JERRY WILLIAMS, JR. / SWAMP DOGG DISCOGRAPHY

http://www11.brinkster.com/groovies1/Swamp.html
Updated 2014.October.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, Andy Schwartz, my loving wife Asma and my little boy Jonah.

NEWS, INFO, INTERVIEWS & ARTICLES
AUDIO & VIDEO
DISCOGRAPHY
      SINGLES & EPs
      ALBUMS (CDs & LPs)
      VARIOUS ARTISTS COMPILATIONS
      PRODUCTION & ARRANGEMENT
      COVERS & SAMPLES
      MISCELLANEOUS
      MOVIES & TELEVISION
SONG CREDITS
LYRICS


=================================
NEWS, INFO, INTERVIEWS & ARTICLES:
=================================

The Swamp Dogg Times: http://www.swampdogg.net/

Facebook: https://www.facebook.com/SwampDogg

Twitter: https://twitter.com/TheSwampDogg

Swamp Dogg's Record Store:
http://swampdogg.bandcamp.com/
http://store.fastcommerce.com/render.cz?method=index&store=sdeg&refresh=true


SWAMP DOGG COVERS BECK
Swamp Dogg performs "America, Here's My Boy" on the various artists compilation Beck Song Reader [AKA Warby Parker presents Song Reader: twenty songs by Beck] (2014, Capitol). Produced by Beck and Randall Poster. All of Warby Parker's and the recording artists' proceeds from this album benefit 826 National, a non-profit network dedicated to cultivating writing skills in students aged 6-18. http://www.826national.org


NEW ALBUM DELAYED
Swamp Dogg was scheduled to release his new album on April 15, 2014 but it has obviously been delayed. The CD is titled The White Man Made Me Do It (previously tentatively titled The Real Doggfather). Swamp Dogg has kindly provided the track listing:
1. The White Man Made Me Do It
2. Lying Lying Lying Woman
3. Renae
4. You Send Me
5. Let Me Be Wrong
6. Cash Ain't Nothing But Trash
7. Happy
8. What Lonesome Is
9. Yea Yea Yea
10. Where Is Sly
11. Smokey Joe's Cafe
12. Light A Candle
13. Prejudice Is Alive
14. If That Ain't The Blues...Nothing Is
15. Sweet Home Alaabama


2014 ESSENTIAL MEDIA GROUP DIGITALLY REMASTERED SWAMP DOGG RECORDS
Many of Swamp Dogg's albums were reissued as "digitally remastered" on-demand CD-Rs by Essential Media Group on February 28, 2014. Included is the super rare album An Opportunity...Not A Bargain (NOTE: the Swamp Dogg vocal versions of "Shaft's Mama" and "Let's Do It Again" have been replaced with the Charlie Whitehead vocal versions), as well as Swamp's 1982 record (Ala Records ALA 1990), and 1977's Finally Caught Up With Myself, the first digital outings for these albums. The other albums are: Have You Heard This Story; I Called For A Rope And They Threw Me A Rock; I'm Not Selling Out I'm Buying In; Rat On; Resurrection; Swamp Dogg's Greatest Hits?; and You Ain't Never Too Old To Boogie. Swamp's early-1980s country album, AKA The Mercury Record, first released in 2007 on The Excellent Sides Of Swamp Dogg Vol. 5 also gets the "newly remastered" single-disc release as Don't Give Up On Me: The Lost Country Album. There are also two new compilation albums: The Essential Collection (a 3 CD set); and Swamp Dogg & Friends - My Resume. Another compilation from the label includes Swamp along with many artists whom he produced, an MP3 download-only collection titled It Had To Be You: Southern Soul Gems. Swamp's split CD EP from 2008 When Dreams Come True (with Lucciana & Divine) has also been digitally remastered.


CUFFED, COLLARED & TAGGED REISSUED BY FAT POSSUM RECORDS
Fat Possum records reissued 1972's Cuffed, Collared & Tagged album in CD, Vinyl LP, and MP3 format in February 2014 (Fat Possum FPH 1288): http://www.fatpossum.com/products/cuffed-collared-and-tagged


LIVING BLUES INTERVIEW
The April 2014 issue of Living Blues (issue #230, vol. 45 #2) has a lengthy interview and front cover article on Swamp Dogg by Gene Tomko. "There's a Lot of Freedom in My Albums", front cover + pages 10-19. The article includes a few never-before-seen vintage photos, including Jerry at age 2 and a picture of him talking with Bobby "Blue" Bland. The issue can be purchased from the Living Blues website, which also includes a nod to this online discography you're now viewing: http://www.livingblues.com/


SWAMP DOGG WRITES A BOOK PROLOGUE
Swamp Dogg has written the prologue to a new book, Espiritus en la Oscuridad: Viaje a la era soul, written by Andreu Cunill Clares and soon to be published in Spain by 66 rpm Edicions: http://66-rpm.com/
The jacket's front cover is a photo of Swamp Dogg in the studio with Tommy Hunt circa 1968. A translation of the summary from the book's jacket:
     Spirits in the Dark offers a fascinating journey to the golden age of soul music, and he does it by dividing its key areas created by territory. Andreu Cunill, collector publisher and scholar of the genre, crosses the United States of America from coast to coast and dissects with surgical precision what happened in a complex and variegated network of record labels, concert halls and recording studios, shedding light on key artists not always sufficiently recognized. Analyzing what happened on the ground, with information firsthand as provided by artists like Swamp Dogg, writing an illuminating foreword, the author writes a fundamental work to understand and fully enjoy a musical and sociological phenomenon of unparalleled quality.


SWAMP DOGG TO PRODUCE FEDERICO GIOVANNETTI
An April 2013 private email notes that Swamp Dogg is co-producing (with Moog Star) a young Italian soul singer named Federico Giovannetti. Guests on the CD include Leo Nocentelli (The Meters), Steve Cropper, James Alexander (The Bar-Kays), Sheila E. and a horn section lead by Lee Thornburg (Etta James, Tower of Power, Supertramp).


SWAMP DOGG TO PRODUCE JOHN THE CONQUEROR
In early 2013 the band John The Conqueror signed a contract to have Swamp Dogg produce their next album for Alive Naturalsound Records. See: http://www.johntheconqueror.com/#


July 13, 2014 "Jerry Williams Jr (Swamp Dogg) Birthday Tribute", In Orbit with Clive R, SolarRadio.com, Sky Digital Channel 0129:
http://www.mixcloud.com/SolarRadio/in-orbit-with-clive-r-july-13-pt2-jerry-williams-jr-swamp-dogg-birthday-tribute/


November 1, 2013 KUTX Radio Studio, Austin, Texas interview with Rick McNulty:
http://kutx.org/features/swamp-dogg
http://kutx.org/wp/wp-content/uploads/2013/11/Swamp-Dogg-Final_mixdown.mp3


September 23, 2013 Oxford American interview: http://www.oxfordamerican.org/articles/2013/sep/23/musician-interview-jerry-williams-jr/


July 26, 2013 L.A. Record interview, "Swamp Dogg: Don't Get Mad At Me!":
http://larecord.com/interviews/2013/07/26/swamp-dogg-interview-dont-get-mad-at-me


July 25, 2013 Luxuria Music - Thee Charm School interview with Swamp Dogg (2 parts):
http://luxuriamusic.com/podcasts/Thee%20Charm%20School
http://luxuriamusic.com/audio/download/30233/1374800400.mp3
http://luxuriamusic.com/audio/download/30234/1374804000.mp3
      === Part 1 (segment begins at 31:47) ===
      segment intro / Swamp Dogg intro
      Wifesitter
      Interview part 1
      HTD Blues (Heartsick Troublesome Downout Blues)
      Interview part 2
      She's All I Got - Freddie North
      Interview part 3
      Synthetic World [part 1]
      === Part 2 (segment ends at 39:05) ===
      Synthetic World [part 2]
      Interview part 4
      Total Destruction To Your Mind
      Interview part 5
      (I'll Always Remember) Chapel On The Hill
      Interview part 6
      Cheating In The Day Light - Willie Clayton with Swamp Dogg
      Interview part 7
      I Was Born Blue
      segment outro


July 11, 2013 "The Swamp Dogg Interview: a Q&A with our most eccentric client", by Lyric Financial: http://www.lyricfinancial.com/2013/07/11/the-swamp-dogg-interview-a-qa-with-our-most-eccentric-client/


April 2013 "They've Come To Get Me From The Lost And Found" - Swamp Dogg: Not Just Another Motherfucker, interview by Lee Bains III for Stomp and Stammer: http://www.stompandstammer.com/index.php?option=com_content&task=view&id=5302&Itemid=51


March 20, 2013 "Swamp Dogg Speaks", Aquarium Drunkard interview by Jason Woodbury: http://www.aquariumdrunkard.com/2013/03/20/swamp-dog-speaks-the-aquarium-drunkard-interview/#more-34177


March 18, 2013 Pavement PR's webpage with tons of Swamp Dogg record reviews: http://pavementpr.com/news/swamp-dogg-receives-insane-amount-of-worldwide-press-for-reissues/


March 5, 2013 Nashville Cream interview: http://www.nashvillescene.com/nashvillecream/archives/2013/03/05/swamp-dogg-the-cream-interview


March 5, 2013 Tha Real Mother****ing Doggfather by David Marchese, Spin Magazine (link starts at page 2): http://www.spin.com/#articles/swamp-dogg-total-destruction-rat-on-the-real-doggfather?page=1


August 13, 2012 A Stoned Soul Weekend: New York Pays Tribute To Laura Nyro, Gil Scott-Heron and R&B's Living Legends:
http://www.rollingstone.com/music/blogs/alternate-take/a-stoned-soul-weekend-new-york-pays-tribute-to-laura-nyro-gil-scott-heron-and-r-bs-living-legends-20120813


July 9, 2011 WFMU interview by Michael Shelley (nearly 1 hour long!)
http://wfmu.org/playlists/shows/41034


2011 Origin of Song: Swamp Dogg's "Synthetic World" by Crawdaddy columnist Denise Sullivan: http://www.crawdaddy.com/index.php/2011/02/28/origin-of-song-swamp-doggs-synthetic-world/


July 25, 2010 Lowell Folk Festival, Dutton Street Dance Pavilion, Lowell, MA - Interview with Swamp Dogg & Vera Lee by Kathleen Pierce + Synthetic World excerpt: http://www.youtube.com/watch?v=h_CtPQoS2Wk


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
http://soundcloud.com/bullseye-with-jesse-thorn/swamp-dogg


June 14, 2007 Swamp Dogg Bites Back:
http://arts.guardian.co.uk/filmandmusic/story/0,,2102901,00.html


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 Billy Price talking about Swamp Dogg: http://www.post-gazette.com/magazine/20000121price1.asp


1998 "A Dog's Tale", interview by Ray Ellis, published in Juke Blues #49: http://swampdoggpresents.blogspot.com/


1998 Richie Unterberger interview: http://www.furious.com/perfect/swampdogg.html


August 21, 1992 A Soul Singer With As Much Bite As Bark [interview by Karen Schoemer]: http://query.nytimes.com/gst/fullpage.html?res=9E0CE6DA1730F932A1575BC0A964958260&sec=&spon=&pagewanted=all


=============
AUDIO & VIDEO:
=============


July 11, 2014 Montana Folk Festival, “The Original” Stage, Butte, MT (filmed by Chicken Coop Photography)
      Vera Lee – Walkin' and Talkin' (And Cryin' My Blues Away)
      http://www.youtube.com/watch?v=Qo3gW5VJbXQ


May 17, 2014 Black Is Back!: Sensacional Rhythm 'N' Soul Weekend, Plaza Matadero, Madrid, Spain
      Vera Lee - Walkin' and Talkin' (And Cryin' My Blues Away)
             http://www.youtube.com/watch?v=UU_drpRs0ms
      Synthetic World
             http://www.youtube.com/watch?v=MIe4WFSGg_Q
      Got To Get A Message To You
             http://www.youtube.com/watch?v=qiGr1Tg_WcI


May 2014 Spain
      Mama's Baby, Daddy's Maybe [fragment] with Eli Paperboy Reed
      http://www.youtube.com/watch?v=bbgA7vqReVg


May 15, 2014 Black Is Back!: Sensacional Rhythm 'N' Soul Weekend, BARTS (Barcelona Arts On Stage), Barcelona, Spain
      Vera Lee - Walkin' and Talkin' (And Cryin' My Blues Away)
      http://www.youtube.com/watch?v=s-vbL57WFOU


October 31, 2013 Kessler Theater, Dallas, TX
      1. I'm The Lover Man
             http://www.youtube.com/watch?v=MbaNs6vY8UM
      2. Total Destruction To Your Mind
             http://www.youtube.com/watch?v=uA9K5wo_kW4
      3. Synthetic World
             http://www.youtube.com/watch?v=5syuqMfnuY8
      4. Sam Stone
             http://www.youtube.com/watch?v=9kXlzxkPfvg
      5. Did I Come Back Too Soon (Or Stay Away Too Long)
             http://www.youtube.com/watch?v=hSfDwZZFk4U
      6. Mama's Baby, Daddy's Maybe
             http://www.youtube.com/watch?v=nQSvxgsoLs4
      7. The World Beyond
             http://www.youtube.com/watch?v=pZ-oFMyl9-w


October 4, 2013 Ponderosa Stomp, Rock 'n' Bowl, New Orleans, LA
      1. Total Destruction To Your Mind / Synthetic World [formulavi]
             http://www.youtube.com/watch?v=1duz1BGG2q8
      2. intro / Total Destruction To Your Mind [dylanjames67]
             http://www.youtube.com/watch?v=HBKojehK_Vo
      3. Synthetic World [dylanjames67]
             http://www.youtube.com/watch?v=tTer7ylTocM
      4. Sam Stone [dylanjames67]
             http://www.youtube.com/watch?v=jTcYqELVWA8
      5. song intro [cut] [dylanjames67]
             http://www.youtube.com/watch?v=_A08aZXNIhY
      6. song intro [continued] / I'm The Lover Man [dylanjames67]
             http://www.youtube.com/watch?v=b2bcs59PGQ8
      7. Got To Get A Message To You [dylanjames67]
             http://www.youtube.com/watch?v=Q0OSqIeEecU


August 12, 2012 Damrosch Park Bandshell, Lincoln Center, New York, NY
      Got To Get A Message To You
             http://www.youtube.com/watch?v=LXDV2xmAe60


July 12, 2012 70th Birthday Party, Swamp Dogg's home, Northridge, CA
      http://www.youtube.com/watch?v=aVK4IAHzUbY
      http://www.youtube.com/watch?v=JZObNDt0MH0
      http://www.youtube.com/watch?v=bkF3DEBnoq0
      http://www.youtube.com/watch?v=ThocvPREzfw


July 23, 2011 Porretta Soul Festival, Rufus Thomas Park, Porretta Terme, Italy with Austin de Lone All Stars
      http://www.youtube.com/user/lepidatv#p/u/6/b2iAsaxC528
      1. intro by Rick Hutton /
         Swamp Dogg, That's My Name [instrumental] /
      2. I'm The Lover Man
      3. Crawdad Hole
      4. Did I Come Back Too Soon (Or Stay Away Too Long)
      5. Sam Stone
      6. Mama's Baby, Daddy's Maybe
      7. Synthetic World
      8. his previous time at Porretta / The World Beyond
      9. Total Destruction To Your Mind
      10. song introduction / The More
      11. Got To Get A Message To You [jam]
      12. Since I Fell For You
      13. In My Resume
      Austin de Lone All Stars: Austin de Lone - keyboards, vocals; Gary Vogensen - guitar, vocals; Eric McCann - bass; Adam Goodhue - drums; Mike Rinta - trombone; Sax Gordon - tenor saxophone; Claudio Carboni - alto saxophone, baritone saxophone; Franco Venturi - trumpet; Caroline de Lone, Shontelle Norman & Sharisse Norman: background vocals.


