22)
[Kenneth Gamble and Leon Huff]
21. Let Love Touch Us Now (2:31)
[W.C. Quillen and G. Smith]
22. Bad Water (3:22)
[Jackie DeShannon, Jimmy Holiday and Randy Myers]
23. By The Time I Get To Phoenix (3:56)
[Jimmy Webb]
PATTI LABELLE & THE BLUEBELLS
24. 1-2-3-4-5-6-7 (Count The Days) (2:48)
[Yvonne Williams, Jerry Williams, Jr., Brooks O'Dell and Charlie Foxx]
25. Prides No Match For Love (2:34)
[Jerry Williams, Jr. and Larry Harrison]
26. He's Gone (2:52)
[Jerry Williams, Jr. and Larry Harrison]
NOTES:
Digitally re-mastered reissues of Doris Duke's "I'm A Loser" album (1969, Canyon 7704), her "A Legend In Her Own Time" album (1971, Mankind MLP-200), plus 3 tracks by Patti LaBelle & The Bluebells recorded on January 4, 1969 at Atlantic Studios in New York City as part of a 6-song recording session produced by Jerry Williams, Jr. ("1-2-3-4-5-6-7 (Count The Days)", "Pride's No Match For Love", "He's Gone", "Dance To The Rhythm Of Love" plus two other unknown songs). "Pride's No Match For Love" was written by Swamp Dogg especially for Patti LaBelle. One previously released track that is omitted here is "Dance To The Rhythm Of Love" which can be found on Over The Rainbow/The Atlantic Years (1994, Ichiban/Soul Classics SCL 2501-4) as well as on a single (1969, Atlantic 45-2610). Includes a 12-page booklet with a magazine article on Doris Duke, promotional photos, record charts and contractual correspondence. First pressings of this release have printing errors with the bottom insert - the spines do not indicate the complete catalog number, rather they show only "SDEG 1", and the lettering on the spines is incorrectly spaced. The Blue Bells at the time were Nona Hendryx and Sarah Dash.
Produced, arranged and conceived by Jerry "Swamp Dogg" Williams. Executive Producer: Dr. Beverly Green-Williams.
Musicians - I'm A Loser
Piano: Jerry Williams, Jr. and Paul (Berry) Hornsby. Organ: Paul (Berry) Hornsby. Guitar: Pete (Beaver) Carr and Duane Allman. Bass: Robert (Pops) Popwell. Background vocals: Doris Duke and Jerry Williams, Jr. Drums: Johnny (Duck) Sandlin. String Arrangements: Richard Rome. Strings: Detroit Symphony.
Special thanks to Dave Prater (Sam & Dave) for being there to assist me..Love You Always...RIP
Musicians - A Legend In Her Own Time
Piano: Jerry Williams, Jr. and Chuck Level. Bass and Congos: Robert (Pops) Popwell. Guitar: Pete (Beaver) Carr. Drums: Jasper Guarino. Tenor Sax: Sonny Royal. Trumpet and Flugel Horn: Stacy Goss. Trumpet and Flugel Horn: Joe DeAngelis. String arrangements: Richard Rome. Strings: Philadelphia Symphony. Background vocals: Charlie Chalmers, Sandra Rhodes, Donna Rhodes and Jeanie Greene.
DORIS DUKE / SANDRA PHILLIPS - DEEP SOUL QUEENS
(1991, Charly 302)
DORIS DUKE
1. He's Gone
[Jerry Williams, Jr. and Larry Harrison]
2. I Can't Do Without You
[George Jackson and Ronald Townsend]
3. Feet Start Walking
[Jerry Williams, Jr. and Gary Bonds]
4. Ghost Of Myself
[Jerry Williams, Jr.]
5. Your Best Friend
[Jerry Williams, Jr. and Larry Harrison]
6. The Feeling Is Right
[Mickey Buckins and George Jackson]
7. I Don't Care Anymore
[Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
8. Congratulations Baby
[Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
9. We're More Than Strangers
[Jerry Williams, Jr. and Gary Bonds]
10. Divorce Decree
[Jerry Williams, Jr. and Maurice Gimbel]
11. How Was I To Know You Cared
[Jerry Williams, Jr. and Gary Bonds]
12. To The Other Woman (I'm The Other Woman)
[Jerry Williams, Jr. and Gary Bonds]
SANDRA PHILLIPS
13. Rescue Song
[Jerry Williams, Jr.]
14. I've Been Down So Long
[Jerry Williams, Jr. and Gary Bonds]
15. My Man And Me
[Jerry Williams, Jr.]
16. To The Other Woman (I'm The Other Woman)
[Jerry Williams, Jr. and Gary Bonds]
17. Now That I'm Gone (When Are You Leaving)
[Jerry Williams, Jr. and Charles Whitehead]
18. Someday We'll Be Together
[Beaver, Bristol and Johnson]
19. After All I Am Your Wife
[Jerry Williams, Jr. and Gary Bonds]
20. Ghost Of Myself
[Jerry Williams, Jr.]
21. If You Get Him (He Was Never Mine)
[Jerry Williams, Jr.]
22. She Didn't Know (She Kept On Talking)
[Jerry Williams, Jr. and Gary Bonds]
23. Please Don't Send Him Back To Me
[Jerry Williams, Jr. and Gary Bonds]
24. Some Mother's Son
[Jerry Williams, Jr. and Charles Whitehead]
NOTES:
A reissue of Doris Duke's "I'm A Loser" album (1969, Canyon 7704; 1971, Mojo [UK] 2916001; 1981, Charly [UK] 1027; 1988, P-Vine [Japan] PCD-902) and Sandra Phillips' "Too Many People In One Bed" album (1970, Canyon 7712; 1977, Special Agent [UK] SPY 100; 198?, P-Vine [Japan] 367), both produced by Swamp Dogg.
DORIS DUKE - I'M A LOSER
(1969, Canyon 7704; 1971, Mojo [UK] 2916001; 1981, Charly [UK] 1027; 1988, P-Vine [Japan] PCD-902)
1. He's Gone
[Jerry Williams, Jr. and Larry Harrison]
2. I Can't Do Without You
[George Jackson and Ronald Townsend]
3. Feet Start Walking
[Jerry Williams, Jr. and Gary Bonds]
4. Ghost Of Myself
[Jerry Williams, Jr.]
5. Your Best Friend
[Jerry Williams, Jr. and Larry Harrison]
6. The Feeling Is Right
[Mickey Buckins and George Jackson]
7. I Don't Care Anymore
[Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
8. Congratulations Baby
[Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
9. We're More Than Strangers
[Jerry Williams, Jr. and Gary Bonds]
10. Divorce Decree
[Jerry Williams, Jr. and Maurice Gimbel]
11. How Was I To Know You Cared
[Jerry Williams, Jr. and Gary Bonds]
12. To The Other Woman (I'm The Other Woman)
[Jerry Williams, Jr. and Gary Bonds]
NOTES:
Produced by Jerry Williams, Jr., who also plays keyboards and sings background vocals on "Congratulations Baby". Reissued in 2005 on "I'm A Loser: The Swamp Dogg Sessions...and more" [Ace/Kent CDKEND 242].
Piano: Jerry Williams, Jr. and Paul (Berry) Hornsby. Organ: Paul (Berry) Hornsby. Guitar: Pete (Beaver) Carr and Duane Allman. Bass: Robert (Pops) Popwell. Background vocals: Doris Duke and Jerry Williams, Jr. Drums: Johnny (Duck) Sandlin. String Arrangements: Richard Rome. Strings: Detroit Symphony. Recorded in Macon, Georgia.
Comment by Swamp Dogg on The Southern Soul List (Yahoo) 10/16/01: "Duane came in the studio one morning immediately after arriving from a tour and said he wanted to sit in. As a result he played on several of the tracks in conjunction with Pete."