July 24, 2011 "Memphis Soul Night/Rhythm & Blues Revue", Porretta Soul Festival, Rufus Thomas Park, Porretta Terme, Italy with Austin de Lone All Stars
       (@1:04-1:45 mark) http://www.youtube.com/user/lepidatv#p/u/0/MlgvPRpb2KI
      1. intro by Rick Hutton / Swamp Dogg, That's My Name [instrumental]
      2. Since I Fell For You
      3. Total Destruction To Your Mind
      4. Got To Get A Message To You [26 minute jam with Spencer Wiggins, Percy Wiggins, Harvey Scales, William Bell, Toni Green & Chick Rodgers joining in for second half]
      Austin de Lone All Stars: Austin de Lone - keyboards, vocals; Gary Vogensen - guitar, vocals; Eric McCann - bass; Adam Goodhue - drums; Mike Rinta - trombone; Sax Gordon - tenor saxophone; Claudio Carboni - alto saxophone, baritone saxophone; Franco Venturi - trumpet; Caroline de Lone, Shontelle Norman & Sharisse Norman: background vocals.


July 15, 2011 Southpaw, Brooklyn, NY with The Revelations [audience]:
      1. Did I Come Back Too Soon (Or Stay Away Too Long)
             http://www.youtube.com/watch?v=s3Qvcju4Iys
      2. Synthetic World
             http://www.youtube.com/watch?v=6xsNxoF0uEw
July 15, 2011 Southpaw, Brooklyn, NY with The Revelations [soundboard]:
http://soundcloud.com/therevelations/swamp-dogg-the-revelations
      Intro instrumental
      I'm The Lover Man
      Did I Come Back Too Soon (Or Stay Away Too Long)
      Total Destruction To Your Mind


July 2, 2011 Smithsonian Folklife Festival, second show {6:00 p.m.}, Motor City stage, National Mall, Washington, D.C.
      1. Crawdad Hole
             [filmed by by Eric Griffis, David Barnes, & Holden Young, edited by Michael Headley]
             http://www.youtube.com/watch?v=cAxu8kDWzYQ
      2. Since I Fell For You [excerpt]
             http://www.youtube.com/watch?v=yxMbt83IsGE
      3. Total Destruction To Your Mind + Did I Come Back Too Soon (Or Stay Away Too Long)
             http://www.youtube.com/watch?v=9MdF2wT2Ecc


October 2010 Late Lunch With Out To Lunch: The Dogg In Himself [tribute], hosted by Ben Watson, 104.4 FM Resonance Radio, London, England: http://www.archive.org/details/TheDoggInHimself10-iii-2010
      An episode of Ben Watson's weekly show "Late Lunch With Out To Lunch" originally broadcast live on Resonance Radio: http://resonancefm.com/
      A salute to Swamp Dogg and his new CD on S-Curve "Give 'Em As Little As You Can ... As Often As You Have To ... Or ... A Tribute To Rock'n'Roll" with OTL on his personal relationship with the Dogg, one that started with finding a secondhand copy of Total Destruction To Your Mind (Canyon, 1970) and being amazed that someone should rip off Zappa's sleeve notes to Freak Out!; ten Swamp Dogg tracks; and comparative material by Conlon Nancarrow and Sly 'n' Robbie.


July 25, 2010 Lowell Folk Festival, Dutton Street Dance Pavilion, Lowell MA
      1. Interview + Synthetic World [fragment, begins at 1:32]
             http://www.youtube.com/watch?v=bkNsunPoGu0
      2. Total Destruction To Your Mind
             http://www.youtube.com/watch?v=kabrTH1HU3g


July 24, 2010 Lowell Folk Festival, Boarding House Park, Lowell, MA
      1. VERA LEE - Playing With The Boys
             http://www.youtube.com/watch?v=9yXI3wiOUuU
      2. I'm The Lover Man
             http://www.youtube.com/watch?v=6Q8aMxIYp8M


July 10, 2010 North Sea Jazz Festival 2010, Congo stage, Ahoy, Rotterdam, The Netherlands
      1. VERA LEE - Playing With The Boys
             http://www.youtube.com/watch?v=ZcqUd2sWyHU
      2. I'm The Lover Man
             http://www.youtube.com/watch?v=gIyveZ3JfxI
      3. Redneck
             http://www.youtube.com/watch?v=Y1yGR1bF8KY
      4. I've Never Been To Africa (And It's Your Fault)
             http://www.youtube.com/watch?v=VNfEQvNje1Y
      5. The World Beyond
             http://www.youtube.com/watch?v=qIX9cvtcZ5M
      6. I Was Born Blue
             http://www.youtube.com/watch?v=DwYons05Jeg
      7. Did I Come Back Too Soon (Or Stay Away Too Long)
             http://www.youtube.com/watch?v=xbasFIpUxNk
      8. In My Resume
             http://www.youtube.com/watch?v=oW5zEAu9lec
      9. Synthetic World
             http://www.youtube.com/watch?v=hJdWkLLRhgU
      10. Total Destruction To Your Mind
             http://www.youtube.com/watch?v=Mo4S26lkHcQ
             http://www.youtube.com/watch?v=JNbTaxc4R4Y


May 16, 2010 City Winery, New York NY with The Revelations
      1. Total Destruction To Your Mind
             http://www.youtube.com/watch?v=c0USOt8Ky6E
      2. Since I Fell For You
             http://www.youtube.com/watch?v=urRSPJRcxFY


October 10, 2009 Richmond Folk Festival, James River Riverfront, Richmond VA
      1. VERA LEE - Playing With The Boys
             http://www.youtube.com/watch?v=Eo992SCL3EY
      2. Since I Fell For You
             http://www.youtube.com/watch?v=r0CKYwcUrFk
      Total Destruction To Your Mind [fragment, 1:12-1:33]
             http://www.youtube.com/watch?v=VGJNFaXqPAs&NR


2009 Rock Foxx - "Please Step Back":
http://bengreenman.com/content/wp-content/uploads/2009/02/please-step-back-final.mp3
      Swamp Dogg as "Rock Foxx" performing a song written in collaboration with writer Ben Greenman for his novel Please Step Back. 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
      http://bengreenman.com/content/?page_id=329


March 1, 2008 Prestatyn Northern & Modern Soul Weekender, "Northern Soul" Room, Pontin's Prestatyn Sands, Prestatyn, Denbighshire, North Wales
      1. Total Destruction To Your Mind
             http://www.youtube.com/watch?v=VwzPQYT9qt0
      2A. If You Ask Me (Because I Love You) [source 1]
             http://www.youtube.com/watch?v=oeFdblrJiTM
      2B. If You Ask Me (Because I Love You) [source 2]
             http://www.youtube.com/watch?v=1cr72klgY20
      3. Baby, You're My Everything
             http://www.youtube.com/watch?v=uIRBx5lhpPM


November 15, 2007 "Sorting Out The Swamp Dogg" by Ed Ward, WHYY radio, NPR Fresh Air show: http://www.npr.org/templates/story/story.php?storyId=16322903


October 26, 2007 Caribbean concert promo
      http://www.youtube.com/watch?v=w9XXHMTUiL4


April 28, 2007 Waterfront, Rotterdam, The Netherlands
      Synthetic World
             http://www.youtube.com/watch?v=IBu8Jy994eg


April 27, 2007 Main Hall, Paradiso, Amsterdam, The Netherlands
      1. In Time Of War, Who Wins
             http://www.youtube.com/watch?v=XpGca0IhBdk
      2. Sam Stone
             http://www.youtube.com/watch?v=XCRN-5yU1pQ
      3. Got To Get A Message To You
             http://www.youtube.com/watch?v=p1mmIGVU96A
Notes:
      An officially sanctioned, professionally recorded live concert performance made available on the internet in May 2007 via streaming video on the now-defunct fabchannel.com. The full setlist:
      1. In Time Of War Who Wins
      2. Raw Spitt
      3. Crawdad Hole
      4. The World Beyond
      5. Synthetic World
      6. Stand Up Fight Back [with The Jakhalzen]
      7. In My Resume
      8. Sam Stone
      9. They Crowned An Idiot King
      10. Sal-A-Faster
      11. Got To Get A Message To You
      12. Love Song 4 U
      13. Since I Fell For You
      14. Don't It Make You Wanna Go Home
      15. Total Destruction To Your Mind
      16. Sugar Bum Bum
      17. Sugar Bum Bum [encore]


March 17, 2007 South by Southwest Music Festival, Continental Club, Austin, Texas with McLemore Avenue: Patrick Benfield - Hammond organ; Landis Armstrong - guitar; Chris Johnson - bass; Kevin Remme - drums; John Bush - percussion
      In Time Of War Who Wins
             http://www.youtube.com/watch?v=B68QPq-GWZ8


@2007 unknown location
      If You Ask Me (Because I Love You)
             http://www.youtube.com/watch?v=tC9vIYmO0Vc


2006 - "King Of Kings"
Notes:
      http://www.youtube.com/watch?v=OAX32ht96lw
      An official promotional video produced in 2006 and made available on the internet at Youtube.com. The video was filmed in Clarksburg, West Virginia on 35mm film. The song comes from the X-mas Balls release She Left Me For Randolph [2004, S.D.E.G./Moon & Stars Studio SDEG 1953]. The video features spoken word monologues at the beginning, middle and end that are not contained in the CD version. An amusing video that begins with Swamp Dogg walking down a country road in ragged clothes, complete with a rope for a belt. He approaches a small country church, goes in and stands up to "testify" by singing his song with the congregation joining in. We then see that the church is having a raffle for a motorcycle. Swamp Dogg digs into his pocket and pulls out a nickel and a penny as a donation for his ticket. By the end of the video the preacher announces the winner of the raffle as ticket number 1225 (as in December 25th, Christmas). Swamp Dogg is the lucky ticket holder and rides off on his brand new motorcycle decked out in a new suit complete with a giant SWAMP belt buckle.


March 11-18, 2004 - SOULTRIP USA: LOS ANGELES 2004
(2004, KRL/Vital Distribution SoulTrip USA 1, DVD)
Notes:
      A various artists documentary recorded March 11-18, 2004 at the Wilshire Grand Hotel, Los Angeles, California. Jerry Williams briefly performs "If You Ask Me (Because I Love You)", singing along with his record and the surrounding audience who have gathered around his sales table; appears at 56:35-57:48 in the program. There are brief clips/photos of Jerry Williams, Jr. in various spots throughout the program.


@July 26, 1998 Porretta Soul Festival, Rufus Thomas Park, Porretta Terme, Italy
      Total Destruction To Your Mind
             http://www.youtube.com/watch?v=qj-hu6eiLZM


@1997-1998 - THE STRANGE WORLD OF NORTHERN SOUL
(1999, Motorcity Films MOTV 1002 [3-tape VHS set {PAL format}]; 2003, Wienerworld Ltd. [6-disc DVD set])
Notes:
      A Various Artists documentary. Jerry Williams, Jr. performs "If You Ask Me (Because I Love You)" on tape/disc 3 (Sex Drugs and Northern Soul) @2:34-2:36 hour mark, just after Tommy Hunt's performance of "Cracking Up Over You". A listing of artists appearing on tapes/discs 1-3 can be seen at: http://www11.brinkster.com/groovies1/strange.html
      If You Ask Me (Because I Love You)
             http://www.youtube.com/watch?v=afmrSjsficM


October 1, 1997 - CAN'T U HEAR ME SINGIN'
Notes:
      http://www.facebook.com/video/video.php?v=1140684936488&ref=mf
      A documentary film by Walter Stokman broadcast on television in The Netherlands on October 1, 1997 as part of the Dutch Film Festival. Contains biographical interviews with four different African-American musicians representing different styles of music: Rosie Ledet (zydeco), Ike Turner (r&b), Swamp Dogg (soul), and Tragedy (hip-hop). The segment on Swamp Dogg was filmed circa 1996, is 11 minutes long, and contains interviews with him, soul singer Tommy Hunt (who was in Los Angeles working with Swamp Dogg on his "Until My Arms Fall Off" CD and guitarist/producer Derwood Andrews. Swamp Dogg's wife, Yvonne Williams, is also present in the film. Swamp Dogg performs solo at the piano in his home, excerpts of a slow tempo version of "We Need A Revolution". Tommy Hunt speaks briefly while standing in a room containing Swamp Dogg's legendary juke box (containing 160 singles by other artists that he's had a hand in producing) and framed album cover artwork from all of his records. A visit is paid to Derwood Andrews who is in the middle of working on his project with Swamp Dogg, a re-recording of "Synthetic World" for the Generations I project.
      Production: Leontine Petit and Joost de Vries (Lemming Film)
      Director: Walter Stokman
      Camera: Stijn van Santen
      Sound: Eddy de Cloe and Rik Meier
      Assembly: Menno Boerema
      Distribution: NFM Distributie
      Running time: 71 minutes
      Swamp Dogg segment: @43:18 - 53:39
      http://www.imdb.com/title/tt0179703/
      http://www.filmkrant.nl/av/org/filmkran/archief/fk182/stokman.html
      http://www.nrc.nl/W2/Nieuws/1997/10/01/Kun/04.html
      http://www.nrc.nl/W2/Lab/Profiel/IDFA1998/informatie.html
      http://www.filmkrant.nl/av/org/filmkran/archief/fk140/letme.html


@October 1997, 2 Meter Sessions, NOB Audio Studio 1, Hilversum, The Netherlands, with accompaniment by Derwood Andrews
      1. The World Beyond
             http://www.youtube.com/watch?v=91hPXgEnRGs
      2. We Need A Revolution
             http://www.facebook.com/video/video.php?v=1140287606555&ref=mf
             http://www.youtube.com/watch?v=UoYWWW3U0qw


1972 - FTA [Jane Fonda/Donald Sutherland movie]
Notes:
      http://www.imdb.com/title/tt0068562/
      A documentary about a traveling political troupe headed by actors Jane Fonda and Donald Sutherland which traveled to towns near military bases in the US in the early 1970s. The group put on shows called "F.T.A.", which stood for "F**k the Army", and was aimed at convincing soldiers to voice their opposition to the Vietnam War, which was raging at the time. Various singers, actors and other entertainers performed antiwar songs and skits during the show, including Swamp Dogg. The film does not contain any footage of Swamp Dogg.


"Baby Bunny, Sugar Honey" [fan-produced tribute]
      http://www.youtube.com/watch?v=NB8tQiABheU


"Dust Your Head Color Red" [fan-produced tribute]
      http://www.youtube.com/watch?v=NrCPFMju_NI


=============
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 Devine - Little Jerry Williams (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 - Synthetic World / Total Destruction To Your Mind - 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 #501/SDP-SD01, 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 (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)

2010 - Hum-Baby / She's So Devine - Little Jerry Williams (Academy 113; unauthorized/bootleg replica reissue)

2014 - When Dreams Come True - Swamp Dogg ...and Introducing Lucciana & Divine (Essential Media Group CD-R)


=====================
SINGLES/EPs - DETAILS:
=====================

1954 - HTD Blues (Heartsick Troublesome Downout Blues) / Nat's Wailing - Little Jerry (Mechanic ??, 78 rpm single)
Notes:
      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 Mechanicville, 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/covers
      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)
Notes:
      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)
Notes:
      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).
      There are 3 variations of this single. Variation 1 has black labels. Variation 2, a promotional copy, has white labels. Variation 3, a promotional copy, has gold labels.
      "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)
Notes:
      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)
Notes:
      "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 website: http://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 "Let's 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 Devine - Little Jerry Williams (Academy 113)
Notes:
      Both songs written by Jerry Williams. Produced by Bob Wyld. Published by Assembly Music BMI. Side A contains the additional label number AJA-5858, track time = 2:28. Side B contains the additional label number AJA-5859; track time = 2:55.
      "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)
Notes:
      "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)
Notes:
      "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/
      There are at least 3 variations of this single. Variation 1 has yellow labels. Variation 2, which are promotional copies, has white labels. Variation 3 has orange labels. 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)
Notes:
      "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)
Notes:
      "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)
Notes:
      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)
Notes:
      "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)
Notes:
      "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)
Notes:
      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)
Notes:
      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)
Notes:
      "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)
Notes:
       "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)
Notes:
      "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)
Notes:
      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)
Notes:
      Brooks & Jerry = Brooks O'Dell and Jerry Williams Jr. UK release. A Dynamo USA Recording. Jewel Music Ltd. . Written by W. Dixon. Produced by Jerry Williams and Brooks O'Dell. 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)
Notes:
      "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)
Notes:
      "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)
Notes:
      "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 - Synthetic World / Total Destruction To Your Mind - Swamp Dogg (Canyon 53)
Notes:
      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)
Notes:
      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)
Notes:
      "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)
Notes:
      "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])
Notes:
      "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. The vinyl 45 has silver lettering on black labels. Another variation of this release has the vinyl 45 with black lettering on yellow labels in a green EMI America sleeve. From the LP Total Destruction To Your Mind [Canyon LP-7706].


1972 - Swamp Dogg (Discos Beverly Ltda./Canyon Records Inc. BCD-737 [Brazil])
Notes:
      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 illustration may be borrowed from the soundtrack LP for the 1971 motorcycle documentary On Any Sunday.] 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)
Notes:
      "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)
Notes:
      "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)
Notes:
      "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).


1973 - Wife Sitter / Please Let Me Kiss You Goodbye - Swamp Dogg (Stone Dogg 804)
Notes:
      "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)
Notes:
      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)
Notes:
      "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)
Notes:
      "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)
Notes:
      "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 #501/SDP-SD01, 12" single, 33 1/3 r.p.m.)
Notes:
      "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. 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)
Notes:
      "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)
Notes:
      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. Out Of The Past records were pressed by The International Soul Club, which was based out of The Golden Torch (aka The Torch) in Tunstall, Stoke-On-Kent, England. They were advertised in the club's flyers [2 Marsh Parade, Newcastle, Staffordshire, England] selling at 90 pence each. "If You Ask Me (Because I Love You)" had become very popular in the British "northern soul" clubs, one club-goer charting it in the Top 20 at the Blackpool Mecca in Blackpool, Lancashire, England in July 1973. The success of this bootleg eventually led to the 1973 Calla reissue, though the "reissue" included a modified instrumental break not on the original 1966 issue.


1973 - If You Ask Me (Because I Love You) / Yvonne [mono] - Jerry Williams (Calla C-116A, reissue)
Notes:
      "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 (Pye Records International/Disco Demand DDS.102)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      "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)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      "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)
Notes:
      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)
Notes:
      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)
Notes:
      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])
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      "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)
Notes:
      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)
Notes:
      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)
Notes:
      "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)
Notes:
      "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)
Notes:
      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)
Notes:
      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. You can hear a sample at:
http://www.juno.co.uk/playlists/builder/356750-01.m3u


2006 - Is This A Woman's Way? / Where Can I Find Love? - The Detroit Magnificents (Grapevine 2000 G2K 45-161)
Notes:
      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; 2014, Essential Media Group CD-R)
Notes:
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.
Notes:
      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.
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


2010 - Hum-Baby / She's So Devine - Little Jerry Williams (Academy 113; unauthorized/bootleg replica reissue)
Notes:
      Reissued May 2010 in a limited edition of 500 copies, an unauthorized/bootleg replica reissue of the original 1963 single. Distribution seems to indicate that this was pressed in the UK, possibly by Piccadilly Records: http://www.piccadillyrecords.com/products/LittleJerryWilliams-HumBabyShesSoDivine-Academy-69652.html


==================
ALBUMS (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 (SDEG 1968)

2011 - It's All Good - A Singles Collection 1963-1989 (Ace/Kent CDKEND 346)

2013 - Rat On! (Alive Naturalsound ALIVE0142-1 [vinyl], ALIVE0142-2 [CD])

2013 - Total Destruction To Your Mind (Alive Naturalsound ALIVE0141-1 [vinyl], ALIVE0141-2 [CD])

2013 - Gag A Maggott (Alive Naturalsound ALIVE0144-1 [vinyl], ALIVE0144-2 [CD])

2014 - An Opportunity...Not A Bargain!!! (Essential Media Group CD-R)

2014 - Cuffed, Collared & Tagged (Fat Possum FPH 1288)

2014 - Don't Give Up On Me: The Lost Country Album (Essential Media Group CD-R)

2014 - The Essential Collection (Essential Media Group CD-R)

2014 - Finally Caught Up With Myself (Essential Media Group CD-R)

2014 - Have You Heard This Story?? (Essential Media Group CD-R)

2014 - I Called For A Rope And They Threw Me A Rock (Essential Media Group CD-R)

2014 - I'm Not Selling, Out I'm Buying In! (Essential Media Group CD-R)

2014 - Rat On! (Essential Media Group CD-R)

2014 - Resurrection (Essential Media Group CD-R)

2014 - Swamp Dogg (Essential Media Group CD-R)

2014 - Swamp Dogg's Greatest Hits? (Essential Media Group CD-R)

2014 - You Ain't Never Too Old To Boogie (Essential Media Group CD-R)


=================
CDs/LPs - DETAILS:
=================


AN AWFUL CHRISTMAS AND A LOUSY NEW YEAR (2009, SDEG 1968)
1. Santa Claus Has Fallen In Love (4:39)
      [Jerry Williams, Bob Jones]
2. Santa Claus Is Coming To Town (5:35)
      [Haven Gillespie, J. Fred Coots]
3. An Awful Christmas And A Lousy New Year (5:08)
      [Jerry Williams]
4. Old Fashion Country Christmas (3:47)
      [Jerry Williams, Bob Jones]
5. A Little Black Child At Christmas (3:59)
      [Jerry Williams, Robert Carswell]
6. What Christmas Means To Me (3:49)
      [Jerry Williams]
7. Silent Night (4:27)
      [public domain]
8. Jingle Bells (3:53)
      [public domain]
9. Santa's Just A Happy Fat Fart (4:27)
      [Jerry Williams, Beverly Green]
10. Away In A Manger (2:28)
      [public domain]
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!!"
      Produced & arranged by Swamp Dogg & Moogstar Clemon. Cover photo: Moogstar Clemon. Art design & graphics: Shamansilicon (San Francisco, CA). Manufactured by S.D.E.G. Records / Films LLC, 6433 Topanga Blvd., #142, Canoga Park, CA 91303. Phone 818-366-0510. Fax 818-366-0520. Email: rawspitt@aol.com  www.swampdogg.net
      Recorded at The Dogg's house (Northridge, Ca.). Recording & remix engineer: Moogstar Clemon. Piano: Swamp Dogg. Organ, keyboards, percussions, electronic vocals: Moogstar Clemon. Guitar monster: "Lucky" Lloyd Wright. Bassist unpresecedented: Steve "Stoney" Dixon. Drummer spectacular: Craig Kimbrough. Background vocals: Kym Foley. 2nd guitar (tracks 3 & 9): Max Dortch. Tenor sax: Charles Hayes. Mastering engineer: Erick Labson (Universal Studios West).
      Merry Christmas every Christmas with love to my five daughters, Desiree, Antoinette, Jocelyn, Michelle and Jeri. Did I mention that Jeri is a neurologist?
      Merry Christmas to Victoria, my nineteen year young granddaughter, for whom I have a lot of hope. Show the world sugar!
Merry Christmas to my wife, Beverly with love.


AN OPPORTUNITY...NOT A BARGAIN!!! (1977, Wizard 1306; 2014, Essential Media Group CD-R)
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 four different individuals who own copies indicate that these two songs on the LP have inherent sound problems.
      "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.
      I Sure Love To Ball (And You Do Too)
       (2:43) - An Opportunity...Not A Bargain!!!
       (2:57) - You Ain't Never Too Old To Boogie
      Sweetest Thing In California
       (4:34) - An Opportunity...Not A Bargain!!!
       (5:26) - The Excellent Sides Of Swamp Dogg, Vol. 5
       (5:34) - You Ain't Never Too Old To Boogie
      Dyn-ooo-mitt-ee
       (2:41) - An Opportunity...Not A Bargain!!!
      Dyn-o-mite
       (2:54) - You Ain't Never Too Old To Boogie
      This is the rarest Swamp Dogg album and extremely difficult to find at any price. In January 2014 a mint condition copy sold for $531 on eBay. Swamp Dogg himself doesn't even own a copy. It is not known how many copies of the album were pressed and issued, but it is likely an extremely small number (I would guess less than 1000 copies, if not less than 100 copies!).
      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 supposed 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
      In February 2014 a "digitally remastered" on-demand CD-R version was released by Essential Media Group. Unfortunately this reissued version switched the Swamp Dogg vocal versions (probably demos) of "Shaft's Mama" and "Let's Do It Again" with the Charlie Whitehead vocal versions of those songs, which are readily available elsewhere. The track order has also been changed. The song original titled on the vinyl LP as "I Can Stand The Lonely Days (I Can't Take These Lonely Nights)" has been changed to "I Can Stand The Lonely Days (But Can't Stand The Lonely Nights)"; "I Did It All" has been changed to "I Had A Ball (I Did It All)"; and "Dyn-ooo-mitt-ee" has been changed to "Dyn-o-mite". Thus this reissue is not the same as the original 1977 vinyl issue.
1. It's A Bitch (3:56)
2. Shaft's Mama (7:22)
3. Let's Do It Again (9:07)
4. The Other Man (3:12)
5. I Can Stand The Lonely Days (But Can't Stand The Lonely Nights) (2:33)
6. Believe In Me Baby (6:38)
7. I Had A Ball (I Did It All) (3:04)
8. I Sure Love To Ball (And You Do Too) (2:58)
9. Sweetest Thing In California (5:27)
10. Dyn-o-mite (2:55)


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.
      Comments by trombonist Alvin Starks (private email 2/10/14):
      They got my name wrong on the credits on trombone. My name is Alvin Starks, not Alvin Stanton. I was pulled onto this recording by trumpet player William (don't call me Bill) Barnes. We were both attending LACC at the time, and this was my first recording session. Could you imagine my disappointment when I saw they had the wrong name? I still have a copy of the LP (I even checked around to see if the name Alvin Stanton even existed). I am guessing they got my name wrong because they asked me to sign my name, not write my name down and they misread my chicken scratch. I played on some songs and the other trombonist (who I never met) on the others. If I recall I played on "Total destruction"," A Little time left" and "Two dead flies". I think Esther Phillips died not too long after that LP was released. I remember when the guy playing sax did that weird altissimo screech. He was trying to do something else and fudged it; Jerry let him re-record the solo but told him he was keeping the screech because it was hip. Jerry was right. The only other details I remember about the session is that it was in Sun Valley, and there was a soda machine that had "out of order" on one of the selections but when you pressed it you got light beer. Also "A little time Left" he makes a reference to John Lennon: "Peace, we gotta have peace, so John Lennon didn't die in vain let's live in peace". He recorded the over dub to the last "peace" while I was in studio. Every time I hear it I hear the dub.
      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 Starks [not 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; 2014, Fat Possum FPH 1288)
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]).
      Party Tonite
       (6:33) - Cuffed, Collared And Tagged / Doing A Party Tonite
       (6:14) - Doing A Party Tonite
      Rhythm 'N' Blues
       (4:24) - Cuffed, Collared And Tagged / Doing A Party Tonite
       (3:55) - Doing A Party Tonite
      Come A Little Closer Baby
       (4:45) - Cuffed, Collared And Tagged / Doing A Party Tonite
       (4:32) - Doing A Party Tonite


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. Some copies have blank/white record labels, perhpas promotional copies (?). 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 (in considerably longer versions) 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" (performed by David Ebo).
      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).
      Party Tonite
       (6:33) - Cuffed, Collared And Tagged / Doing A Party Tonite
       (6:14) - Doing A Party Tonite
      Rhythm 'N' Blues
       (4:24) - Cuffed, Collared And Tagged / Doing A Party Tonite
       (3:55) - Doing A Party Tonite
      Come A Little Closer Baby
       (4:45) - Cuffed, Collared And Tagged / Doing A Party Tonite
       (4:32) - Doing A Party Tonite


DON'T GIVE UP ON ME: THE LOST COUNTRY ALBUM (2014, Essential Media Group CD-R)
1. Don't Give Up
      [Jerry Williams, Jr.]
2. Mercy Mercy
      [Don Covay]
3. Your Wonderful Love
      [Jerry Williams, Jr.]
4. Complication No. 4
      [Jerry Williams, Jr.]
5. That's My Wife
      [Jerry Williams, Jr.]
6. If You're Leaving (Take Me With You)
      [Jerry Williams, Jr.]
7. Wifebeater
      [Jerry Williams, Jr. and Stan McKenney]
8. He Don't Like Country Music (And He Hates Little Kids)
      [Jerry Williams, Jr. and Stan McKenney]
9. When I Fell (Why Did I Fall In Love With You)
      [Jerry Williams, Jr.]
Notes:
      See details listed under The Excellent Sides Of Swamp Dogg, Vol. 5.


THE ESSENTIAL COLLECTION (2014, Essential Media Group CD-R)
Disc 1:
1. Total Destruction To Your Mind
2. Redneck
3. Synthetic World
4. God Bless America For What
5. Predicament #2
6. I've Gotta Get A Message To You
7. Do You Believe
8. Sam Stone
9. Complication No. 5
10. If It Hadn't Been For Sly
11. In My Resume
12. Wife Sitter
13. Mighty Mighty Dollar Bill
14. I Wouldn't Leave Here To Go To Heaven
15. I Wanna Lifetime Of Loving You

Disc 2:
1. Shut Your Mouth
2. We Need A Revolution
3. Come to L.A.
4. Let The Good Times Roll
5. Surfin' In Harlem
6. Love Stinks #2
7. My Blue Heaven
8. Fuck The Bomb... Stop The Drugs
9. Pledging My Love
10. Y-v-o-n-n-e
11. We Need A Change
12. If I Ever Kiss It (He Can Kiss It Goodbye)
13. Wham Bam (Thank You Mam)
14. America Is Bleeding
15. Be Anything (But Be Mine)
16. Ain't That A Shame
17. Total Destruction To Your Mind... 2009

Disc 3:
1. No Bugles (Paradoxical)
2. Buzzard Luck
3. Call Me Nigger
4. Sweetest Thing In California
5. Dyn-o-mite
6. You Ain't Never Too Old To Boogie
7. My Heart Just Can't Stop Dancing
8. Walking On Eggs
9. Jeri
10. I'm Gonna Keep On Loving You
11. Party Tonight
12. Low Friends In High Places
13. Total Destruction To Your Mind Once Again
14. Right Arm For Your Love
15. Salty Dog


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 Yarbrough.
      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. I Sure Love To Ball (And You Do Too) (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; 2014 Essential Media Group CD-R)
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.
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


GAG A MAGGOTT (1973, Stone Dogg 3001; 1973, President PTLS 1059; 2013, Alive Naturalsound ALIVE0144-1 [vinyl], ALIVE0144-2 [CD])
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.
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
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.
2013 REISSUE Notes:
      In 2013 the album was reissued on vinyl and digipack CD by Alive Naturalsound Records. The vinyl reissue comes on green vinyl. The CD includes 2 bonus tracks from March 1972 at KSAN-FM Studios in San Francisco, California: "Mama's Baby, Daddy's Maybe" (7:36), and a cover of The Rolling Stones' song "Honky Tonk Woman" (3:29). "Mama's Baby, Daddy's Maybe" was previously issued on the 1981 vinyl LP Uncut & Classified 1A [Charly CRB1026]; the version included here omits the spoken count-in. All of the track timings as noted on the CD digipack are incorrect. Artwork restoration: Geoff Crowe. Mastered by Dave Cooley at Elysian Masters. Photos courtesy of Swamp Dogg. Special thanks: Geoffrey Weiss, Peter Heur, Suzy Shaw. Barcode 0-95081-01442-8. The outer shrink wrap has a lime-green & black sticker with the wording, "1973 Southern Soul. This album is so funky that it'll Gag A Maggott. Swamp Dogg. Alive Natural Sound." The CD digipack contains the original liner notes. The CD tray insert has a photo of Swamp Dogg in a business suit probably @1976-77. The CD is a replica of the Stone Dogg label with the additional new comment from Swamp Dogg, "I've been verbally chastised for the use of profanity ... To those whom I've offended I say fuck you!". There is a tri-fold insert containing 2 additional photos (Swamp Dogg and Ruth Brown lounging on orange bean bag chairs, and Swamp Dogg in white cape outfit singing in concert), and new notes by Swamp Dogg:
Why wasn't this album cover considered one the best of all times, instead of "Rat On?" I was making a statement with "Rat On" but "Gag A Maggot" was designed to make you puke and possibly shit on yourself. Whoever decided to categorize "Rat On" as such, was in charge but out of touch; not unlike ol' crazy ass Nixon and Bernie Madoff.
      In spite of everything, this album was a labor of love. I loved Miami where we recorded it; the parties that we threw in the studio and the freedom to create and conceptualize, with some of the original card carrying crazy motherfuckers like Steve Alaimo, Al Kooper, Blowfly, Butterball and let's not forget the founder of the "I Ain't Giving You muddafuddas Shit" society, Henry "motherfuckin" Stone.
      I didn't realize that when Henry gave me my own label, it meant I could fuck getting paid. Henry wasn't like other industry heads. He fucked you and made you love it. You'd wake up the next day and ask "what was that and what else can I contribute to the cause?" Henry used a condom, some gel and fatback grease. You almost apologized for being unresponsive. Henry, I thank you for the Ph.D.
      I've been told I was light years ahead of myself with my music. Well I've finally caught the fuck up. My trip was so long that when I got back, vinyl was back and the President was black. I must have been frozen in ice for several decades. People now telling me how great I am and I'm a genius. Hell I was great back then, but I was the only one who knew it or gave a good goddamn.
      At the behest of Patrick Boissel, "Alive label biggie," I've included two bonus tracks that were done "live" in San Francisco at KSAN radio in 1972. They are "Mama's Baby Daddy's Maybe" and "Honky Tonk Woman". The latter had a slight tear on the master tape but it's miniscule and you wouldn't have known, if I had kept my black mouth shut. That's the downfall of niggas, always trying to make points, so they tell it all.
      Hey Henry! How many did we sell?
      Swamp Dogg
      By the way, this "Gag A Maggot" recording is damn good and upon listening, you will witness the finest quality mastering that could have been achieved by any of the other mastering giants considering that the tapes have vanished.