Comments by Swamp Dogg on The Southern Soul List (Yahoo) 10/4/04: "The session consisted of some of the greatest new, unexploited players, Robert Popwell, Pete Carr, Johnny Sandlin, Paul Hornsby...these guys were bursting with new ideas and I've always been one to allow a musician to present himself and exploit himself in my productions. Jim Hawkins the engineer was still building on the studio and coming up with new techniques everyday to get a better sound, which he definitely did. Doris was a technician and great to work with in the studio. There were a billion memorable moments that could fill a book and hopefully Pete or some of the others involved will add some comments. Doris' album was recorded non-stop. Everyone, with the exception of me worked and slept in the studio for five or six days before anyone saw daylight. I never slept and we weren't doing any drugs, only coffee to make this happen. When we walked out, everything was complete...rhythm, horns and vocals. I immediately flew to Philadelphia and had Richard Rome do the string arrangements then I flew to Detroit and conducted the strings myself."
DORIS DUKE - I'M A LOSER: THE SWAMP DOGG SESSIONS...AND MORE
(2005, Ace/Kent CDKEND 242)
1. He's Gone
[Jerry Williams, Jr. and Larry Harrison]
2. I Can't Do Without You
[George Jackson and Ronald Townsend]
3. Feet Start Walking
[Jerry Williams, Jr. and Gary Bonds]
4. Ghost Of Myself
[Jerry Williams, Jr.]
5. Your Best Friend
[Jerry Williams, Jr. and Larry Harrison]
6. The Feeling Is Right
[Mickey Buckins and George Jackson]
7. I Don't Care Anymore
[Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
8. Congratulations Baby
[Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
9. We're More Than Strangers
[Jerry Williams, Jr. and Gary Bonds]
10. Divorce Decree
[Jerry Williams, Jr. and Maurice Gimbel]
11. How Was I To Know You Cared
[Jerry Williams, Jr. and Gary Bonds]
12. To The Other Woman (I'm The Other Woman)
[Jerry Williams, Jr. and Gary Bonds]
13. I Wish I Could Sleep
[Jimmy Roach]
14. It Sure Was Fun
[Jerry Williams, Jr. and Gary Bonds]
15. I Don't Know How (To Fall Out Of Love With You)
[Jimmy Roach]
16. He's Everything I Need
[Demetriss Tapp and Bob Tubert]
17. I'd Do It All Over You
[Jerry Williams, Jr.]
18. If She's Your Wife (Who Am I)
[Jerry Williams, Jr. and Charles Whitehead]
19. Since I Fell For You
[Buddy Johnson]
20. Don't Let The Green Grass Fool You
[Kenneth Gamble and Leon Huff]
21. Let Love Touch Us Now
[W.C. Quillen and G. Smith]
22. Bad Water
[Jackie DeShannon, Jimmy Holiday and Randy Myers]
23. By The Time I Get To Phoenix
[Jimmy Webb]
24. Too Much To Bear
[Doris Willingham and Richard Tee]
25. You Can't Do That
[Doris Willingham and Richard Tee]
26. Lost Again
[Doris Willingham and Richard Tee]
NOTE:
A reissue of "I'm A Loser" and "A Legend In Her Own Time", plus 3 Jay Boy Records recordings as Doris Willingham.
Musicians - I'm A Loser
Piano: Jerry Williams, Jr. and Paul (Berry) Hornsby. Organ: Paul (Berry) Hornsby. Guitar: Pete (Beaver) Carr and Duane Allman. Bass: Robert (Pops) Popwell. Background vocals: Doris Duke and Jerry Williams, Jr. Drums: Johnny (Duck) Sandlin. String Arrangements: Richard Rome. Strings: Detroit Symphony.
Musicians - A Legend In Her Own Time
Piano: Jerry Williams, Jr. and Chuck Level. Bass and Congos: Robert (Pops) Popwell. Guitar: Pete (Beaver) Carr. Drums: Jasper Guarino. Tenor Sax: Sonny Royal. Trumpet and Flugel Horn: Stacy Goss. Trumpet and Flugel Horn: Joe DeAngelis. String arrangements: Richard Rome. Strings: Philadelphia Symphony. Background vocals: Charlie Chalmers, Sandra Rhodes, Donna Rhodes and Jeanie Greene.
DORIS DUKE - A LEGEND IN HER OWN TIME
(1971, Mankind MLP-200; Mojo [UK] 2916006)
1. I Wish I Could Sleep
[Jimmy Roach]
2. It Sure Was Fun
[Jerry Williams, Jr. and Gary Bonds]
3. I Don't Know How (To Fall Out Of Love With You)
[Jimmy Roach]
4. He's Everything I Need
[Demetriss Tapp and Bob Tubert]
5. I'd Do It All Over You
[Jerry Williams, Jr.]
6. If She's Your Wife (Who Am I)
[Jerry Williams, Jr. and Charles Whitehead]
7. Since I Fell For You
[Buddy Johnson]
8. Don't Let The Green Grass Fool You
[Kenneth Gamble and Leon Huff]
9. Let Love Touch Us Now
[W.C. Quillen and G. Smith]
10. Bad Water
[Jackie DeShannon, Jimmy Holiday and Randy Myers]
11. By The Time I Get To Phoenix
[Jimmy Webb]
NOTES:
Produced by Jerry Williams, Jr. who also plays keyboards and likely provides background vocals. Reissued in 2005 on "I'm A Loser: The Swamp Dogg Sessions...and more" [Ace/Kent CDKEND 242].
Piano: Jerry Williams, Jr. and Chuck Level. Bass and Congos: Robert (Pops) Popwell. Guitar: Pete (Beaver) Carr. Drums: Jasper Guarino. Tenor Sax: Sonny Royal. Trumpet and Flugel Horn: Stacy Goss. Trumpet and Flugel Horn: Joe DeAngelis. String arrangements: Richard Rome. Strings: Philadelphia Symphony. Background vocals: Charlie Chalmers, Sandra Rhodes, Donna Rhodes and Jeanie Greene. Recorded in Muscle Shoals, Alabama.
FREDDIE EMPIRE - Do It To Me One More Time / Do It Some More Now [Medley] // Scratch It Some More Now
(1985, Rare Bullet RB 12-2020, 12" single)
Both sides produced by Swamp Dogg and Yvonne Williams; Associate Producer: Randye Rand. "Do It To Me One More Time / Do It Some More Now [Medley]" written by T. Tennille, Jerry Williams, Jr., Michelle Williams and R. Wilson. Track time = 7:37. Scratcher: D.J. Lamant. Rapper: MC Chris D. Engineer: Bob Kinsey. Fairlight: Paul Skorich. "Scratch It Some More Now" written by Jerry Williams, Jr. and Michelle Williams. Track time = 6:19. Scratcher: D.J. Lamont. Engineer: Bob Kinsey. Fairlight Programmer: Paul Skorich. Comes in a cardboard sleeve with both sides designed like a target with black and white rings; the outer black ring reads: 12" Loaded 12". In the bottom right hand corner there is a small black design of a man pissing into a hole. Rare Bullet Records, Inc., 256 So. Robertson Blvd., Beverly Hills, CA 90211. Manufactured and distributed by Alshire International, P.O. Box 7107, Burbank, CA 91510. Printed in U.S.A.
THE EXCITERS - ???
(1967, Musicor, unreleased)
Comments by Swamp Dogg on The Southern Soul List (Yahoo) 3/28/00: "I produced an album on the Exciters for Musicor in '67. One title was "Who Needs A Chaperone". To my knowledge the tracks were never released."
LEE FIELDS - Everybody Gonna Give Their Thing Away To Somebody (Sometime) / East Coast Rapper
(1975, Sound Plus SP-2105, 7" single)
"Everybody Gonna Give Their Thing Away To Somebody (Sometime)" written by Jerry Williams, Jr., Maurice Ward and Lee Fields, produced by Jerry Williams Jr. and Maurice Ward. "East Coast Rapper", an instrumental, written by Roscoe Robinson, produced by Jerry Williams, Jr. Side B track time = 2:50.
Comments by Swamp Dogg on The Southern Soul List (Yahoo) 11/30/00: "The East Coast Rapper was Maurice Ward, a jock and program director of WRAP Radio in Norfolk [Virginia], my partner and also Lee's cousin. ... "East Coast Rapper" ... it was not written by Roscoe Robinson, who is another friend of mine, but by yours truly and Maurice [Ward]."