"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; 2014, Essential Media Group CD-R)
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".
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


I CALLED FOR A ROPE AND THEY THREW ME A ROCK (1989, S.D.E.G. SDE-4003; 2014, Essential Media Group CD-R)
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
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


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; 2014, Essential Media Group CD-R)
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 Starks [not 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.
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


IT'S ALL GOOD - A SINGLES COLLECTION 1963-1989 (2011, Ace/Kent CDKEND 346)
1. If You Ask Me (Because I Love You) - Little Jerry Williams [Calla 116, 1966, mono] (2:47)
      [Jerry Williams, Richard Di Cicco]
2. Synthetic World - Swamp Dogg [Canyon 53, 1970, stereo] (3:22)
      [Jerry Williams]
3. Baby You're My Everything - Little Jerry Williams [Calla 105, 1965, mono] (2:56)
      [Jerry Williams, Richard Di Cicco]
4. I'm The Lover Man - Little Jerry Williams [Southern Sound 118, 1964, mono] (2:34)
      [Jerry Williams]
5. She's So Divine - Little Jerry Williams [Academy 113, 1965, mono] (3:00)
      [Jerry Williams]
6. Buzzard Luck - Swamp Dogg [Brut 818, 1974, stereo] (3:35)
      [Jerry Williams]
7. Let's Do The Wobble (Before Chubby Gets It) - Jerry Williams [V-Tone 501, 1963, mono] (2:09)
      [Jerry Williams]
8. Baby Bunny (Sugar Honey) - Jerry Williams [Calla 109, 1966, mono] (2:44)
      [Jerry Williams, Richard Di Cicco]
9. Creeping Away - Swamp Dogg - Jerry Williams [Elektra 45721, 1971, stereo] (2:50)
      [Jerry Williams, Gary Bonds]
10. The 1965 King Size Nicotine Blues - Jerry Williams [Southern Sound 123, 1965, mono] (2:35)
      [Mary Popplewell]
11. Knowing I'm Pleasing Me And You - Swamp Dogg [Cream 1021, 1972, stereo] (2:34)
      [Jerry Williams, Charles Whitehead]
12. Hum Baby - Jerry Williams [Academy 113, 1965, mono] (2:32)
      [Jerry Williams]
13. Wife Sitter - Swamp Dogg [Stone Dogg 804, 1973, mono] (2:59)
      [Jerry Williams, Stanley McKenney]
14. Kiss Me - Jerry Williams [unissued 1967 recording, 2000, mono] (2:53)
      [Jerry Williams, Yvonne Williams]
15. Right Arm For Your Love - Swamp Dogg [Ala 112, 1978, stereo] (3:01)
      [Jerry Williams]
16. It's Still Good - Jerry Williams [Cotillion 44039, 1969, mono] (2:39)
      [Jerry Williams, Gary Bonds]
17. The Other Man - Swamp Dogg [DJM LP DJF 20476, 1976, stereo] (3:10)
      [Jerry Williams]
18. Choking To Death (From The Ties That Bind) - Swamp Dogg [Stone Dogg 805, 1973, mono] (2:46)
      [Jerry Williams, Stanley McKenney]
19. I'm In The Danger Zone - Jerry Williams [Musicor 1285, 1968, mono] (2:45)
      [Yvonne Williams]
20. Silly, Silly, Silly, Silly Me - Swamp Dogg & Riders Of The New Funk [Musicor 6306, 1977, stereo] (2:37)
      [Jerry Williams]
21. Did I Come Back Too Soon (Or Did I Stay Away Too Long) - Swamp Dogg [Island 028, 1975, stereo] (4:18)
      [Jerry Williams, Gary Bonds, Charles Whitehead]
22. Oh Lord, What Are You Doing To Me - Jerry Williams [unissued 1967 recording, 2011, mono] (3:43)
      [Luther Dixon, Bert Keyes]
23. Mama's Baby--Daddy's Maybe - Swamp Dogg [Canyon 30, 1970, stereo] (4:06)
      [Jerry Williams, Gary Bonds]
24. Happy Dog Day - Swamp Dogg [SDEG 89-505, 1989, stereo] (4:16)
      [Jerry Williams]
Notes:
      All previously-released tracks are featured in their single versions, plus there's the previously unissued song "Oh Lord, What Are You Doing To Me" from 1967. Comes with a 20 page booklet containing liner notes written by Tony Rounce. Illustrations supplied by Tony Rounce.
      Compilation and notes by Tony Rounce. Package designed by Neil Dell at 9thPlanet Design. Front cover photograph, retouched by Vicki Fox, courtesy of Tony Rounce. Mastered by Nick Robbins; audio restoration by Rob Shread at Sound Mastering Ltd. The copyrights in these sound recordings are owned by the copyright owners listed in the booklet and are licensed to Ace Records Ltd. This compilation produced and copyright 2011 Ace Records Ltd. Kent Records marketed & distributed by Ace, 42-50 Steele Road, London, NW10 7AS. For details of Ace catalogues (free to UK residents) and newsletter subscription, send an SAE or 2 IRC to the address above or e-mail: info@acerecords.com. Our newsletter is also available in email format. See our website for full tracklistings, articles and more www.acerecords.com
      Barcode: 0-29667-23462-7. Made in the EU.
      Back insert comment along top: Significant As and Bs - plus a few nice surprises - from 25 years of uniquely creative music-making.
      Publishing: All tracks EMI Music Pub. Ltd except 10 Claridge Music, Inc. 13 Bucks Music Group Ltd/Copyright Control. 15 Peermusic (UK) Ltd. 17 Sony/ATV Music Pub (UK) Ltd. 21 Universal Music Pub Ltd/Bucks Music Ltd/Copyright Control. 22 Second Sound Music Corp/EMI Music Pub Ltd.
      Licensing: All tracks SDEG Records except 1, 3 & 8 EMI Records Ltd. Licensed courtesy of EMI Records Ltd. 9 & 16 Warner Bros. Records Inc. Licensed courtesy of Warner Music UK Ltd. 11 Cream/Hi Records. Licensed from Demon Music Group Ltd. 19 & 20 King Records, Inc. 21 Island/Def Jam. Licensed from Universal Music Operations Ltd.
Liner Notes:
      "Let's face it, Swamp is only the alter ego/footman for Jerry Williams, and a figment of your imagination." - JERRY WILLIAMS Jr. aka SWAMP DOGG
      "IT'S ALL GOOD" embraces three decades in the career of Jerome C. Williams, Jr., a man better known to his fans as Swamp Dogg, or just plain Swamp. It's a career that has spanned six decades (and counting), nearly 20 albums and roughly 40 singles, not to mention a fair number of recording aliases. It's a career that has been plagued, time and again, by the 'Buzzard Luck' Swamp sang about in 1974, but is revered by almost every devotee of soul music, whether they like uptempo 60s dance cuts or downbeat story songs with poignancy guaranteed to rip any heart apart.
      It doesn't start at the very beginning, and happily there's no end to it yet, but this package chronicles a hefty chunk of Swamp Dogg's career via the singles he released between 1963 and 1989. Several other excellent Swamp 45s, along with many he produced on other equally talented artists, can be found on this set's earlier companion volume "Blame It On The Dogg" (CDKEND 293). It's our hope that you will feel inclined to own both.
      The full story of how he got into the recording business - and how he morphed from Jerry Williams to Little Jerry to Swamp Dogg - is told in his own words in the highly entertaining notes to "The Little Jerry Williams Anthology" CD released on his own SDEG label over a decade ago (originally published in Soul Survivor magazine in the mid-1980s). I couldn't possibly improve on Swamp's own recounting of events and I wouldn't even begin to try, but with his permission I have incorporated illustrative quotes throughout my own notes and would urge anyone who enjoys "It's All Good" to purchase SDEG 1942 from any reputable internet retailer.
      Swamp's CD starts with a couple of tracks that he recorded as a 12 year-old in 1954 in his hometown of Portsmouth, Virginia and carries through to the point where Jerry Williams ceased to exist as a recording artist and Swamp Dogg arrived. "It's All Good" contains a sampling of his 1960s sides - including a couple that were not on Swamp's CD - but concentrates more heavily on his singles from the 1970s. Where these titles were also on album we have used the single versions - many on CD for the first time - to preserve the integrity of the CD's subtitle.
      WE JOIN THE Jerry Williams story in 1963, by which time he'd already been entertaining the public for nine years and had released a handful of recordings for Ember and Aldo Records, none of them especially successful even though they definitely showed that talent was already at work. As well as his own recordings, Little Jerry (as he was then billed) was already getting involved in the production and writing side of music making, both for himself and for other artists. Seven years later Swamp Dogg would become as renowned among soul fans as a writer and producer as he would a singer. Although he often had collaborators on the writing side, Swamp took control in the studio from day one (or, at least, day three or four) of his career. Regardless of whose name appeared on the label as producer, the praise (or, as the man himself might say, the blame) for the finished product goes directly to Swamp.
      Our earliest selections were recorded for Philadelphia-based labels. Jerry had moved there in 1961 in order to get his career going. Philly was then a hotbed of recording activity and, thanks to the pan-global popularity of local lad Chubby Checker, it often seemed like every other record coming out of the city - and certainly all of Chubby's - heralded the arrival of yet another new dance craze. Chubby had himself burned his way through the twist, the fly, the pony, the hucklebuck, the limbo and countless others, and with the stockpile running dry 'Let's Do The Wobble (Before Chubby Gets It)' seemed like a reasonable plea for any up-and-coming artist looking for a piece of the Checker action. The record was released on Venton Caldwell's V-Tone label, home to intermittent hits and R&B classics such as Bobby Petersen's 'Irresistible You' and Bobby Parker's 'Watch Your Step'. It got some local action but according to Jerry "[Caldwell] forgot to pay me" and the relationship with V-Tone was over almost before it had begun.
      The biggest positive of Jerry's V-Tone tenure was that it introduced him to a man who he would come to trust and work closely with for almost a decade. Richard Di Cicco was, under his alias of Richard Rome, fast becoming a first-call arranger on sessions in and around the state of Pennsylvania. The two hit it off musically and as friends, and Rome would serve as arranger on virtually all of Jerry's sessions, where strings were required, until well into the 1970s, also finding the time to co-write a song or two with Swamp under a second alias, Rick Spain. Strings were required on most of the tracks released by Little Jerry Williams, or just plain Jerry Williams, between 1965 and 1969. Deals with labels such as Calla and Musicor resulted in a swathe of perfectly-crafted 45s that served notice that the man was not someone to be ignored by soul fans.
      Meanwhile, ever looking for a way to get a foot in the door - any door - that he could kick open on his way to future fame and fortune, Jerry recorded the relentlessly exciting rock 'n' roll cuts 'Hum Baby' and 'She's So Divine'. He came as close to matching the classic Sun sound of the legendary Jerry Lee Lewis as any 20-something black guy from Virginia was every likely to, but interest in rock 'n' roll was at its lowest ebb when Pittsburgh's Academy label released this epochal single. Sales were predictably sparse and the record is rare enough these days to have been counterfeited recently on a lookalike bootleg - surely the ultimate accolade, if an entirely dubious one.
      The next Little Jerry Williams releases were of a more conventional nature and more in line with then current events in black American music. He fixed up a contract with another PA-based imprint, Southern Sound - owned by Frank Slay, who in partnership with Bob Crewe had been responsible for the writing of rock 'n' roll classics 'Silhouettes', 'Daddy Cool' and 'La-Dee-Dah', to name just a few, and the discovery of Freddy Cannon, to name but one. For Slay he recorded the plaintive and radio-friendly 'I'm The Lover Man' which made enough local noise to be picked up by Warner Brothers' new R&B subsidiary Loma, but which ran out of steam just as it was on the verge of cracking the R&B chart.
      At Slay's insistence - "either you cut these, or cut nothing" was allegedly the turn of phrase he used - Swamp also recorded a blatantly exploitational tribute to 'Detroit' with somewhat underwhelming results. That single is represented here by its best side, the humorous flip 'The 1965 Kingsize Nicotine Blues' - the closest Jerry ever got to making a jazz recording in any of his musical guises. Slay pitched it to Loma but their opinion of it was scarcely higher than Jerry's. As he says about his subsequent releases on Southern Sound, they "shipped gold and came back platinum."
      Jerry financed his next session himself. A beautifully-constructed and exquisitely arranged soul ballad, 'Baby You're My Everything' was 100% right for the time and perfectly in sync with the sounds that were all over the R&B charts. Jerry had told Slay that he would cut the track "with my own money. If you like it, reimburse me. If you don't, release me." Frank didn't like it, and Jerry signed a new contract with New York's Calla Records to release the finished single. 'Baby You're My Everything' was released just before Christmas 1965, reaching #32 on the R&B charts in February 1966 and showing enough pop chart promise to give Jerry his first UK-released 45 on Calla-distributor Cameo-Parkway's own logo. (The song was also covered in the UK by ex-RAF quintet Hedgehoppers Anonymous, protégés of Jonathan King.) In the end, it stalled at #122 Pop, but it gave Jerry enough rope with Calla to cut more singles, which included 'Baby Bunny (Sugar Honey)' and 'If You Ask Me (Because I Love You)'. Neither meant much to US buyers, but 'If You Ask Me' made Jerry a belated hero of the UK's Northern Soul scene when it became one of the biggest floor-fillers of the time following the track's rediscovery in 1973.
      Jerry stayed with Calla until early 1967. Among the recordings he made for the label that were not released at the time were two that utilized the same rhythm track. He now feels that he was too young and naive to understand the sentiments of Luther Dixon's 'Oh Lord, What Are You Doing To Me', but Jerry made a fine and sensitive job of singing the song and it's difficult to see why it was passed over for issue. Always up for a bit of creative recycling, he took the track and wrote a completely new song entitled 'Your Man' to fit the melody. A planned Calla single that coupled it with 'Kiss Me' was cancelled at the last minute when he defected to Musicor. Jerry would later use the backing track of 'Kiss Me' to power 'Who Needs It (I Tell You I Do)', an unissued and now lost Cotillion recording. Dubbed from what sounds like a worn acetate, 'Your Man' would eventually see release in 1969 on 87-30, a short-lived label out of Miami. (It can be heard in considerably better fidelity, from the original tape, on "Blame It On the Dogg".) Jerry would use the track for a third time the following year when he cut veteran soulster Tommy Hunt on 'Your Man' for Dynamo Records.
      Dynamo was the R&B subsidiary of Musicor, Jerry's next stopover on the way to becoming Swamp Dogg. He produced a number of the label's acts including Hunt, Inez and Charlie Foxx and two men who would figure significantly in his own near future, Brooks O'Dell and Charlie Whitehead. For the main Musicor imprint he briefly turned Gene Pitney into a credible R&B act and recorded one single of his own, 'Run Run Roadrunner' c/w 'I'm In the Danger Zone'. Both sides utilized recycled backing tracks, the former reprising 'Baby Bunny' and the latter a further essay on 'Kiss Me'. Jerry also cut 'Roadrunner' on Gene Pitney, but it wasn't released on a single until the early 1970s, by which time Pitney was no longer on Musicor and Jerry Williams had mutated into Swamp Dogg.
      His skills as a producer brought Jerry to the attention of Atlantic, who signed him in 1968 to create hits on himself and other R&B acts on their roster, including the Drifters, an early incarnation of the Commodores and his own future collaborator and fellow Virginian, Gary Anderson aka Gary US Bonds. Jerry didn't stay with Atlantic for long, but he managed to issue two singles on its Cotillion subsidiary and to cut a bunch of unissued sides that remain lost somewhere in the Atlantic tape vault. You can hear one of those singles, 'Shipwrecked', on "Blame It On The Dogg". The other one is represented here by the funky 'It's Still Good', which was re-cut by Wilson Pickett in 1970 after Jerry had been shown the door at Atlantic by that other Jerry W, a certain Mr. Wexler.
      Had the two Jerrys rubbed along a little better than they did, it's entirely possible that what Jerry Williams did next might have ended up on Atlantic and set his career on a totally different curve of success. As it was, he started independently recording a concept album on Doris Willingham, an incredibly soulful girl from New Jersey who he would rename Doris Duke. He made the album in Macon, Georgia, sweetening it with soaring, melancholic strings arranged and conducted by Richard Rome in Philadelphia. Astonishing and soulful in the extreme, the album was rejected as "too depressing" by almost every label he pitched it to. Help was close to hand in the form of Wally Roker, an ex-doo wopper-turned label-owner who'd turned to producing when the bottom fell out of the doo wop market and had recently formed Canyon Records. Roker could hear exactly where the "I'm A Loser" album was coming from and was eager for anything else that its producer and co-writer had ready or in production.
      Exit Jerry Williams, Jr., enter Swamp Dogg, officially born in 1970 when Jerry took the finished master of his "Total Destruction To Your Mind" album to Roker. The LP had its origins in a session Jerry had cut on Jo Ann Bunn, a local Macon girl who in his words "sang like 40 canaries in rehearsal but froze in the session." Jerry wiped Bunn's vocals and overdubbed his own, the project growing from there. Impressed with what he heard, Roker asked who the artist was. Jerry said that, although it was him, he wanted to develop a new recording identity, to be called simply The Dogg. Wally Roker thought that this new artist should have two proper names rather than one and a definite article, and thus The Dogg expanded to Swamp Dogg. The album was finished and appeared, in a gatefold sleeve featuring underexposed and slightly out of focus shots of Canyon's new mystery man, in early 1970. Inside lurked one of the most iconic soul albums of its time, and all time. Recorded in Macon with the same musicians that had been the backbone of "I'm A Loser", "Total Destruction" offered a dazzling mix of original songs and covers that sounded like they were written especially with the album in mind. 40 years on, it remains the most played LP I have ever owned.