INEZ & CHARLIE FOXX - (1-2-3-4-5-6-7) Count The Days / A Stranger I Don't Know (Wish It Was You)
(1967, Dynamo D-112, 7" single; Direction [UK] 3192, 7" single)
"(1-2-3-4-5-6-7) Count The Days" written by Yvonne Williams, Jerry Williams, Jr., Brooks O'Dell and Charlie Foxx. Produced by Charlie Foxx. Arranged by Richard Rome and Jerry Williams, Jr. "A Stranger I Don't Know (Wish It Was You)" written by Charlie Foxx, arranged and produced by Charlie Foxx and Luther Dixon. Side A track time = 2:36. Side B track time = 3:36. "(1-2-3-4-5-6-7) Count The Days" also available on 101 Blues & Soul Classics (1986, S.D.E.G. ??), The Dynamo Duo [2001, Ace/Kent CDKEND 193] and Quartet Of Soul Vol. 3: The Platters, The Toys, Inez and Charlie Foxx, Tommy Hunt (1968, Musicor MM-2152 [mono]/MS-3152 [stereo]).
GINO [FRANK AMODEO] - It's Only A Paper Moon / Home Sweet Home
(1963, Golden Crest CR581, 7" single)
"Home Sweet Home" produced by Jerry Williams, Jr. "It's Only A Paper Moon" arranged and produced by Billy Mure, track time = 2:12, contains the additional label number CR910633 and is also available on Northern Soul's Classiest Rarities 2 (2005, Ace/Kent CDKEND 248).
ELEANOR GRANT - You Oughta' Be Here With Me / Tap Dancing For A Blind Man
(1975, Columbia 3-10268, 7" single)
"You Oughta' Be Here With Me" written by P. Kelly and produced by Lionel Job for JPU Productions. "Tap Dancing For A Blind Man" written, arranged and produced by Jerry Williams, Jr. (Swamp Dogg) for JPU Productions, engineered by David Johnson. Side A track time = 3:29. Side B track time = 4:10. Side A contains the additional label number ZSS 161038. Side B contains the additional label number ZSS 161039.
GREENE SISTERS - Thank You Lord (Pt. 1) / Thank You Lord (Pt. 2)
(1969, Dynamo D-128, 7" single)
Produced by Jerry Williams, Jr. and Dave Spinoza. Both sides written by Jerry Williams, Jr. and Gary Anderson (Gary Bonds). Side A track time = 2:50.
GREENE SISTERS - WHATEVER'S FAIR
(1971, Mankind MLP-202)
Side 1:
1. Theme For Sisters Greene (Build It Up)
[Jerry Williams, Jr., Maurice Gimbel and Richard Rome]
2. A New Day Never Comes
[Jerry Williams, Jr. and K. Shelton]
3. When Will We Be Paid (For The Work We Did)
[R. Stewart]
4. I Can See A Light
[Jerry Williams, Jr.]
Side 2:
1. Lord Keep Me Day By Day / If I Had A Hammer (Medley)
[E. Williams] / [Lee Hayes and Pete Seeger]
2. My God Is Able
[Jerry Williams, Jr.]
3. Lord Will Make A Way Sometime
[T. Dorsey]
NOTES:
Produced by Jerry Williams, Jr. Arranged by Richard Rome. Engineer: Joel Fein (Regent Sound Studio; Philadelphia, Pa.). Mastering Engineer: Paul Richmond (Monument Recording Studio; Nashville, Tenn.). Copyist: Jack Faith. Album Co-ordinator: Yvonne Williams. Recorded at Quinvy Recording Studio, Sheffield, Alabama. Someone has posted the audio file of "A New Day Never Comes" at: http://media.putfile.com/Green-Sisters
Piano: Richard Rome / Willie Jackson. Bass: Ronnie Baker. Guitar: Norman Harris. Drums: Ronnie DeStefano. Strings: Joe D'Anofrio, Jr. and his Concert Strings. Art Direction: Aesthetics, Inc. Photography by Sigfried Halus. Copyright Manager: Lenny Mietus; N.Y.C. The Greene Sisters handled exclusively by The Jerry Williams Production, Publishing and Management Group; Nashville/New York/Hollywood.
Comments by Swamp Dogg on The Southern Soul List (Yahoo) 11/25/00: "The Greene Sisters of Baltimore, that's how they were usually billed. Please don't blame Richard Rome for the Shaft parallels, I thought that it could be the element to connect gospel and secular e.g., Kirk Franklin, Winans, Take 6, Andrae Crouch , etc., today. I was a little ahead of the
game...it was coming but there were still too many old head retail gospel buyers who felt that any music suggested from the secular genre was a sure fire ticket to hell! Some r'n'b stations played it sparsely but I had to curtail that because these same people refused to buy tickets to see a gospel act that was being tainted by r'n'b exposure. This was actually my move to get some converts to gospel. You will notice that the remainder of the cuts stuck to the semi-norm although I was employed a large congregation of
musicians. Actually, I was using the Philadelphia Symphony, only without the conductorship of Eugene Ormandy. My rhythm was the real deal Philly sound guys , e. g, Norman Harris, etc. ... the Greene Sisters, which by the way consisted of three sisters, a cousin and two friends. When they were on Hob, the father was part of the group but he bowed out after a heart attack."
GUITAR SHORTY - BILLIE JEAN BLUES
(1996, Collectables COL-5724)
1. Shorty's Theme
2. Hey Joe
3. Whole Lot Of Loving
4. Papa's Got A Brand New Bag
5. Shorty's Theme #2
6. Billie Jean Blues
7. We Don't Give A Shit & The Blues Is Allright
NOTE:
Produced by Swamp Dogg.
GUITAR SHORTY - THE BLUES IS ALL RIGHT
(1996, Collectables COL-5725)
1. Introduction / The Blues Is All Right
2. The Thrill Is Gone
3. History Of Jody
4. How Blue Can You Get
5. Never Make Your Move Too Soon
6. How Come My Dog Don't Bark When You Come Around
7. Bump The Donkey
8. Hard Life Blues
NOTES:
Produced by Swamp Dogg. Recorded in the late-1980s. It sounds as though Swamp Dogg is providing background vocals at the end of "Bump The Donkey", which is mainly an instrumental song, different from Swamp Dogg's later song "Let's Bump The Donkey" as found on If I Ever Kiss It .... He Can Kiss It Goodbye! (S.D.E.G. #1948).
SIR JOHN HENRY - Let Them Talk / Live Everyday For Your Love
(1969, Lonnie 801, 7" single)
Both sides produced by Jerry Williams, Jr. and John McArthur. Side A written by S. Thompson; track time = 2:49. Side B written by John McArthur; track time = 2:48.
"We became friends when I moved to Miami in 66'. We formed a company to promote shows, mainly Little Jerry Williams and "Root Man". We wrote some songs together....we were neighbors within walking distance. I signed John to Botanic/Lonnie Records circa 68'-69' and released one 45rpm." --Swamp Dogg, private email 8/29/08
Z.Z. HILL - Chokin' Kind / Hold Back (One Man At A Time)
(1971, Mankind 12007, 7" single)
Both sides produced by Jerry Williams, Jr. Both songs available on "The Brand New Z.Z. Hill" [1971, Mankind M-201; 1972, Contempo {UK]} 515; 1972, Mojo {UK} 2916013; 2003, S.D.E.G. 1951] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532].
Z.Z. HILL - Faithful And True / I Think I'd Do It
(1971, Mankind 12003, 7" single)
Both sides produced by Jerry Williams, Jr. Both songs available on "The Brand New Z.Z. Hill" [1971, Mankind M-201; 1972, Contempo {UK]} 515; 1972, Mojo {UK} 2916013; 2003, S.D.E.G. 1951] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532].
Z.Z. HILL - Hold Back (One Man At A Time) / Put A Little Love In Your Heart
(1984, Rare Bullet RB 4241, 7" single)
Both sides produced by Jerry Williams, Jr. (The Swamp Dogg). Side B track time = 3:05. Both songs available on "Thrill On The (Z.Z.) Hill" [1984, Rare Bullet RB-LP-2001] and "Velvet Soul" [1982, Malibu MR 05820]. "Hold Back (One Man At A Time)" written by D. Monda and R. Burns. "Put A Little Love In Your Heart" written by Randy Myers, Jackie DeShannon and Jimmy Holiday.
Z.Z. HILL - It Ain't No Use / Ha Ha (Laughing Song)
(1972, Mankind M-12015, 7" single)
Both sides produced by Jerry Williams, Jr. Side B track time = 4:25. Both songs available on "The Brand New Z.Z. Hill" [1971, Mankind M-201; 1972, Contempo {UK]} 515; 1972, Mojo {UK} 2916013; 2003, S.D.E.G. 1951] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532].
Z.Z. HILL - A Man Needs A Woman / Chokin' Kind
(1972, Mankind M-12017, 7" single)
Both sides produced by Jerry Williams, Jr. Side A track time = 3:14. Both songs available on "The Brand New Z.Z. Hill" [1971, Mankind M-201; 1972, Contempo {UK]} 515; 1972, Mojo {UK} 2916013; 2003, S.D.E.G. 1951] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532].
Z.Z. HILL - Second Chance / I Think I'd Do It
(1972, Mankind M-12012, 7" single)
Both sides produced by Jerry Williams, Jr. Both songs available on "The Brand New Z.Z. Hill" [1971, Mankind M-201; 1972, Contempo {UK]} 515; 1972, Mojo {UK} 2916013; 2003, S.D.E.G. 1951] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532].
Z.Z. HILL - THE BRAND NEW Z.Z. HILL
(1971, Mankind M-201; 1972, Contempo [UK] 515; 1972, Mojo [UK] 2916013)
Blues At The Opera (Communication In Regard To Circumstances)
Act I
1. It Ain't No Use
[Jerry Williams, Jr., Gary Bonds and Don Hollinger]
2. Ha Ha (Laughing Song)
[Jerry Williams, Jr. and Gary Bonds]
Act II
3. Second Chance
[Jerry Williams, Jr., Gary Bonds and Don Hollinger]
4. Our Love Is Getting Better
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
Act III
5. Faithful And True
[M. Greene, J. Greene and Dan Penn]
6. The Chokin' Kind
[Harlan Howard]
7. Hold Back (One Man At A Time)
[D. Monda and R. Burns]
8. A Man Needs A Woman (A Woman Needs A Man)
[Jerry Williams, Jr. and Gary Bonds]
9. Early In The Morning
[B. Darin and W. Harris]
10. I Think I'd Do It
[Sam Dees]
NOTES:
Jerry Williams, Jr. produced, arranged and conceived the album, plays piano and organ, and provides guest vocals on "Faithful And True". "Hold Back (One Man At A Time)" and "Early In The Morning" produced and arranged by Jerry Williams, Jr. and Quin Ivy. "I Think I'd Do It" produced and arranged by Quin Ivy.
Z.Z. HILL - THE BRAND NEW Z.Z. HILL [RE-MASTERED]
(2002, S.D.E.G. 1951)
Blues At The Opera (Communication In Regard To Circumstances)
Act I
1. It Ain't No Use
[Jerry Williams, Jr., Gary Bonds and Don Hollinger]
2. Ha Ha (Laughing Song)
[Jerry Williams, Jr. and Gary Bonds]
Act II
3. Second Chance
[Jerry Williams, Jr., Gary Bonds and Don Hollinger]
4. Our Love Is Getting Better
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
Act III
5. Faithful And True
[M. Greene, J. Greene and Dan Penn]
6. The Chokin' Kind
[Harlan Howard]
7. Hold Back (One Man At A Time)
[D. Monda and R. Burns]
8. A Man Needs A Woman (A Woman Needs A Man)
[Jerry Williams, Jr. and Gary Bonds]
9. Early In The Morning
[B. Darin and W. Harris]
10. I Think I'd Do It
[Sam Dees]
Bonus Tracks
11. Suppertime (Home Just Ain't Home At)
[Evans and Jenkins]
12. Just As I Am
[Jerry Williams, Jr. and Yvonne Williams]
13. Touch Em' With Love
[R. Wilkins and J. Hurley]
14. Put A Little Love In Your Heart
[Randy Myers, Jackie DeShannon and Jimmy Holiday]
15. Just As I Am (Collectors Version)
[Jerry Williams, Jr. and Yvonne Williams]
16. Faithful And True (Collectors Version)
[M. Greene, J. Greene and Dan Penn]
17. It's A Hang Up Baby
[Eddie Reeves]
18. Put A Little Love In Your Heart (Collectors Version)
[Randy Myers, Jackie DeShannon and Jimmy Holiday]
19. Hold Back (One Man At A Time) (Collectors Version)
[D. Monda and R. Burns]
20. Early In The Morning (Collectors Version)
[B. Darin and W. Harris]
21. I Think I'd Do It (Collectors Version)
[Sam Dees]
NOTES:
Digitally re-mastered plus 11 bonus tracks and 20 page booklet. The "Collectors Version" tracks are probably the same as the remixed versions that appeared on Velvet Soul [1982, Malibu MR 05820] and Thrill On The (Z.Z.) Hill [1984, Rare Bullet RB-LP-2001]. The one track from these two albums that does not appear here is the instrumental titled "Reprise #69" and "The Z.Z. Thrill" respectively. As per the liner notes: "All of the tracks marked "collectors version" came about when I decided to strip down some of his tracks and add new musicians, technology and mixes."
Muscle Shoals Crew - Producer and Arranger: Jerry "Swamp Dogg" Williams. Producer: Jerry "Swamp Dogg" Williams and Quin Ivy. Swamp Dogg Blues Opera Theatre Players: Bob Carl Bailey (spoken voice of Z.Z. Hill) / Cleazell Brown (the pleading woman) / David Johnson / T.C. / Swamp Dogg. Drums: Lou Mullenix / Fred Proudy / Jasper Guarino. Guitar: Jess Carr / Jimmy Evans. Bass: Charles Haywood / Bob Wray / Butch Owens. Piano and Organ: Swamp Dogg / Clayton Ivy / Ronnie Oldham / Chuck Level. Horns: Mike Stough / Stacy Goss / Sonny Royal / Charles Rose / James Mitchell / Gene "Bowlegs" Miller / Louis Collins / Joe Arnold / Gerald Richards. Background Vocals: Prince Phillip Mitchell / Leawaii Little / Cheryl Echols. Engineer: David Johnson. Recorded at Quinvy Studio.
Los Angeles Crew - Producer and Arranger: Jerry "Swamp Dogg" Williams. Piano: Swamp Dogg. Guitar/Sitar: Bob Etoll. Guitar: Pete Carr. Drums: Eddie Rodriquez. Bass: Phil Sanchez. Electric Piano: John Barnes. Horns: Hank Kranen / Joe Romano / Harvey Thompson / Stacy Goss / Harrisson Calloway / Ronnie Eades / Charles Rose / Mike Stough / Harvey Thompson. Background Vocals: Maurice McCormick / Obie ("Young Jessie") Jessie / Josella Reid / Gwen Phillips / Swamp Dogg.
Recorded at Broadway Sound (Engineer: David Johnson) Muscle Shoals, Al.; Perspective Sound (Engineer: Greg Heap) Sun Valley, Ca.; Hit Man (Engineer: Don Holden) Hollywood, Ca.; EFX (Engineer: George Johnsen) Burbank, Ca.