Canyon was one of those great labels that came and went far too quickly (for reasons that need not be discussed here). The label racked up a bunch of hit singles in a little under a year before going underground, briefly resurfacing as a number of satellite logos such as RRG and Roker before grinding to a complete halt in late 1971. Three singles were released from "Total Destruction" - the first, a coruscating 12-bar blues entitled 'Mama's Baby, Daddy's Maybe', gave Swamp the first of only two R&B hits that he would score in his new guise when it peaked at #33 in May 1970. Swamp would subsequently be responsible for Canyon's penultimate 45 which coupled the album's title track with the gorgeous eco-friendly 'Synthetic World', heard here. Quickly covered by Jamaican singer-songwriter Jimmy Cliff (who almost had a UK hit with it) 'Synthetic World' shows a different aspect of Swamp to the one that explored the male-female relationship.
      A further side of his songwriting, 'I Was Born Blue' eloquently spoke of the social status of the American negro at that time, hiding true colors behind "why wasn't I born with orange skin and green hair like the rest of the people in the world?" This epic track was released as one side of the album's final single on Roker. (It can be heard on "Change Is Gonna Come" CDKEND 270.) By then the album was over a year old and the writing was on the wall for Roker's group of labels. Swamp, meanwhile, had already found his next deal and recorded most of his second album.
      "Total Destruction To Your Mind" established a release pattern for Swamp that would remain unchanged until he established his own Swamp Dogg Entertainment Group and SDEG imprint in the early 1980s. Albums would arrive at roughly yearly intervals, each with an accompanying single, and each on a different label to the previous one. If not exactly a discographer's nightmare, he was hardly making it easy for anyone wanting to chronicle his adventures on vinyl.
      After Canyon collapsed in late 1970, Swamp signed a deal with Elektra to release what might otherwise have been his second Canyon album, "Rat On" in June 1971. One of his strongest collections of songs, "Rat On" was prefaced in April by the single 'Creeping Away', a sly tale of long distance love with an infectious horn line and a two-stepping groove that ought to have made it a smash right out of the box. Sad to say, it wasn't anything of the kind. Although Elektra had a solid reputation for having signed and made stars of some of the best rock and folk acts of the 1960s, the label had virtually no track record at all in the world of black music and its pluggers really didn't know where to start with an album that showed a picture of a rotund, smiling black man sitting on a gigantic rat on its cover, or a single that had no promotional precedent in Elektra's catalogue. Being on Elektra, it's a fair bet that many unenlightened soul radio stations that received 'Creeping Away' tossed it straight in the bin, unplayed, under the impression that Swamp Dogg was probably a rock act, his name not exactly being of the household variety at that time. It wasn't a hit, no further singles were pulled from the album and Swamp was off the label by October: "They dropped me like I was a leper with terminal syphilis." Elektra might well have been more kindly disposed towards keeping Swamp if he hadn't also incorporated Mankind Records at more or less the same time as signing with them. A joint venture with Nashville's Excello Records, Mankind brought him greater success as a writer and producer in 1971 than he would ever achieve as a solo artist, thanks to the hits he created for Freddie North ('She's All I Got') and Z.Z. Hill ('Second Chance'), but Swamp fell out of love with Excello almost as quickly as he had with Elektra.
      While looking for his next deal, that November he issued the astounding vitriolic blues 'Straight From My Heart' (featuring Lonnie Mack on guitar) on his own Swamp Dogg Presents label. (The track and its flip, a revival of Joe South's 'Don't Throw Your Love To the Wind', can be found on "Blame It On The Dogg") Despite nationwide distribution of the single by Jamie-Guyden, Swamp's losing streak continued. Time to find yet another new recording home. Cream was a new and barely-established label when Swamp joined its roster in 1972. It had been founded by Al Bennett, who had been president of Liberty Records from its inception in 1955 until it merged with United Artists Records in 1965. After a short industry sabbatical, Bennett incorporated Cream in 1971, releasing some 20 singles and a handful of albums over an 18-month period before welcoming Swamp into the fold. Of those 20 singles, only 'Got To Find My Baby' by ex-Watts 103rd Street Rhythm Band drummer/future studio legend James Gadson had made even the barest impact of any kind of charts. With that kind of track record, the omens were not good for Swamp. On his previous album cover, Swamp had perched superimposed atop a rat. For "Cuffed, Collared & Tagged" he was photographed by the great South Africa-born lensman Norman Seeff - a terrific session that yielded enough usable material for Cream to use other shots from it on Swamp's late 70s disco album "Doing A Party Tonight". Inside was another tremendous collection of music recorded primarily at Sheffield, Alabama's Broadway Sound, Swamp's preferred studio of the early 1970s. It must have been difficult for Cream's A&R team to pick a single from its embarrassment of musical riches. In the end they plumped for Swamp's stark rendition of John Prine's 'Sam Stone', a song recorded by its author on his debut Atlantic album the previous year. This harrowing tale of a Vietnam veteran's inability to cope with the realities of his return to civilian life would have hit home with many black ex-soldiers who were themselves living the nightmare at that time. Perhaps they weren't ready for its reality check, as the single steadfastly refused to double Cream's hit tally. 'Sam Stone' is already available on two Ace CDs, so we have selected its charming flipside 'Knowing I'm Pleasing Me And You' to represent this period of Swamp's recording activity.
      Leaving Cream with little resistance on the company's part, Swamp's next home was another joint venture label that he started with backing and assistance from Miami music mogul Henry Stone. Veteran record man Stone was barely a year away from the biggest-selling soul 45 of 1974, George McCrae's 'Rock Your Baby' and huge international success with a roster that included George's wife Gwen, K.C. and the Sunshine Band, Betty Wright, funkmeisters Miami and countless others. Unfortunately for Swamp, he threw in his lot with Stone a little too early to benefit from the worldwide fame of "The Miami Sound" and the Stone Dogg label quickly became as much of a commercial failure as it was an artistic success.
      Swamp's first Stone Dogg album was "Gag A Maggot" so called because, as Swamp said in his ever idiosyncratic and funny sleeve notes, it was "so funky that it would gag a maggot". A cover that showed a dustbin full of food waste with a crumpled headshot of Swamp on top reinforced the message. Inside the music was great, Swamp using various permutations of Stone's regular musicians and assorted members of the Sunshine Band (who were often one and the same) to work some musical magic.
      The first single from it ought to have been a monster. With an unaccredited Steve Alaimo camping it up as the wife of the title and a rhythmic groove that was as funky as anything to ever emerge from the Sunshine State, 'Wife Sitter' was so right for the time and so deserving of at least a minor chart run, but once again the misses kept on coming. Swamp and Stone followed up with a pairing of two more of the album's stronger tracks, but 'Mighty Mighty Dollar Bill' and an edit of 'Choking To Death' didn't entice anyone to part with their money either. For this compilation we've chosen to go with the latter, because the single edit has never been on CD before (and because I prefer it).
With the inevitability that was by now a hallmark of Swamp's career, he and Stone called it a day before the year was over. However, their relationship was not completely done and dusted. In 1976, Stone Dogg was briefly revived to release "Greatest Hits?", the album that Swamp would record next, in 1974, for a company that had made its name manufacturing the most popular male cologne of the 1970s.
      With its advertising slogan "take a big handful and splash it all over" Brut had become the must-have fragrance for men. The Brut company launched its label in 1973 with the hope that "the great smell of Brut" would be enough to entice people to part with money for 45s by a roster that included such diverse names as Brook Benton, the Jive Five, Wayne Fontana and the Mindbenders, Sonny Terry and Brownie McGhee and Tony Bennett. Swamp perhaps should have known better than to hitch his wagon to a label full of fading stars, none of whom managed a chart hit in the just over a year of its existence. Swamp may, in fact, have been the last act the label ever signed, his one single for the company being its penultimate release in March 1974. 'Buzzard Luck' was exactly what Swamp got in his dealings with record companies and the song's underlying message of "one day my ship will come in and I'll probably be at the airport" was undoubtedly written from personal experience. His luck showed no sign of improving as Brut closed its doors almost as soon as the 45 was issued, leaving an attendant album hanging in contractual limbo until Swamp was able to retrieve it in 1976 and release it as "Greatest Hits?". If he'd ever felt like giving up and going home, he'd probably never felt more like it than he did as 1974 wound to its conclusion.
      In 1975 things finally looked like they were going to take a turn for the better. On the back of gushing endorsements from various rock-oriented publications, Swamp found himself part of the roster of the newly established US branch of Island Records. Suddenly the future looked better and brighter. Swamp delivered the "Have You Heard This Story?" album, which got written up in glowing terms in all of the Rolling Stone/Creem-type journals and promptly confounded all of his and Island's expectations by not selling particularly well in any of its intended markets. Unlike Swamp's previous LPs, this one got a simultaneous global release, but the world's population chose largely to overlook the fact.
      Swamp's single from the album coupled 'I Wanna Lifetime Of Loving You' and one of his most brilliant songs, 'Did I Come Back To Soon (Or Did I Stay Away Too Long)', which he'd originally cut on Freddie North for Mankind in 1971. It's devastating denouement would have proven too risky for radio of the day - and I won't give it away in these notes in case there are some of you out there who have yet to hear it - so it wouldn't have stood any chance of A-side consideration. It appears here as a testament to the ingenuity of Swamp's very best songs and to his quest to break down the barriers of conventional black American music.
      Before 1975 drew to its end he was once again shopping for a new deal, although he'd left Island with a genuine hit to his credit: 'Love Being Your Fool', which he'd produced on his long-time collaborator Charlie "Raw Spitt" Whitehead. There were no Swamp Dogg singles issued in the USA during 1976, but he put out two albums: "Greatest Hits?" and another all new set that was originally scheduled as "It's A Bitch" but retitled "You Ain't Never Too Old To Boogie" at the eleventh hour to avoid confusion with Johnny "Guitar" Watson's hit LP "Ain't That A Bitch".
      Swamp's seventh longplayer in six years was picked up by a briefly revived Vee-Jay label in the USA and in the UK by DJM, who also had the Watson album in their catalogue. They were not able to do for Swamp what they had for Johnny - which, in essence, was to revive a career that had been fairly dormant for nearly a decade. Their choice of album title was not really appropriate to its overall content (even though it contained a song of that title) and gave the impression of it being more disco-oriented than it actually was. The lively 'The Other Man' was selected for single release by UK DJM. It also appeared throughout other territories as a 45, but not in the USA, where no singles were issued from the album.
      As the 70s moved on, his albums continued to come out on a regular basis and invariably on a different label. Swamp rekindled a relationship with a much changed Musicor label in 1977, expanding himself to a group, Swamp Dogg and Riders of the New Funk, and recording the "Finally Caught Up With Myself" LP in St Louis, Missouri with veteran R&B producer Oliver Sain. He made his first unqualified contribution to the disco boom with 'My Heart Just Can't Stop Dancing', issued on 7-inch and remixed 12-inch. For this compilation we have selected its excellent flipside 'Silly, Silly, Silly, Silly Me', a more typically Swamp song.
      After this, Swamp relocated to California, where he resides to this day, rekindling his relationship with Cream Records. The "Doing A Party Tonite" album, an almost 100% disco-aimed set, seems to have been released only in France.
      Swamp's choice of labels became increasingly eclectic as the 70s begat the 80s. He recorded a great album entitled "I'm Not Selling Out, I'm Buying In" for Takoma Records, a label better known for the work of guitarists such as John Fahey and Leo Kottke than left-of-centre R&B. The album came and went and, like its predecessor, spawned no singles.
      Swamp's next LP was an eponymous set released in 1982 on Ala Records, a small Los Angeles-based concern. Within its frankly bizarre cover lurked two of the best songs he'd come up with in some time. Ala edited the six-minute medley of Swamp's 'Right Arm For Your Love' and Ed Townsend's classic 'For Your Love' into a three-minute single that utilized only Swamp's song, but they were unable to get a hit on it. Not long afterwards, Z.Z. Hill recorded the song on his debut Malaco album, which went on to sell a few million copies and inaugurate the new bluesoul sound. Malaco also put it on the other side of Z.Z.'s massive-selling 45 'Cheatin' In The Next Room'. Swamp probably made more off that one cut than he did off the entire Ala album.
      The other great song from "Swamp Dogg" started life on the album as 'Happy Birthday You Dog You'. By the time  Swamp re-cut it for his own SDEG label in the late 80s for "I Called For A Rope And They Threw Me A Rock" it had become 'Happy Dog Day'. We've used that version here to close our collection, partly because it was released as a single while the earlier one wasn't and partly because it shows that the new synth-and-drum machine technology of the 1980s was never going to detract from the incisive, cynical, funny, pithy you-name-it-he's-got-it songwriting style of the man who would be Dogg. It was also one side of his last vinyl 45 to date, and thus an appropriate way to bring the curtain down on our Swamp singles survey.
      As his many fans will tell you, Swamp is as entertaining now as he was when he first sat down at a piano and banged out 'HTD Blues' as a 12 year-old in 1954. He still releases albums on a very regular basis, as he did all through the 1990s, mostly on his own label and occasionally accompanied by a CD single. Never content to let the musical grass grow under his feet, he's made country albums, soca albums, straight ahead blues albums and Swamp Dogg albums, all of which are avidly devoured by Dogg-lovers as soon as they are released. He's also made a concerted effort at touring regularly over the past decade, playing many of the great songs heard here and on his albums to audiences all over the world, but as Swamp Dogg himself would be the first to tell you, his life's work has not made him rich enough to retire, so it's both his and Kent's hope that you will invest in "It's All Good" and, if you enjoy it, tell a friend to invest too.
      Happy Dogg Day, everyone!
      TONY ROUNCE
      With thanks to Liz Buckley and Swamp Dogg


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 Devine (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; 2013, Alive Naturalsound ALIVE0142-1 [vinyl], ALIVE0142-2 [CD]; 2014, Essential Media Group CD-R)
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.
      In 2013 the album was reissued on vinyl and digipack CD by Alive Naturalsound Records. The LP was reissued on standard black vinyl, "Atomic Orange" vinyl, digipack CD, a limited edition (250) bundle including the "Atomic Orange" vinyl LP and the digipack CD, and in a limited edition bundle (150) including the colored vinyl LP, digipack CD, and tshirt of Rat On! and Total Destruction To Your Mind: http://www.bompstore.com/servlet/Detail?no=14701
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."
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
      In a February 2013 issue of Mojo, in which the 2013 reissue of the LP is reviewed ("The Beast In Me" by Andrew Male), Swamp further explains, "FM stations were playing the hell out of Swamp Dogg. It was me, Jefferson Airplane, Van Morrison, Taj Mahal. I was selling product. Elektra got interested. ... Look at the rat's face. He's smilin'. The black man is finally gettin' his chance, and the white man, which is the rat, is all right with this. He's thinking, 'It is what it is, and this nigger's gonna fall off anyway.'" The article further explains some of the controversy surrounding the song "God Bless America (For What?)" in that when Elektra pressed up the albums they left off the "For What?".
      2013 reissue promo: http://soundcloud.com/alivenaturalsound/swamp-dogg-jingle-for-rat-on
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


THE RE-INVENTION OF SWAMP DOGG (2000, S.D.E.G. 1943; [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]
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), 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.
Trinidad bonus tracks edition:
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]
      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".
      Related links:
      http://www.2metersessies.nl/
      http://www.muziekweb.nl/m0/shared/cat/ti/ti.php?t=JK107770
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!!!!