The male dialogue in the opera is not executed by Z.Z. Hill, but by Bob Carl Bailey, actor, DJ, writer, WZZA radio station owner and of course, Tori Bailey's father. Z.Z. was shy about delivering the dialogue because of the minimal time allotted for him to learn and deliver. We were stumped for a male lead when Carl, unexpectedly stopped by the studio. We agreed to agree and BLUES AT THE OPERA was born. Bob Carl, you and Z.Z. are now in heaven, but I thank God that I had the chance to work with and thank you both on earth. Save me and Norman Jr. a good seat. -- S. Dogg
LINER NOTES:
When I signed Z.Z. Hill, he didn't know what a Swamp Dogg was and could care less. As a matter of fact he didn't even know that he was signed to me. Naturally, I knew who he was and I was a fan, looking forward to meeting for the first time and working forever with this southern soul genius interpreter of the blues. Now here's where the shit gets funky.........Z.Z. was signed to Phil Walden's Capricorn label in Macon, Ga., but due to some disputes, Z.Z. refused to record any additional material for Phil and commenced to sit out his contract. So...Phil, being all about the money, struck a deal with Quin Ivy in Muscle Shoals and sold him the time that was left on Z.Z.'s contract. Z.Z. was reluctant to record for Quin because he was a friend and business associate of Phil's. Nevertheless, the prospects of Quin striking gold lightning a second time for him like he did Percy Sledge, were too good to pass up. They went into the studio and Quin produced and released "Faithful and True" b/w "I Think I'd Do It". The record fell short of everyone's expectations but Atlantic saw some merit in this great artist and leased four sides from Quin. These sides did worse that the record on Quinvy. Of course Atlantic wasn't mad at Quin because they were still raking in the moola from "When A Man Loves A Woman", "Cover Me", "It Tears Me Up" and on and on. This was not a bad lick for a full time schoolteacher, turned part time producer. Sorry....I digress. Z.Z. is now disenchanted with Quin because he feels that Quin's job is to finish destroying his career, per Phil's bidding. Quin, being the gentleman he still is started looking for someone else to produce Z.Z., in hope that this would elate Z.Z. to the point of returning to the studio. He couldn't find anyone that Z.Z. was impressed with and later, he couldn't find Z.Z. Now here's where I come in.............I'm in love with Muscle Shoals, Alabama, the musicians, the people, even the Travel Lodge, where the manager decided I was gay and pushed his way into my room one night with a bottle of liquor, with the intention of sharing a night of amour with him jumping up and down in my ass hole. Suffice it to say that was dead in the water. Robert Popwell, with his good bass playing ass was next door to me. He heard the commotion and came over and helped me and my .38 get him out of my room. Thinking back, a nigger pulling a gun on a redneck in Alabama at the top of the 70's wasn't a thought hatched at Harvard. Anyway, I loved Muscle Shoals. Quin approached me one day and asked me if I would be interested in Z.Z. Hill. I was, especially since he and his brother Matt had successfully saturated the market with "Don't Make Me Pay For His Mistakes", on their Hill label. This record was burning up and actually belonged to Quin, because he was still under contract to him. I bought the contract and all existing masters in perpetuity. Now I'm on my way to meet my act. Z.Z. was appearing in New Orleans and I drove in to meet him formerly and to avail him of the great news, that I, someone he could depend on, had purchased his contract.
He refused to meet with me or acknowledge me. He became more pissed at me than he was with Phil and Quin, after he found out that I was friends with and doing business with....both of them.
How can I get his attention? With an attorney, of course! I had the firm of Kaplan, Gusick & Wachs, place an injunction on their hit record and freeze all assets at the distributor level. Matt came to the table immediately as the representative for both of them. I leveled with Matt and told him that even though the record was legally mine, I had no intentions of claiming it or its assets. I just wanted to work out an arrangement with Z.Z. to get him into the studio. It took some hard selling but I finally convinced Matt and Z.Z. that I was completely unaware of their problems with Phil and Quin and I was duped.
The deal went like this..........I would remove the injunction / Z.Z. would meet me in Muscle Shoals for a week / record an album at Quinvy studio where Quin was in agreement not to show his face during his stay / Z.Z. would learn the material I presented to him and not engage in any lackluster vocal performances / upon release of the records he would agree to two concert engagements with him being notified of the places and times at my leisure and for expenses only / he would be paid the royalty guaranteed in his Capricorn/Quinvy agreement / I would give him an immediate release of contract upon him finishing the last song scheduled in the session.
We had a great session, as you can attest to after listening to this cd, and I gave him the release as promised.
We hit the national pop and r'n'b singles charts five times and the pop and r'n'b album charts to the tune of top 150's and top 30's respectively.
There's only two tracks missing from the Quinvy/Dogg days and hopefully David Johnson or Quin will recover/discover them in time for them to be part of another vital blues reissue that we're planning with some other artist.
This compilation is being presented in various stages. The "Blues At The Opera" and tracks 6 through 10 are as they were initially released. Some of the bonus tracks are cuts that were never exposed or underexposed for one reason or another. All of the tracks marked "collectors version" came about when I decided to strip down some of his tracks and add new musicians, technology and mixes. I like some of the shit I did and I hate a few things, but I'll let you be the judge since it now belongs to you...you rate it. My only ego rest with my songwriting, which I feel I'm as great as the greatest but........sometimes in my productions I feel that I could have done better; another reason for the "collectors versions". Z.Z. and I became damn good friends and his death still makes me wonder why the good guys, the real talented guys, the milestone makers, the ground breakers, the people who become legends in their own time, such as Z.Z. Hill, Otis Redding, Bessie Smith, Sam Cooke, Jimi Hendrix, Billie Holiday, Roy Hamilton, Jim Croce, Joe Tex, Robert Johnson, Nat King Cole, John Lennon, etc., are always whisked away in their musical prime. Nevertheless they leave legends behind that can never be equaled. The people like Z.Z., accomplish and give more innovation and originality to music in fifteen minutes, than all the musical bums and imitators they leave behind could do in fifteen lifetimes.
I enjoyed knowing and working with Z.Z. Hill. He was one of the nicest and most sincere people I've ever met or had the God given pleasure to work with.
Z.Z. HILL / FREDDIE NORTH - THE BRAND NEW Z.Z. HILL / FRIEND
(1994, Ace CDCHD 532)
Z.Z. HILL
Blues At The Opera (Communication In Regard To Circumstances)
Act I
1. It Ain't No Use
[Jerry Williams, Jr., Gary Bonds and Don Hollinger]
2. Ha Ha (Laughing Song)
[Jerry Williams, Jr. and Gary Bonds]
Act II
3. Second Chance
[Jerry Williams, Jr., Gary Bonds and Don Hollinger]
4. Our Love Is Getting Better
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
Act III
5. Faithful And True
[M. Greene, J. Greene and Dan Penn]
6. The Chokin' Kind
[Harlan Howard]
7. Hold Back (One Man At A Time)
[D. Monda and R. Burns]
8. A Man Needs A Woman (A Woman Needs A Man)
[Jerry Williams, Jr. and Gary Bonds]
9. Early In The Morning
[B. Darin and W. Harris]
10. I Think I'd Do It
[Sam Dees]
FREDDIE NORTH
11. She's All I Got
[Jerry Williams, Jr. and Gary Bonds]
12. Raining On A Sunny Day
[R. Daniels and Yvonne Williams]
13. Sweeter Than Sweetness
[Jerry Williams, Jr. and Charles Whitehead]
14. Sidewalks, Fences And Walls
[Jerry Williams, Jr. and Maurice Gimbel]
15. I Did The Woman Wrong
[Jerry Williams, Jr. and Charles Whitehead]
16. Yours Love
[Harlan Howard]
17. Laid Back And Easy
[Jerry Williams, Jr. and K. Shelton]
18. You And Me Together Forever
[J. Roach]
19. Ain't Nothing In The News (But The Blues)
[Jerry Williams, Jr.]
20. Did I Come Back Too Soon (Or Stay Away Too Long)
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
21. My Whole World Has Ended (Without You)
[J. Bristol, H. Fuqua, J. Roach and P. Sawyer]
22. Cuss The Wind
[Jerry Williams, Jr. and Stan McKenney]
NOTE:
Reissues plus 2 additional Freddie North tracks.
Z.Z. HILL - GREATEST HITS
(2000, CSI/Classic Sound 7603)
1. Faithful And True
[M. Greene, J. Greene and Dan Penn]
2. Put A Little Love In Your Heart
[Randy Myers, Jackie DeShannon and Jimmy Holiday]
3. Early In The Morning
[B. Darin and W. Harris]
4. Touch 'Em With Love
[R. Wilkins and J. Hurley]
5. Just As I Am
[Jerry Williams, Jr. and Yvonne Williams]
6. Hold Back (One Man At A Time)
[D. Monda and R. Burns]
7. I Think I'll Do It
[Sam Dees]
8. Reprise #69
[Jerry Williams, Jr. and Yvonne Williams]
NOTES:
A repackaging of the @1983 tracks produced by Swamp Dogg and released as Velvet Soul [1982, Malibu MR 05820] and Thrill On The (Z.Z.) Hill [1984, Rare Bullet RB-LP-2001].
Z.Z. HILL - A MAN NEEDS A WOMAN
(1985, Charly/Topline 138)
Side 1:
1. Blues At The Opera (Communication In Regard To Circumstances) Act 1. Scene 1. It Ain't No Use
[Jerry Williams, Jr., Gary Bonds and Don Hollinger]
Act 1. Scene 2. Ha, Ha (Laughing Song)
[Jerry Williams, Jr. and Gary Bonds]
Act 2. Scene 1. Second Chance
[Jerry Williams, Jr., Gary Bonds and Don Hollinger]
Act 2. Scene 2. Our Love Is Getting Better
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
Act 3. Finale. Faithful And True
[M. Greene, J. Greene and Dan Penn]
Side 2:
1. The Chokin' Kind
[Harlan Howard]
2. Hold Back (One Man At A Time)
[D. Monda and R. Burns]
3. A Man Needs A Woman (A Woman Needs A Man)
[Jerry Williams, Jr. and Gary Bonds]
4. Early In The Morning
[B. Darin and W. Harris]
5. I Think I'd Do It
[Sam Dees]
NOTES:
Vinyl reissue of the 1971 Mankind LP 'The Brand New Z.Z. Hill'.
Z.Z. HILL - THRILL ON THE (Z.Z.) HILL
(1984, Rare Bullet RB-LP-2001)
Side 1:
1. I Think I'd Do It
[Sam Dees]
2. Early In The Morning
[B. Darin and W. Harris]
3. Hold Back (One Man At A Time)
[D. Monda and R. Burns]
4. Put A Little Love In Your Heart
[Randy Myers, Jackie DeShannon and Jimmy Holiday]
Side 2:
1. Faithful And True
[M. Greene, J. Greene and Dan Penn]
2. Just As I Am
[Jerry Williams, Jr. and Yvonne Williams {a.k.a. Whippenstick and Red Seal}]
3. Touch 'Em With Love
[R. Wilkins and J. Hurley]
4. The Z.Z. Thrill
[Jerry Williams, Jr. and Yvonne Williams {a.k.a. Whippenstick and Red Seal}]
NOTES:
Produced and arranged by Jerry Williams, Jr. (The Swamp Dogg), who also contributes piano. Musical tracks recorded 1983/84, Z.Z. Hill vocals recorded 1972/73 [more likely 1971]. This record appears to be the same material that is on Velvet Soul with the exception of "The Z.Z. Thrill", which is the same instrumental as "Reprise #69".
Z.Z. HILL - VELVET SOUL
(1982, Malibu MR 05820)
Side One:
1. Faithful And True
[M. Greene, J. Greene and Dan Penn]
2. Put A Little Love In Your Heart
[Randy Myers, Jackie DeShannon and Jimmy Holiday]
3. Early In The Morning
[B. Darin and W. Harris]
4. Touch 'Em With Love
[R. Wilkins and J. Hurley]
Side Two:
1. Just As I Am
[Jerry Williams, Jr. and Yvonne Williams]
2. Hold Back (One Man At A Time)
[D. Monda and R. Burns]
3. I Think I'd Do It
[Sam Dees]
4. Reprise #69
[Jerry Williams, Jr. and Yvonne Williams]
NOTES:
Produced, arranged and nurtured with tender love and care by Jerry Williams, Jr. (The Swamp Dogg). Swamp Dogg plays a Steinway Grand piano. The record does not appear to have a date anywhere, though I did find it listed on the internet as being from 1982.
Z.Z. HILL - Z.Z. HILL'S HA HA (LAUGHING SONG)
(2006, Charly ???)
1. The Chokin' Kind
[Harlan Howard]
2. Our Love Is Getting Better
[Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
3. Man Needs Woman
[Jerry Williams, Jr. and Gary Bonds]
4. It Ain't No Use
[Jerry Williams, Jr., Gary Bonds and Don Hollinger]
5. I Think I'll Do It
[Sam Dees]
6. Hold Back
[D. Monda and R. Burns]
7. Ha Ha (Laughing Song)
[Jerry Williams, Jr. and Gary Bonds]
8. Faithful And True
[M. Greene, J. Greene and Dan Penn]
9. Early In The Morning
[B. Darin and W. Harris]
NOTES:
Reissue of the Swamp Dogg-produced tracks from 1972.
DON HOLLINGER - Let Him Go / I've Been Hit By Love
(1970, Mercede JM 3004, 7" single; 1970, Alberta 6492, 7" single)
"Let Him Go" written by Don Hollinger and Nicky Lee, produced by Nicky Lee and arranged by Frank Williams. "I've Been Hit By Love" written by Don Hollinger and produced by Jerry Williams, Jr. and Don Hollinger. Both songs appear on the CD Hooked On The Blues (2007, Henry Stone Music HSM 5020-2). "I've Been Hit By Love" also appears on E. Rodney Jones: The World's Greatest Disc Jockey Presents...The World Series Of Blues and Soul Vol. 1 (2001, S.D.E.G. 1947).
Weblink: http://www.sirshambling.com/artists/D/don_hollinger.htm
HOT BUTTER - You Should Be Dancing / You Should Be Dancing (Track Without Lead Vocal)
(1977, Dynamo DS-603, 7" single; Dynamo 12-DS-603, 12" single)
Produced by Jerry "Swamp Dogg" Williams, Jr. Arranged by B.K. Bowie. Written by Warren and Farrow. Side A track time = 5:13, side B track time = 4:42.
TOMMY HUNT - I Need A Woman Of My Own / Searchin' For My Baby (Lookin' Everywhere)
(1967, Dynamo D-113, 7" single; 1967, Direction 3216 [UK], 7" single)
"I Need A Woman Of My Own" produced by Jerry Williams and Stanley Kahan, written by Jerry Williams and B. Elgin and recorded at Groove Sound-NYC. "Searchin' For My Baby (Lookin' Everywhere)" arranged and produced by Jerry Williams and written by Jerry Williams and Yvonne Williams. Side A track time = 2:50. Side B track time = 2:30.
TOMMY HUNT - Just A Little Taste (Of Your Sweet Lovin') / Born Free
(1968, Dynamo D-124, 7" single; 19??, Columbia D-124 [Canada], 7" single)
"Just A Little Taste (Of Your Sweet Lovin')" co-produced by Jerry Williams, written by R. Lisi and T. Troob, and available on "The Biggest Man: Scepter and Dynamo recordings 1961-67" [1997, Ace/Kent CDKEND 145] and "Your Man" [1986, Kent LP 059]. "Just A Little Taste (Of Your Sweet Lovin')" also available on Quartet Of Soul Vol. 3: The Platters, The Toys, Inez and Charlie Foxx, Tommy Hunt (1968, Musicor MM-2152 [mono]/MS-3152 [stereo]). "Born Free" produced by George Tobin and arranged by Jimmy Wisner, also available on "Tommy Hunt's Greatest Hits" (1968, Dynamo DS 8001).