RESURRECTION (2007, S.D.E.G. 1955; 2014, Essential Media Group CD-R)
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 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".
      The booklet/insert contains two written pieces, "Life Without Black People" and "Texas Lexus":
      Life Without Black People
      A very humorous and revealing story is told about a group of white people, immigrants and transplants who were fed up with African-Americans, so they joined together and wished them away. They passed through a deep dark tunnel and emerged in sort of a Twilight Zone where there is an America without black people.
      At first these people breathed a sigh of relief. At last, they said, no more crime, drugs, violence, and welfare. All of the blacks have gone! Then suddenly, reality set in. The "New America" is not America at all--only a barren land.
      1. There are very few crops that have flourished because the nation was built on a slave-supported system.
      2. There are no cities with tall skyscrapers because Alexander Mils, a black man, invented the elevator, and without it, one finds great difficulty reaching higher floors.
      3. There are few if any cars because Richard Spikes, a black man, invented the automatic gearshift. Joseph Gambol, also black, invented the super charge system for internal combustion engines, and Garrett A. Morgan, a black man, invented the traffic signals.
      4. Furthermore, one could not use the rapid transit system because its predecessor was the electric trolley, which was invented by another black man, Albert R. Robinson.
      5. Even if there were streets on which cars and a rapid transit system could operate, they were cluttered with paper because an African American, Charles Brooks invented the street sweeper.
      6. There were few if any newspapers, magazines and books because John Love invented the pencil sharpener. William Purveys invented the fountain pen and Lee Barrage invented the type writing machine and W. A. Love invented the advanced printing press. They were all, you guessed it, black.
      7. Even if Americans could write their letters, articles and books, they would not have been transported by mail because William Barry invented the postmarking and canceling machine, William Purveys invented the hand stamp and Philip Downing invented the letter drop.
      8. The lawns were brown and wilted because Joseph Smith invented the lawn sprinkler and John Burr the lawn mower.
      9. When they entered their homes, they found them to be poorly ventilated and poorly heated. Frederick Jones invented the air conditioner and Alice Parker the heating furnace. Their homes were also dim, but of course, Lewis Latimer invented the electric lamp, Michael Harvey invented the lantern and Granville T. Woods invented the automatic cut off switch. Their homes were also filthy because Thomas W. Stewart invented the mop & Lloyd P. Ray the dust pan.
      10. Their children met them at the door-barefooted, shabby, motley and unkempt. But what could one expect? Jan E. Matzelinger invented the shoe lasting machine. Walter Sammons invented the comb, Sarah Boone invented the ironing board and George T. Sampson invented the clothes dryer.
      11. They were resigned to at least have dinner amidst all of this turmoil nevertheless, the food had spoiled because another black man, John Standard invented the refrigerator.
      12. There weren't any computers or cell phones because Otis Boykins invented the electronic control device for guided missiles, IBM computers and the pacemaker.
      13. People were walking around sightless because Dr. Patricia E. Bath invented a method of eye surgery that has helped many blind people to see.
      14. There were fewer people alive because Dr. Charles Richard Drew developed the blood transfusion process, discovered blood plasma and created two of the world's largest blood banks. Irony here...Dr. Drew died at age 45 on March 31, 1950, after falling asleep while driving to Tuskegee Institute to attend a medical meeting. He was denied a blood transfusion, at a segregated hospital in Burlington, North Carolina because the few beds that were designated for black patients were full, therefore he "couldn't be treated" and was allowed to bleed to death.
      15. Heart disease was always fatal because Dr. Daniel Hale Williams performed the first open heart surgery and was the first surgeon to open the chest cavity successfully without the patient dying from infection.
      Now, isn't that something? What would this country be like without the contributions of African Americans? Martin Luther King, Jr. said, "By the time we leave for work, Americans have depended on many inventions conceived by the minds of African Americans."
      Black history includes more than just slavery, Frederick Douglass, George Washington Carver, Booker T. Washington, Martin Luther King, Jr., Malcolm X, Marcus Garvey and W.E.B. Dubois.

      Texas Lexus
      I bought a new Lexus 350 and returned to the dealer with it the next day because I couldn't get the radio to work. The salesman explained that the radio was voice activated.
      "Nelson," the salesman said to the radio.
      The radio replied, "Ricky or Willie?"
      "Willie!" he continued and "On The Road Again" came from the speakers. Then he said, "Ray Charles!" and in an instant "Georgia On My Mind" replaced Willie Nelson.
      I drove away happy and for the next few days every time I'd say, "Beethoven" I'd get beautiful classical music, and if I said, "Beatles" I'd get one of their awesome songs.
      Yesterday a couple ran a red light and nearly creamed my new car. But I swerved in time to avoid them. I yelled, "Ass Holes!"...
      Immediately the American national anthem began to play sung by Condoleezza Rice and Barbara Bush, backed up by Bill 'Reilly and the Fox news crew. Dick Chaney on guitar. Scooter Libby on drums. William Crystol on harmonica. Duke Cunningham on tambourine. Douglas Feith on spoons. Don Rumsfeld on sax and George Bush on scotch.
      Damn, I love this car!
--Author: Anonymous
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


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; 2014, Essential Media Group CD-R)
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.]
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


SWAMP DOGG DROPPIN'S (2008, S.D.E.G./Catch A Fire CAFCD2008)
      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/muziek/swamp-dogg-droppin-s-muziek.html
Disc 5 (Z.Z. Hill) Notes: Includes the "Collectors Version" bonus tracks as found on the remastered version of the album released in 2002. Track 21, "I Think I'd Do It (Collectors Version)", is the complete version of this song; the version on the 2002 remastered album (S.D.E.G. 1951) has serious flaws and is incomplete. This is the only album that contains the complete version.


SWAMP DOGG'S GREATEST HITS? (1976, Stone Dogg SD-3002; 2014, Essential Media Group CD-R)
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 Yarbrough / 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 [Rual Yarbrough]!" [Roctober no.28 (Summer 2000), page 61, phone interview by James Porter]; see: http://www.roctober.com/roctober/contact.html
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


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.
      "Your Man" is a longer variation (3:32) than what appears on the vinyl single [8730 Records 102] (2:50) and the Little Jerry Williams Anthology (1954-1969) aka Swamp Dogg [S.D.E.G. 1942] (3:04).
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; 2013, Alive Naturalsound ALIVE0141-1 [vinyl], ALIVE0141-2 [CD])
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:
      In 2013 the album was reissued on vinyl and digipack CD by Alive Naturalsound Records. The vinyl reissue includes a gatefold poster. The LP was reissued on standard black vinyl, "Purple Haze" vinyl, digipack CD, a limited edition (250) bundle including the "Purple Haze" vinyl LP and the digipack CD, and in a limited edition bundle (150) including the colored vinyl LP, digipack CD, and tshirt of Rat On! and Total Destruction To Your Mind: http://www.bompstore.com/servlet/Detail?no=14703
      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.
      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. In a February 2013 issue of Mojo, in which the 2013 reissue of the LP is reviewed ("The Beast In Me" by Andrew Male), Swamp further explains, "That truck was behind La Guardia Airport, three blocks from my home. I'm sitting in the show, like a fool. It's meant to look like a graduation cap on my head. I made it out of paper. ... When I recorded the first Swamp Dogg album I was still Jerry. But it didn't sound like Jerry. It was this guy who was half angry, half dirty... I had a better chance as Swamp Dogg. He could do anything he wanted to."
...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."
      2013 reissue promo: http://www.alive-totalenergy.com/x/?page_id=3848


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 Yarbrough - 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; 2014, Essential Media Group CD-R)
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.
      "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 An Opportunity...Not A Bargain!!!.
      I Sure Love To Ball (And You Do Too)
             (2:43) - An Opportunity...Not A Bargain!!!
              (2:57) - You Ain't Never Too Old To Boogie
       Sweetest Thing In California
              (4:34) - An Opportunity...Not A Bargain!!!
              (5:26) - The Excellent Sides Of Swamp Dogg, Vol. 5
              (5:34) - You Ain't Never Too Old To Boogie
       Dyn-ooo-mitt-ee
              (2:41) - An Opportunity...Not A Bargain!!!
       Dyn-o-mite
              (2:54) - You Ain't Never Too Old To Boogie
      Digitally remastered on-demand CD-R version released February 2014 by Essential Media Group.


============================
VARIOUS ARTISTS COMPILATIONS:
============================


101 BLUES & SOUL CLASSICS (1986, S.D.E.G. ??)
      Swamp Dogg - Mama's Baby, Daddy's Maybe
Notes:
      4 volume set.


101 NORTHERN SOUL ANTHEMS (2009, EMI TV VTDCD 959)
      Jerry Williams - If You Ask Me (Because I Love You)
Notes:
      4 CD set.


101 RHYTHM & BLUES GREATS, VOL. 1 (????, Music Box ??? [Australia])
      Swamp Dogg - Mama's Baby, Daddy's Maybe


209's MOST VICIOUS VOLUME 1 (1995, G.H. Entertainment/Treatment Team Records TT05 0c)
      Hurricane J and Swamp Dogg - Demons
Notes:
      "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.


ADEY PIERCE IN NEW YORK (1998, Joe Boy Records JB-7)
      Jerry Williams - Run Run Roadrunner
Notes:
      5-song CD EP.


ALL TIME PARTY FAVOURITES (1995, Readers Digest RDCD 1081-6)
      Swamp Dogg - Lady Madonna
Notes:
      6 CD set.


BACK HOME BLUES: 66 DEFINITIVE RECORDINGS (2004, Prism PLATCD1272)
      Swamp Dogg - Mama's Baby, Daddy's Maybe
Notes:
      3 CD set. See also Singing The Blues. See also Working Man's Blues.


BECK SONG READER (2014, Capitol ??)
      Swamp Dogg - America, Here's My Boy
Notes:
      AKA Warby Parker presents Song Reader: twenty songs by Beck. Produced by Beck and Randall Poster.


THE BEST NORTHERN SOUL ALL-NIGHTER...EVER! (2001, Virgin TV/Circa Records Ltd. VTDCD 377; 2002, EMI International ???)
      Jerry Williams - If You Ask Me (Because I Love You)


THE BEST OF LOMA RECORDS: THE RISE AND FALL OF A 1960S SOUL LABEL (1995, Warner Archives/Warner Bros. 45711; Warner Archives/Warner Bros. [Japan] WPCR-466-7)
      Little Jerry Williams - I'm The Lover Man
Notes:
      The Japanese issue is a limited edition of 2000 copies.


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


THE BUMPER FUNK BOOK (1972, Pye International NSPL 28159)
      Jerry Williams - Run Run Roadrunner


BURN HOLLYWOOD BURN: THE SOUNDTRACK (1998, Priority Records P2 50740)
      Swamp Dogg - Synthetic World [new version]
Notes:
      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.


CHANGE IS GONNA COME: THE VOICE OF BLACK AMERICA 1963-1973 (2007, Ace/Kent CDKEND 270)
      Swamp Dogg - I Was Born Blue


THE "CHAPEL OF DOO-WOP" (2006, Doo Wop Records DWR 601)
      Little Jerry - Chapel On The Hill


CLASSIC CUTS: NORTHERN SOUL (????, HW Audio/Master Mix MM-CC068)
      Jerry Williams - If You Ask Me (Because I Love You)


CLOSE RANGER COLLECTIBLE VOL. 2 (1997, Pointblank/Virgin ??)
      Swamp Dogg - In My Resume
Notes:
      Promotional cassette tape.


C'MON & DANCE VOLUME ONE: 28 LEGENDARY NORTHERN SOUL DANCERS (1992, Goldmine GSCD 82)
      Jerry Williams - If You Ask Me (Because I Love You)


COLLECTOR'S HEADACHE VOL.2 (????, Collect/Head Records 66673)
      Jerry Williams - Baby Bunny (Sugar Honey)
      Jerry Williams - Run Run Roadrunner


DEMON MUSIC GROUP SAMPLER (2003, Demon ??)
      Swamp Dogg - ??


DISCO HITS SPECIAL - SUPER TWIN '80 (1980, Victor [Japan] VIP-9205/VIP-9206)
      Swamp Dogg - Salty Dog


DISKOTHEK 1971 (1971?, Süddeutsche Zeitung [Germany] ??)
      Swamp Dogg - God Bless America, For What
Notes:
      Book with accompanying CD.


DOCTOR GOOD SOUL: A ROULETTE RHYTHM & SOUL COMPENDIUM 1963-74 (1998, Westside UK 525)
      Jerry Williams - Your Man


E. RODNEY JONES: THE WORLD'S GREATEST DISC JOCKEY PRESENTS...THE WORLD SERIES OF BLUES & SOUL VOL. 1 (2001, S.D.E.G. 1947)
1. Introduction of E. Rodney Jones by air personality, Bill Sharpe / Introduction of the CD by E. Rodney Jones
2. Z.Z. Hill - It Ain't No Use (*)
3. Bobby Patterson - Right Place Wrong Time
4. Bobby McClure - When The Flavor's Gone (*)
5. Irma Thomas - She'll Never Be Your Wife (*)
6. Guitar Shorty - Hard Life Blues
7. Ruby Andrews - Loving You #44 (*)
8. Wilson Williams - My Woman Got A Caseworker (E. Rodney Jones Mix) (*)
9. Little Oscar - I Tried
10. Ruth Brown - Brown Sugar (*)
11. Don Hollinger - I've Been Hit By Love (*)
12. Jimmy Reed - Hard Walking Hannah
13. Lightning Slim - Good Morning Heartaches (*)
14. Swamp Dogg - Mama's Baby Daddy's Maybe (*)
15. Roy C - Saved By The Bell (Infidelity, Georgia)
16. Willie Williams - My Baby Gone
17. Willie Clayton - Party Down
18. Charles Wilson - Tell Him
19. Charlie Whitehead - Between The Lines (*)
20. Z.Z. Hill - Second Chance (*)
Notes:
      Produced and compiled by Jerry "Swamp Dogg" Williams. Album co-ordinator: Yvonne Williams. Compilation Concept: Charles Wilson. Mastering: Richard Simpson. Graphic Design: Leif Laxson (Publishers' Engraving).
      11 of the 20 tracks are produced and arranged (or co-produced and co-arranged) by Swamp Dogg (*).
Liner Notes:
      E. Rodney Jones.......that's a name that should roll off the tongues of some of America's greatest record entrepreneurs at night, right after they say "thank you Lord, Amen". This definitely would not be out of place, because before they made it, he was their lord, savior and salvation.
      When Berry Gordy, Jr. requested a meeting of the strongest Black dj's in America to assist him in making his succession decision from Chess records, E. Rodney, the Chicago dj superstar was the first to be contacted. This meeting consisted of the greatest radio illuminaries of that time, Dave Dixon, Georgie Woods, Jack Gibson, George "Boogaloo" Frazier, Jimmy "Early" Byrd, Maurice "Hot Rod" Hulbert, "Jockey Jack" Gibson and Eddie O'Jay. Berry had Smokey Robinson and the Miracles on Chess where they had just enjoyed a hit entitled "Bad Girl", but Berry was ready to start Tamala records and wanted these programmers to pick the record and the artist that they would get behind and assist him in ascending to the nosebleed height he soon achieved. They unanimously agreed on "Shop Around" by Smokey and the Miracles and history unfolded. Rodney recalls that Berry's funds were so sparse that all of the jocks had to chip in to buy cold cuts for lunch. On the same note.........Motown sent Rodney a new Marvin Gaye with "I Heard It Through The Grapevine" listed as the "b" side. He immediately informed them that the "b" side was the hit and that's what he was going to play. Over two hundred thousand units were sold in Chicago, the remainder of the country followed and he was given the Golden Ear Award; thus, more Motown history unfolds.
      Armet Ertegun, Henry Allen, Jerry Wexler and the powers that be at Atlantic records, paid homage to this man in many, many ways because he exposed their blues and rhythm 'n' blues to the second largest record market in the world. They give him the credit for breaking Aretha Franklin's "Never Loved A Man", Ray Charles' "Night Time Is The Right Time" and Wilson' Pickett's "Midnight Hour". Rodney went out on a FCC limb to break Wilson's "Funky Broadway" for them because the word funky was not allowed to be said on the air so Rodney announced it as "Funny Broadway"....another million seller. During his years as a jock and programmer for WVON in Chicago, he was responsible for ninety percent of all of the Black Atlantic hits plus a few of their white/pop/whatever hits, such as the Young Rascals "Groovin", etc.
      WVON was the most powerful blues station in America and why not, it was owned by the Chess brothers who owned the Chess and Checker labels that housed the greatest blues artist of all times, including Muddy Waters, Howling Wolf, Willie Dixon, Willie Mabon, Chuck Berry, Bo Diddley, Laura Lee, Eddie Boyd, Clarence "Frogman" Henry, Etta James, Sugar Pie DeSanto, etc., etc. Chess was his employer but he made the decisions as to what was going to be played and he kept it fair with the other blues labels, such as Vee-Jay.
      Vee-Jay (Vivian and Jimmy Bracken) Records was born about the same time that the Chess brothers bought WVON. Rodney asked Jimmy and Vivian to hold off on their first release until he commenced broadcasting so he could make it his first "pick hit". They did, he did and it was...a gold record smash by Jimmy Reed entitled "Take Out Some Insurance".
      King Record's branch office was down the street from Chess with acts like James Brown, Hank Ballard & Midnighters, Freddie King, Little Willie John, etc. There was no other place like Rodney's place anywhere near his place...this was the place to be and everybody who was fortunate enough to touch the hem of his garment was blessed multiple times, because he was and is a most generous man. They all flew Rodney into their towns, first class to help them pick their hits. Kenny Gamble and Leon Huff of Philly International, Barry White, Russ Regan of 20th Century and............every fuckin' body else. He was the power...he had the ear and he kept it. He's still picking hits and breaking records on KQXL in Baton Rouge, Louisiana. He adopted Louisiana after WVON was sold and the Chicago winters got colder and colder. There are new artists out there now making fortunes and living large and they are attributing their success to E. Rodney Jones' record breaking ability and his foresight to bring them into his town and play them at different venues. We're talking Willie Clayton, Mel Waiters, Lattimore, Wilson Williams, Love Doctor, Betty Wright, Denise LaSalle, Pat Brown, Carl Sims, Marvin Sease, Lee Shot Williams, Franc-O, Stan Mosley, Tyrone Davis, Little Milton, Bobby Rush, Charles Wilson, Jimmy Lewis, Roy C., and many many more. If you haven't heard of some of these greats, it's because their blues has been isolated to the south, southwest and Midwest, the only regions that still gives them decent airplay. Don't feel sorry for them though, because the jocks like Rodney are making it possible for them to live in six thousand plus square foot homes, drive the latest exotic automobiles, own businesses and have high six figure plus bank accounts.
      Over fifty years in the radio business after starting out as an extraordinary trumpet player, this Texarkana, Arkansas native played with Jimmy and Joe Liggins' band, the Ernie Fields band where Melvin Moore was the singer, and jammed with Charlie Parker and Earl Grant. Rodney and Parker had a kinship and when Parker's body was shipped to Kansas City to be laid to rest, Rodney was at the funeral home to welcome him home.
      Another of his dear friends is Buddy Guy who as Rodney puts it, is a worldwide dominant force in the blues. Rodney takes teary-eyed pride in knowing this man when he was a janitor at LSU in Baton Rouge only to return as the world's greatest blues man and sellout the same LSU auditorium.
      This is just a tidbit about the world's greatest disk jockey but you will be fulfilled soon when he and I complete the co-authoring of his autobiography, tentatively titled "The World's Greatest Disc Jockey".
      --Swamp Dogg


ELEKTRA RECORDS PROMOTIONAL SAMPLER 1971 (1971, Elektra EK Promo-2 2/71)
      Swamp Dogg - Creeping Away
      Swamp Dogg - Do You Believe


FROM THE CHARTS...1964-1970 (@2006, Helene Blue Musique, promotional CD)
      Swamp Dogg - Mama's Baby Daddy's Maybe
Notes:
      This promotional CD sampler also contains 2 Jerry Williams-produced Doris Duke songs: "To The Other Woman, I'm The Other Woman" and "Feet Start Walking". Helene Blue Musique is a music publishing company which Swamp Dogg refers to in the liner notes to If I Ever Kiss It .... He Can Kiss It Goodbye! (2002, S.D.E.G. #1948): "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."


FUNK IN YO' FACE (1989, WEA Records 241 675-1; 1989, WEA Records 241 676-2 [Germany])
      Swamp Dogg - Do You Believe


GARDEN OF DELIGHTS (1971, Elektra S3-10)
      Swamp Dogg - Creepin' Away


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:
      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:
      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:
      "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.


GOT A GOOD THING GOING: 25 R&B RADIO HITS OF THE 60S (1996, Sequel NEM CD 785)
      Little Jerry Williams - Baby You're My Everything


GRAB THIS & DANCE VOLUME 8 (1993, Club Records [UK] GTLP 008)
      Little Jerry Williams - Hum Baby
Notes:
      There are 2 variations of this album. Variation 1 has a green cover. Variation 2, probably a promotional copy, has a black cover and blank/white record labels.


GREAT DISCO DEMANDS (1975, Pye Disco Demand DDLP 5002)
      Jerry Williams - If You Ask Me (Because I Love You)


HARD TO FIND 45S ON CD: SWEET SOUL SOUNDS (2004, Eric Records CD-11524)
      Little Jerry Williams - I'm The Lover Man


HEAVY BREATHING! - THE SOUNDS OF SEX, VOL.2: THRILL ME! - FUNKY PLEASURES, SOULFULL BODY LANGUAGES, BOUNCY BUTTSHAKES (2006, Normal 807052 [CD]; Normal 807051 [2LP] {Germany})
      Swamp Dogg - If It Hadn't Been For Sly
Notes:
      http://www.heavy-breathing.com/index-en.html


THE HISTORY OF THE BLUES & SOUL VOLUME ONE (2006, ?? [Australia]; 3-CD set)
      Swamp Dogg - Mama's Baby Daddy's Maybe


HOT BOPPIN' CATS, VOL.2 (1987, Esoldun RR 2017 [France])
      Little Jerry Williams - Hum Baby


IT HAD TO BE YOU: Southern Soul Gems (2014, Perpetual/Essential Media Group LLC ??)
1. Jesse James - I'm Gonna Be Rich And Famous
2. Swamp Dogg - Sweetest Thing In California
3. Ruth Brown - I Want To Sleep With You
4. Tommy Hunt - Human
5. Willie Clayton - Stay
6. Z.Z. Hill - Hold Back (One Man At A Time)
7. Doris Duke - By The Time I Get To Phoenix
8. Irma Thomas - Wish Someone Would Care
9. Bette Williams - If You Get Him (He Was Never Mine)
10. Freddie North - Yours Love
11. Ruby Andrews - Casanova (Your Playing Days Are Over)
12. Solomon Burke - More
13. Norma Jenkins - Love Jones
14. Chyvonne Scott - It Had To Be You
Notes:
      Since most of the tracks on the compilation are from Swamp Dogg-produced artists this is likely sanctioned by Swamp Dogg for release. Jesse James' "I'm Gonna Be Rich And Famous" was originally released as a single in 1988 on TTED TDE-7-3031: http://www.discogs.com/Jesse-James-Im-Gonna-Be-Rich-And-Famous/release/1222910 It was reissued as a CD single in 2012 by Essential Media Group. The sound of this smells like a Swamp Dogg-produced song though his name is not to be found in the credits.
      Willie Clayton's "Stay" also has some Swamp Dogg production smells to it, though not quite as clearly. It was originally released on a 12" single in 1988, Warlock WAR 013, which is the label that also released the soundtrack to Ted & Venus: http://www.discogs.com/Willie-Clayton-Rocking-Chair/release/4956091
     Norma Jenkins' "Love Jones" was originally released in 1976 on her album Patience Is A Virtue [Desert Moon Records DMS-3200].
     Chyvonne Scott's "It Had To Be You" was originally released in the mid-1960s as a 7" single [Alto Records 2011]. It was reissued on a CD compilation of her work in 2012 by Essential Media Group as I'm Moving On: Rare Soul Recordings, and again in 2013 as Legendary Bop, Rhythm & Blues Classics.


IT TAKES TWO: 23 PRIME CUTS OF CLASSIC 60S SOUL AND R&B DUETS, VOLUME 1 (2000, RPM/Shout!/Cherry Red Records Ltd. RPMSH 212)
      Brooks & Jerry - I Got What It Takes Part 1
      Brooks & Jerry - I Got What It Takes Part 2
Notes:
      Track time for Part 1 = 2:43. Track time for Part 2 = 2:43. Brooks & Jerry = Brooks O'Dell and Jerry Williams, Jr. Written by W. Dixon, published by Jewel Music Ltd. A Musicor/Dynamo recording. Copyright control by Gamble/Ross. Produced by Jerry Williams and Brooks O'Dell.
Liner note excerpt:
      Brooks & Jerry were Brooks O'Dell and Jerry Williams Jr. Brooks' history reveals a Hot 100 hit with Watch Your Step for the minute Gold label in 1963, and I suspect further involvement in vocal groups. Jerry was and is more prolific, both as a label-hopping pioneering soul singer from Philadelphia, and subsequently as a songwriter of prodigious output and R&B social commentator in his alter-ego of Swamp Dogg on a whole host of labels, many of whom seemed to career towards bankruptcy coincident with his arrival! The driving beat of I Got What It Takes reflects the enthusiasm and irony which embroiders most of Jerry's output, and was a modest hit for the duo on Musicor's appropriately-named Dynamo R&B subsidiary.  -- Clive Richardson, SOLAR Radio (www.solarradio.com) June 2000


IT'LL NEVER BE OVER FOR ME: 20 NORTHERN SOUL MASTERPIECES (2003, EMI/Stateside 4968302)
      Jerry Williams - If You Ask Me (Because I Love You)


KEEPIN' THE FAITH (1975, PRT Records PRC 5572)
      Jerry Williams - If You Ask Me (Because I Love You)


LAND OF 1000 DANCES: SPECIAL SOUL & FUNK EDITION (2004, Ace/Kent CDKEND 228)
      Jerry Williams - The Push, Push, Push


LET FREEDOM SING: THE MUSIC OF THE CIVIL RIGHTS MOVEMENT (2009, Time Life Entertainment ???)
      Swamp Dogg - I Was Born Blue


LOST SOULFUL DOOWOP TREASURES, VOLUME 1 (2005, Lost 001)
      Little Jerry - I'm So Mad


MAMA ROCK (1980, Wendi LP 000013 [Australia])
      Little Jerry Williams - She's So Devine
      Little Jerry Williams - Hum Baby


NORTHERN SOUL NIGHT OUT (2006, Dynamic 2430)
      Jerry Williams - If You Ask Me (Because I Love You)


NORTHERN SOUL STOMPERS (2001, Bestway BESTCD2)
      Jerry "Swamp Dogg" Williams - If You Ask Me


ORIGINAL DISCO HITS '79 (1979, Victor [Japan] VIP-6677)
      Swamp Dogg - Salty Dog


OUT ON THE FLOOR: NORTHERN SOUL FLOORSHAKERS! (2005, Disky CB903317; 3-CD set)
      Jerry Williams - If You Ask Me (Because I Love You)


OXFORD AMERICAN 2003 SOUTHERN MUSIC CD NO. 6 (2003, Oxford American Magazine issue #45 (Music Issue #6), April 18, 2003)
      Swamp Dogg - Total Destruction To Your Mind


THE PITH OF SOUL (1969, Exit Records [Spain] 3502-N)
      Jerry Williams - If You Ask Me (Because I Love You)
      Jerry Williams - Yvonne


R&B DYNAMITE! Volume 1: A Wild & Savage Collection Of Black Rock N' Roll And R&B (2008, Dymamite Records ??)
      Little Jerry Williams - Hum Baby


REALLY HEAVY SOUL: DIRTY GUITAR DRIVEN FAT ASSED FUNK (2000, Ocho CD006)
      Swamp Dogg - Total Destruction To Your Mind


REMEMBER THESE DOO-WOPS...30 GREAT GROUPS! (2006, Doo-Wop Records CWR 032)
      Little Jerry - I'll Always Remember


ROCK & ROLL PARTY (1981, Jan/Star Club 33-8009 [Sweden])
      Little Jerry - Hum Baby


RUBBER SOULED (1993, Risky Business/ Sony Music Special Products AK-53918)
      Swamp Dogg - Lady Madonna


SAMBAROCK: O SOM DOS BLACKS (1985, Copacabana 42014 [Brazil])
      Swamp Dogg - Everything You'll Ever Need
Notes:
      There appear to be two different cover variations of this album. Variation 1 has a woman's face reclining along the bottom. Variation 2 has a couple dancing. One is likely the 1985 vinyl LP version and the other the 1998 CD version.


SAMBAROCK: O SOM DOS BLACKS (1998, Copacabana/EMI 472609-2 [Brazil])
      Jerry Williams Jr. - Sal-A-Faster
Notes:
      There appear to be two different cover variations of this album. Variation 1 has a woman's face reclining along the bottom. Variation 2 has a couple dancing. One is likely the 1985 vinyl LP version and the other the 1998 CD version.


SELECAO DE OURO (1976, Vision VNLP-9103 [Brazil])
      Swamp Dogg - Everything You'll Ever Need


SINGING THE BLUES: 44 BLUES CLASSICS (2006, Dove 7122, 2-CD set)
      Swamp Dogg - Mama's Baby, Daddy's Maybe
Notes:
      See also Back Home Blues, disc 1 of a 3-disc set. See also Working Man Blues.


A SOLDIER'S SAD STORY: VIETNAM THROUGH THE EYES OF BLACK AMERICA 1966-73 (2003, Kent CDKEND 226)
      Swamp Dogg - Sam Stone


SOUL OF THE '60S, VOLUME 1: CALLA RECORDS (1996, AVI Entertainment Group, Inc. AVI CD 5015)
      Little Jerry Williams - Baby You're My Everything
      Little Jerry Williams - If You Ask Me (Because I Love You)
Notes:
      The version of "If You Ask Me (Because I Love You)" that appears on this compilation appears to be the 1973 reissue variation with a 23-second instrumental break at 1:46-2:09.


SOUL OF VIETNAM (1993, Risky Business/Sony Music Special Products AK-53917)
      Swamp Dogg - Sam Stone


SOUL, R&B AND THE BLUES (@2006, Helene Blue Musique, promotional CD)
1. Some Of My Best Friends Are The Blues - Jimmy Witherspoon
2. I Want To Be With You - Dee Dee Warwick
3. Brand New House - Otis Spann
4. Still Good - The Magnificent Men
5. Mama's Baby, Daddy's Maybe - Swamp Dogg
6. To The Other Woman - Doris Duke
7. Feet Start Walking - Doris Duke
8. Early In The Morning - ZZ Hill
9. 'Fore Day Rider - Jay McShann
10. She's All I Got - Freddie North
11. Just As I Am - ZZ Hill
12. These Four Walls - Irma Thomas
13. That's All Right - Lightnin' Slim
14. Memphis Blues - Doc Cheatam & Sammy Price
15. Tomorrow - Cissy Houston
16. Once Upon A Time - Jay McShann
17. In The Valley - Willie Williams
18. In The Evening - Pete Seeger
19. Billie Jean Blues - Guitar Shorty
20. Hard Knock Life - Jay Z
21. Don't Wanna Go Home - Regina Belle
22. Red Hot Nutz - Vera Cross
Notes:
      This promotional CD sampler is comprised primarily of Swamp Dogg and Jerry Williams-produced songs. Helene Blue Musique is a music publishing company which Swamp Dogg refers to in the liner notes to If I Ever Kiss It .... He Can Kiss It Goodbye! (2002, S.D.E.G. #1948): "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."