TOMMY HUNT - UNTIL MY ARMS FALL OFF [MAXI RADIO PROMO]
(1996, S.D.E.G. 1978, promotional)
1. Hope That We Can Be Together Soon
[Kenneth Gamble and Leon Huff]
2. Until My Arms Fall Off (Radio Edit)
[Swamp Dogg and Bob Jones]
3. Until My Arms Fall Off (LP Version)
[Swamp Dogg and Bob Jones]
4. I'll Always Be Your Man (Radio Edit)
[Swamp Dogg and Charles J. Hunt]
5. I'll Always Be Your Man (LP Version)
[Swamp Dogg and Charles J. Hunt]
6. O' Holy Night
[traditional]
TOMMY HUNT - UNTIL MY ARMS FALL OFF
(1996, S.D.E.G. 1978)
1. Until My Arms Fall Off
[Swamp Dogg and Bob Jones]
2. I'll Always Be Your Man
[Swamp Dogg and Charles J. Hunt]
3. Sexually Speaking
[Swamp Dogg, Charles J. Hunt and Gregory Cook]
4. Human
[Luther Dixon]
5. Hope That We Can Be Together Soon (duet with Antoinette {Williams})
[Kenneth Gamble and Leon Huff]
6. Right Mood To Do Wrong
[Swamp Dogg and Bob Jones]
7. Taking A Chance
[Swamp Dogg and Bob Jones]
8. Stars Above
[Daniel Barbour and Christina Sibbelee]
9. Don't Let This Be Our Last Love Song
[Michael Greene]
10. O' Holy Night
[traditional]
NOTES:
Produced and arranged by Swamp Dogg. Swamp Dogg plays keyboards and provides background vocals.
Liner credit notes:
Special Shout outs from the Dogg to: Bob Merlis, Warren Lanier, Derwood Andrews, Jason Rothberg, Bob Scherl, Norm Goodman, Mandy Littlewood, Benjamin Wright, Debra Wright, Michael Green, Bobbi Jo, Bill Liebowitz, Sharon Liebowitz, Gene Sculatti, Marsha Sculatti, John Goddard, Jeanie Patterson, Gwen Lanier, The Sweetwater Crew, Bob Jones (tunesmith extraordinaire), Marshall Sehorn, Thelma Allen (an almost understanding banker), Leon Haywood (one of god's real good ones), Curtis Jordan (a friend since childhood), Julian Earls (the first friend I ever had/first child this child met, friends to the end)...
Love from the Dogg to: Victoria (the only granddaughter in the world)...a daughter who knows how to make a poppa proud and who's also working on a degree in medical doctoring, my Jeri...Toni, another daughter with the biggest heart in the world and who is also singing on track five and completing her album under the nom de plume of Antoinette...Tommy Hunt, a guy who needed me as a friend about as much as he needed the clap, nevertheless, he befriended me in the 60's and we're still just as tight as ever...Debbie, my oldest daughter, and wildest...Loren, my new son in law and daughter tamer...Little Loren, a new joy to this world...and Bernard, basketball nut, "A" student, love gangster and grandson to be proud of. It goes without saying that if it was not for my wife, Yvonne, I couldn't walk in a straight line, tie my shoes or feed myself. That's another kind of love that takes thirty-eight or more years to blossom. A lot of respect and love to Duane R. Folkes, attorney at law, in law and on law...will sue you for fucking with the Dogg!
HUSTLE, Z & M.C. COOL P - No More Mr. Nice Guy / Why James Brown?
(1989, Ichiban/S.D.E.G. 12-PO30, 12" single)
Produced by Swamp Dogg and Milton Corondo. Side A = 4:06. Side B = 5:50.
HUSTLE, Z & M.C. COOL P - No More Mr. Nice Guy [mix 1] / No More Mr. Nice Guy [mix 2]
(1989, S.D.E.G. ??, 12" single)
Produced by Swamp Dogg and Milton Corondo.
HUSTLE, Z & M.C. COOL P - SHOW ME YOURS AND I'LL SHOW YOU MINE
(1989, S.D.E.G. SDE 4010)
1. No More Mr. Nice Guy
2. Why James Brown?
3. In The Search
4. Now That's Love
5. Ok Girl (Let Me Into Your World)
6. My Def Girl
7. Girl I'm So In Love With You
8. Face
9. Ayo
NOTE:
Produced by Swamp Dogg and Milton Corondo.
JAY J. JONES - I Don't Know About You / Bring Back My Dog
(1962, V-Tone V-508, 7" single)
"I Don't Care About You" written by L. Lendon & B. Massey; track time = 2:00. "Bring Back My Dog" produced and written by Jerry Williams, Jr.; track time = 2:05. Jerry Williams, Jr. can be heard singing background vocals on "Bring Back My Dog". "Bring Back My Dog" is also available on "Harlem Shuffle: 30 Tracks of 6Ts R&B And Early Soul Dance Grooves" (2007, Twist Records Twist.023 {Japan}): http://www.osakatwistandshout.com/twist_records_023.html
Both songs can be found on the internet at: http://www.thesoulgirl.com/music/andromeda1.php?q=s&sm=ff&s=jay+j+jones
Comments by Swamp Dogg on The Southern Soul List (Yahoo) 3/27/01 and 3/28/01: "I produced and wrote it circa 61'-62'. That's me with the high voice singing in the background and playing piano. Jay J. Jones was a popular night club performer in the Philadelphia area and a good friend of mine." ... "I recollect doing four sides on him, of which one was "Home On The Range"."
THE KITTENS - Give Me A Shove / Hot Water
(1964, Don-El 123, 7" single)
Both sides arranged and conducted by Jerry Williams, Jr. Both sides a Don-El production. "Give Me A Shove" written by Jerry Williams. "Hot Water" written by Jerry Williams and P.D. White. Side A contains the additional label number D 45-6424-8 G; track time = 1:50. Side B contains the additional label number D 45-6424-8 W; track time = 2:12. The acetate copy states that both sides were arranged by Bill Massey. Recorded May 12, 1964 at Bell Sound, New York NY. The group was led by Sheila Fergurson. My copy of this single has the labels on the wrong sides, i.e. the side labeled "Give Me A Shove" is actually "Hot Water" and vice versa.
PATTI LABELLE & THE BLUEBELLS - Dance To The Rhythm Of Love / He's Gone
(1969, Atlantic 45-2610, 7" single)
Both sides produced by Jerry Williams, Jr. "Dance To The Rhythm Of Love" written by Art Wayne and Lotti Golden. "He's Gone" written by Jerry Williams, Jr. and Larry Harrison. Side A track time = 2:54. Both songs are available on Over The Rainbow/The Atlantic Years (1994, Ichiban/Soul Classics SCL 2501-4). "He's Gone" is also available on Doris Duke and Patti Labelle And The Bluebells (2007, S.D.E.G. 1956). Both songs recorded on January 4, 1969 at Atlantic Studios in New York City as part of a 6-song recording session produced by Jerry Williams, Jr. The Blue Bells at the time were Nona Hendryx and Sarah Dash.
PATTI LABELLE & THE BLUEBELLS - Pride's No Match For Love / Loving Rules
(1969, Atlantic 45-2629, 7" single)
"Pride's No Match For Love" produced by Jerry Williams, Jr. and written by Jerry Williams, Jr. and Larry Harrison. "Loving Rules" written by Sarah Dash and recorded in Philadelphia in February 1969 (thus likely not a Jerry Williams, Jr. production). Both songs available on Over The Rainbow/The Atlantic Years (1994, Ichiban/Soul Classics SCL 2501-4). "Pride's No Match For Love" is also available on Doris Duke and Patti Labelle And The Bluebells (2007, S.D.E.G. 1956). "Pride's No Match For Love" was recorded on January 4, 1969 at Atlantic Studios in New York City as part of a 6-song recording session produced by Jerry Williams, Jr. The Blue Bells at the time were Nona Hendryx and Sarah Dash.
ALTO LEE - Indefinitely // Who Can I Turn To (In The Wind) / Blowin' In The Wind
(1966, 8730 Records 101, 7" single)
Produced by Jerry Williams and Richie Rome. Both songs written by Jerry Williams, Jr. and Rick Spain. "Blowin' In The Wind" written by Bob Dylan. Side A track time = 2:25. Side B track time = 2:45.
VERA LEE - 83 AND STILL PLAYING WITH THE BOYS
(2004, S.D.E.G. 1954)
1. You're Nobody Until Somebody Loves You
2. All Of Me
3. My Man Is An Undertaker
4. Red Hot Nutz
5. For All We Know
6. Don't Tell Me Nothing About My Man
7. I Gotta To Have My Baby Back
8. Am I Asking Too Much
9. Mama's Well Has Done Gone Dry
10. Call Me Darling
11. I'll Keep It Turned Towards the Wall
12. Mamma Goes Where Pappa Goes
NOTES:
Jerry "Swamp Dogg" Williams produced and provided the CD cover concept to his mother's record, a.k.a. Vera Lee Holley. "Red Hot Nutz" is credited to Vera Cross (Vera Lee's married name when she was married to Nat Cross) but the song is actually a remake of "Get 'Em From The Peanut Man (Hot Nuts)" as recorded by Georgia White in 1935. A 2007 promotional video for "Red Hot Nutz" can be viewed at: http://www.youtube.com/watch?v=xM-iu0ZEUYI
LIGHTNIN' SLIM - My Babe / Good Morning Heartaches
(1971, Excello EX-2320, 7" single)
Side A track time = 2:22. Side B track time = 2:57. Also available on The Complete Excello Singles (1997, P-Vine PCD 52301 {Japan}), High & Low Down (1971, Excello 8018; 1978, Sonet SNTF 770), High & Low Down / Over Easy (1995/2002, Ace CDCHD 578), Hoodoo Blues (1994, Classic World; 1999, Selected Sound Carrier [Switzerland] 3445.2101-2; 2004 Prestige/NOVA/Pinnacle CDSGP78) and Play Me The Blues...The Legendary Blues Singers (2001, Wesgram 770532).
LIGHTNIN' SLIM - THE COMPLETE EXCELLO SINGLES
(1997, P-Vine PCD 52301 {Japan})
NOTES:
58 tracks, presumably including Excello single EX-2320 (My Babe / Good Morning Heartaches).
LIGHTNIN' SLIM - HAVE I GOT BLUES FOR YOU
(2001, Dressed To Kill ???)
1. Rooster Blues
2. Lightning's Bad Luck
3. G.I. Blues
4. Crazy About You Baby
5. My Babe
6. Things I Used To Do
7. That's All Right
8. Good Morning Heartaches
9. Hoodoo Blues
10. Oh Baby
NOTE:
A repackaging of High & Low Down. "Lightning's Bad Luck" is the same as "Bad Luck Blues".
LIGHTNIN' SLIM - HIGH & LOW DOWN
(1971, Excello 8018; 1978, Sonet SNTF 770)
Side 1:
1. Rooster Blues
[J. West]
2. Things I Used To Do
[Chuck Berry]
3. Bad Luck Blues
[Otis Hicks and J.D. Miller]
4. My Babe
[Willie Dixon]
5. G.I. Blues
[Otis Hicks]
Side 2:
1. Oh Baby
[Jacobs]
2. That's All Right
[Rogers]
3. Crazy 'Bout You
[Williamson]
4. Good Morning Heartaches
[Jerry Williams, Jr. and Don Hollinger]
5. Voodoo Blues
[Otis Hicks and J. West]
NOTES:
Produced and arranged by Jerry Williams, Jr. Recorded at Quinvy Recording Studio, Sheffield, Alabama. Personnel: Lightnin' Slim - rhythm guitar & vocals; Clayton Ivy - piano & organ; Jesse Carr - lead guitar; Tippy Armstrong - harmonica; Bob Wary - bass; Fred Proudly - drums. 5 of the 10 tracks are also available on Play Me The Blues...The Legendary Blues Singers (2001, Wesgram 770532).
LIGHTNIN' SLIM / WHISPERING SMITH - HIGH & LOW DOWN / OVER EASY
(1995/2002, Ace CDCHD 578)
1. Spoken Intro (by Freddie North at Excello Records Sales Convention 1972)
LIGHTNIN' SLIM
2. Rooster Blues
3. Things I Used To DO
4. Bad Luck Blues
5. My Babe
6. G.I. Blues
7. Oh Baby
8. That's All Right
9. Can't Hold Out Much Longer
10. Good Morning Heartaches
11. Hoodoo Blues
WHISPERING SMITH
12. What In The World's Come Over You
13. Mojo Hand
14. The Way You Treat Me
15. I Don't Need No Woman
16. Everybody Needs Love
17. I Know I've Got A Sure Thing (Smith's Jam)
18. Why Am I Treated So Bad
19. Rock Me Baby
20. Married Man
21. I Know You Don't Love Me
22. It's All Over
23. You Want To Do It Again
NOTE:
A reissue of Lightnin' Slim's 1971 album High & Low Down coupled with Whispering Smith's 1971 album Over Easy.
LIGHTNIN' SLIM - HOODOO BLUES
(1994, Classic World; 1999, Selected Sound Carrier [Switzerland] 3445.2101-2; 2004 Prestige/NOVA/Pinnacle CDSGP78)
1. Rooster Blues
[J. West]
2. Lightning's Bad Luck
[J. West and Otis Hicks]
3. G.I. Blues
[Otis Hicks]
4. Crazy About You Baby
[Williamson]
5. My Babe
[Willie Dixon]
6. Things I Used To Do
[Chuck Berry]
7. That's All Right
[Rogers]
8. Good Morning Heartaches
[Jerry Williams, Jr. and Don Hollinger]
9. Hoodoo Blues
[Otis Hicks and J. West]
10. Bad Luck Blues
[Otis Hicks and J.D. Miller]
11. Oh Baby
[Jacobs]
NOTE:
A repackaging of High & Low Down. "Lightning's Bad Luck" is the same as "Bad Luck Blues".
LIGHTNING SLIM - THAT'S ALL RIGHT
(1983, Intermedia QS-5062, vinyl LP)
Side One:
1. Bad Luck Blues
[Otis Hicks and J.D. Miller]
2. G.I. Blues
[Otis Hicks]
3. Crazy About You Baby
[Williamson]
4. My Babe
[Willie Dixon]
5. Things I Used To Do
[Chuck Berry]
Side Two:
1. That's All Right
[Rogers]
2. Good Morning Heartaches
[Jerry Williams, Jr. and Don Hollinger]
3. Rooster Blues
[J. West]
4. Voodoo Blues
[Otis Hicks and J. West]
5. Oh Baby
[Jacobs]
NOTE:
A repackaging of High & Low Down.
LITTLE CHARLES AND THE SIDEWINDERS - Please Open Up The Door / Shanty Town
(1968, Botanic B-1001, 7" single)
Both sides produced by Jerry Williams, Jr. "Please Open Up The Door" written by Jerry Williams, Jr. and Larry Harrison, arranged by Teacho Wiltshire. "Shanty Town" written by Jerry Williams, Jr. and Carlton Carter. Side A track time = 2:37. "Please Open Up The Door" uses the same backing track as "Shipwrecked" by Jerry Williams (1968, Cotillion 45-44022). This single was issued in two variations, a black label with primarily silver printing and a multi-colored flower on the right-hand side, and an orange label with black printing and no flower (likely a reissue). Both songs are available on Twice As Much For My Baby [2000, Soul-Tay-Shus STS LP 6346], a vinyl LP that also includes another song produced by Swamp Dogg, "Help Somebody" (as per a comment by Swamp Dogg on The Southern Soul List (Yahoo) 11/22/02).
"Please Open Up The Door" was also released as the B-side to another single, Red Sands 45-701, with the A-side being a non-Botanic track "You're A Blessing". Comments by Swamp Dogg on The Southern Soul List (Yahoo) 11/29/06: "There's a third cut entitled "Helpless People" that was included on his three song session. Unfortunately it's been lost in the shuffles since 68'. Botanic was a label founded by Lonnie Stanley, a millionaire number banker who owned the "Mr. Wonderful" nightclub in Newark and many other bars and residential properties. His partner was Jimmy Vanleer. After putting the company together they couldn't seem to get it off the ground so they hired Don Gardner as their Chief Advisor, who located me and brought me in to head up A&R. I brought in and recorded Gary Bonds, Sir John Henry, Saturday's Crowd and several more including Little Charles, who was managed by Lonnie. I moved up quickly and became vice president after Lonnie and Vanleer dissolved their partnership. Later, Lon