SOUL SEARCHING (1994, Hi Records HILOCD-11)
      Swamp Dogg - In My Resume


SOUL SPIN (1985, Kent 024)
      Jerry Williams - Run Run Roadrunner


SOUL SURVIVORS 2: 25 YEARS OF THE WIGAN CASINO / 40 NORTHERN SOUL ANTHEMS (1998, Telstar TTVCD 2992)
      Jerry Williams - If You Ask Me


SOUL UNDERGROUND VOLUME 1: FEELIN' GOOD ALL OVER (1995, Sequel Records NEMCD759)
      Jerry Williams - If You Ask Me (Because I Love You)


STRUTTIN' AND UPRISIN': JAZZIN' FOR BLUE SOUL/GROOVIN' SOUL AND JAZZ COLLECTION (1993, Jimco JICL-89245 [Japan])
      Swamp Dogg - Creeping Away


SWAMP DOGG & FRIENDS - MY RESUME (2014, Essential Media Group CD-R)
1. In My Resume - Swamp Dogg
2. Synthetic World - Swamp Dogg
3. Don't Give Up On Me - Swamp Dogg
4. Rescue Song - Sandra Phillips
5. If You Get Him (He Was Never Mine) - Bette Williams
6. She's All I Got - Freddie North
7. You Need A Personal Manager - Gary U.S. Bonds
8. I Want To Sleep With You - Ruth Brown
9. Complication No. 4 - Arthur Conley
10. Run, Run Roadrunner - Little Jerry Williams
11. Too Many People In My Bed - Tony Mathews
12. Do Do Do Doop (Please Come Back) - Bobby McClure
13. Granulated Sugar (Sweet Sweet Woman Of Mine) - Billy Prince
14. Right Mood To Do Wrong - Tommy Hunt
15. I Ain't Nobody - Wilson Williams
16. (Oh Lord) I Wish I Could Sleep - Doris Duke
17. I Want To Rock With You Baby No. 2 - Ruby Andrews
18. Sidewalks, Fences And Walls - Solomon Burke
19. Cloak Of Many Colors - Wolfmoon
20. Is It Real - Brooks O'Dell
21. Who Do They Think They Are - Raw Spitt
Notes:
      An on-demand CD-R compilation.


TAKOMA ECLECTIC SAMPLER (1997, Takoma TAKCD-8904-2)
      Swamp Dogg - Wine, Women & Rock 'N' Roll


TALCUM SOUL VOL. 1: 26 STONKING NORTHERN SOUL GREATS (1998, Stateside 7243-4-95636-2)
      Little Jerry Williams - You're My Everything


TALCUM SOUL VOL. 2: 25 STONKING NORTHERN SOUL GREATS (2000, Stateside 7243-5-26036-2-6)
      Jerry Williams - If You Ask Me (Because I Love You)


TALK OF THE GRAPEVINE VOLUME 2: 24 NORTHERN SOUL CLASSICS (2005, Grapevine GVCD 3024)
      Jerry Williams - When You Move, You Lose


TED & VENUS: ORIGINAL MOTION PICTURE SOUNDTRACK (1992, Warlock/S.D.E.G. WARCD-2734)
1. Remember I Said Tomorrow - Swamp Dogg (3:26)
      --longer intro than on Rat On!
      [Jerry Williams, Jr. and Troy Davis]
2. Mind Does The Dancing #2 - Swamp Dogg (7:20)
      --same version as what appears on Have You Heard This Story??
      [Jerry Williams, Jr.]
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)
      --shorter than what appears on Little Jerry Williams Anthology and Swamp's Things
      [Jerry Williams, Jr. and Rick Spain]
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)
      --new version
      [Jerry Williams, Jr.]
Notes:
      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


TEENAGE BABYLON: KILL! FUCKIN' TOMORROW, VOL.6 - SOUL FUNK EDITION (2006, Babylon CD ?? [Japan])
      Little Jerry Williams - Push Push Push


TEENAGE BABYLON: KILL! FUCKIN' TOMORROW, VOL.10 - SOUL FUNK EDITION (2006, Babylon CD ?? [Japan])
      Little Jerry Williams - Hum Baby


THIS IS NORTHERN SOUL, VOLUME FOUR: 24 CLASSIC TRACKS (2008, Soul Time ???)
      Jerry Williams - If You Ask Me


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:
      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.


VIRGINIA MUSIC 2002 (2002, 64 Magazine)
      Swamp Dogg - Chokin' To Death On The Ties That Bind


THE WIGAN CASINO STORY (1994, Goldmine GSCD051)
      Jerry Williams - If You Ask Me (Because I Love You)


WILD & FRANTIC (2001, Official Records OFF CD 5004)
      Little Jerry Williams - Hum Baby
      Little Jerry Williams - She's So Devine


WORKING MAN'S BLUES (2004, Prism PLATCD1272)
      Swamp Dogg - Mama's Baby Daddy's Maybe
Notes:
      See also Back Home Blues, disc 1 of a 3-disc set. See also Singing The Blues, disc 2 of a 2-disc set.


WWRL'S SOUL BROTHERS 1600 SOUL SOUVENIRS VOLUME 2 (196?, Take 6 Enterprises 2001-LA)
      Little Jerry Williams - Baby You're My Everything
Notes:
      There are 2 variations of the album. Variation 1 has yellow labels. Variation 2 has light blue labels. WWRL is an AM radio station in New York NY: http://www.wwrl1600.com/


========================
PRODUCTION & ARRANGEMENT:
========================

      This section is likely incomplete. It will be updated as further information is located; additions and/or corrections are certainly welcome: dchance@wustl.edu


...AND SWEETS THE MC. - What's Up What's Up // Talking On The Mic / Talking On The Mic (Radio Edit) (1987, S.D.E.G. 9585, 12" single)
Notes:
      "Talking On The Mic" written by Brian Donaldson. Published by Jerry Williams Music (BMI). Produced by Swamp Dogg. Engineer: Doctor Robert Feist. Recorded at Track Record. Side AA track time = 6:30 + 2:31.


...AND SWEETS THE MC. - What's Up What's Up / What's Up (Beat Box) What's Up (1987, S.D.E.G. 9585 12, 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 - 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."


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)
Notes:
      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)
Notes:
      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


BOBBY & WALLACE - Unusual Love / Move On Drifter (1966, Garrison GAR 3006, 7" single)
Notes:
      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. There are 3 variations of this single. Variation 1 has red labels. Variation 2 has orange labels. Variation 3 has black labels with a flower on the right-hand side.


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.


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. There are 2 variations of promotional copies of this single. Variation 1 has "Plug Side" written in bold black capital letters above the label number on the right-hand side. Variation 2 has "Plug Side" written beneath the control number (69-C-17027 SP) on the left-hand side.


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 (2012, Vanilla OMP ??)
1. Bad Things Happen When You Leave Me
      [Gary Bonds and Jerry Williams, Jr.]
2. Don't Trust A Woman
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
3. Funky Lies
      [Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
4. High Blood Pressure
      [Dorain Burton]
5. I Can't Use You In My Business
      [Jerry Williams, Jr. and Gary Bonds]
6. I'm Glad You're Back
      [Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
7. The Star
      [Jerry Williams, Jr. and Gary Bonds]
8. One Broken Heart
      [Jerry Williams, Jr., Gary Bonds and T. Milit]
9. Trying To Get To My Baby
      [Chuck Fredericks and Jerry Williams, Jr.]
10. Personal Manager
      [Jerry Williams, Jr.].
11. They're Dancing To My Song
      [Jerry Williams, Jr.]
12. US Stomp
      [Jerry Williams, Jr.]
Notes:
      All tracks produced by Jerry Williams, Jr. "US 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]. "They're Dancing To My Song" is an instrumental track.


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:
      This issue appears to be an internet download-only release. 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]. http://mp3.rhapsody.com/gary-us-bonds/rock-masters-high-blood-pressure


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, Success/Elap Music Ltd. 16220CD)
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. US 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. "US 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]. "They're Dancing To My Song" is an instrumental track.


RUTH BROWN - I Want To Sleep With You / What Color Is Blue (1990, Ichiban/S.D.E.G. SDE 4023, 7" single)
Notes:
      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)
Notes:
      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 (@1993, Ripete REP-1030, 7" single)
Notes:
      Split 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
Notes:
      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.]
Notes:
      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.]
Notes:
      A repackaging of "Sugar Babe". Reissued as part of Miss Rhythm & Miss Blues (2007, S.D.E.G. 1961).


RUTH BROWN - I WANT TO SLEEP WITH YOU: SOUL MASTERS (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. Christine
14. Rose Come Home
15. Over The Mountain
16. Flow Gently
17. A Truly Good Song
Notes:
      This issue appears to be an internet download-only release. A repackaging of "Sugar Babe" plus 7 additional tracks, which appear to be by Hall & Oates. Partially reissued as part of Miss Rhythm & Miss Blues (2007, S.D.E.G. 1961). http://mp3.rhapsody.com/ruth-brown/soul-masters-i-want-to-sleep-with-you


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.]
Notes:
      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)
Notes:
      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; 1975, Island USA 004, 7" single; 1976, Island WIP 6273, 7" single)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      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
      [Linda Stokes & Michael Stokes]
4. Heavenly
      [Linda Stokes & Michael Stokes]
5. Does Life Have A Meaning
      [Linda Stokes & Michael Stokes]
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.]
Notes:
      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.]
Notes:
      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]
Notes:
      A repackaging of "Sidewalks, Fences And Walls". Solomon is misspelled Soloman. There is also a vinyl album by this title (record label unknown) with Solomon spelled correctly.


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
      [??]
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") plus 3 additional tracks from his Music To Make Love By album (1975, Chess 60042).


SOLOMON BURKE - SOUL MAN (2002, Fruit Tree FT828)
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.]
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") 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 DD 5245-12A, 12" maxi-single)
Notes:
      Produced by Swamp Dogg and Robert Mercer. All songs written by Jerry Williams, Jr., J. James, B. Moore and J. Lewis. Scratcher: D.J. Mannie Fresh. 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 = 3:45.


C & THE SHELLS - Good Morning Starshine / On Your Way Home (1969, Cotillion 44033, 7" single)
Notes:
      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)
Notes:
      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 [original version] (1969, Cotillion 44024, 7" single)
Notes:
      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. Side A track time = 3:02. Side B track time = 3:03.
      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."
      In the April 2014 issue of Living Blues Swamp Dogg gives an interview in which he repeats the above comments, indicating that there are 2 released versions of the B-side (the "Plug Side"), "You Are The Circus"; the original version has the line "you don't give a damn about me at all", and the "New Version" (noted on the label) has the line "you don't seem to care about me at all".


C & THE SHELLS - I've Fallen In Love / You Are The Circus [New Version] (1969, Cotillion 44024, 7" single)
Notes:
      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).


KENNY CARTER - I Ain't Nobody / What's So Wrong With You Loving Me (@1969, unreleased single)
Notes:
      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.


WILLIE CLAYTON - IF YOUR LOVING WASN'T GOOD ENOUGH TO KEEP ME...HOW IN THE WORLD DO YOU THINK IT CAN BRING ME BACK? (2011, SDEG 1980)
1. If Your Loving Wasn't Good Enough To Keep Me...How In The World Do You Think It Can Bring Me Back
2. Cheating In The Day Light [duet with Swamp Dogg]
3. One Night Stand
4. Open Up The Door To Your Heart
5. How Do You Love Two
6. A Woman Needs To Be Loved
7. Show Me
8. Feels Like Love To Me
9. Shining Star
10. Does Your Mama Know
11. Stay
12. Where Has Love Gone
Notes:
      Swamp Dogg duets on the song "Cheating In The Day Light", which was recorded at Swamp Dogg's House, Northridge, California and engineered by Norman Whitfield; personnel: Swamp Dogg (piano, vocals), Lucky Lloyd Wright (guitar), Craig Kimbrough (drums), Stoney Dixon (bass), Mack Johnson (trumpet), Jan Garfinkle (organ), Evan Pigford (trombone), Jerry Peterson (tenor & baritone sax). "Cheating In The Day Light" was written by Jerry Williams and Bob Jones.


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


THE COMMODORES - Keep On Dancing / Rise Up (1969, Atlantic 2633, 7" single; Atlantic [UK] 584273, 7" single)
Notes:
      "Keep On Dancing" produced by Jerry Williams, Jr. The liner notes to the 2000 CD reissue of this material, Early Gold And New Spins (Goldenlane CLP 0847-2), credits 3 additional songs as written by Jerry Williams, Jr. and published by Rare Bullet Music: "Baby, This Is Forever", "Love Canoe", and "Rise Up"; other releases of this material simply credit Lionel Richie for these 3 songs.


THE COMMODORES - Keep On Dancing / T.S.U. TORONADOES - Getting The Corners (1969, Atlantic 45-2502, 7" single)
Notes:
      "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)
Notes:
      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 liner notes credit 3 additional songs as written by Jerry Williams, Jr. and published by Rare Bullet Music: "Baby, This Is Forever", "Love Canoe", and "Rise Up"; other releases of this material simply credit Lionel Richie for these 3 songs.


THE COMMODORES - THE GREAT COMMODORES (1996, Intermusic/Movieplay GLD 63027)
Notes:
      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 liner notes to the 2000 CD reissue of this material, Early Gold And New Spins (Goldenlane CLP 0847-2), credit 3 additional songs as written by Jerry Williams, Jr. and published by Rare Bullet Music: "Baby, This Is Forever", "Love Canoe", and "Rise Up"; other releases of this material simply credit Lionel Richie for these 3 songs.


THE COMMODORES - GREATEST HITS (2004, Classic World Productions, Inc. CWP 1008)
Notes:
      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 liner notes to the 2000 CD reissue of this material, Early Gold And New Spins (Goldenlane CLP 0847-2), credit 3 additional songs as written by Jerry Williams, Jr. and published by Rare Bullet Music: "Baby, This Is Forever", "Love Canoe", and "Rise Up"; other releases of this material simply credit Lionel Richie for these 3 songs.


THE COMMODORES - LIVE! (1994, Columbia River Entertainment Group CRG 100013)
Notes:
      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 liner notes to the 2000 CD reissue of this material, Early Gold And New Spins (Goldenlane CLP 0847-2), credit 3 additional songs as written by Jerry Williams, Jr. and published by Rare Bullet Music: "Baby, This Is Forever", "Love Canoe", and "Rise Up"; other releases of this material simply credit Lionel Richie for these 3 songs.


THE COMMODORES WITH LIONEL RICHIE - RISE UP (1984/1998/2002, MagMid/TKO Magnum Music MMCD 017)
Notes:
      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 liner notes to the 2000 CD reissue of this material, Early Gold And New Spins (Goldenlane CLP 0847-2), credit 3 additional songs as written by Jerry Williams, Jr. and published by Rare Bullet Music: "Baby, This Is Forever", "Love Canoe", and "Rise Up"; other releases of this material simply credit Lionel Richie for these 3 songs.
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, ???? LaserLight.


THE COMMODORES WITH LIONEL RICHIE - RISE UP (1996, Magnum America MACD 027)
Notes:
      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 liner notes to the 2000 CD reissue of this material, Early Gold And New Spins (Goldenlane CLP 0847-2), credit 3 additional songs as written by Jerry Williams, Jr. and published by Rare Bullet Music: "Baby, This Is Forever", "Love Canoe", and "Rise Up"; other releases of this material simply credit Lionel Richie for these 3 songs.


ARTHUR CONLEY - It's So Nice (When It's Somebody Else's Wife) / Bless You (1974, Capricorn CPR 0047, 7" single)
Notes:
      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]. Be sure to visit the excellent Arthur Conley page at: http://keepkey.yochanan.net/conley.htm


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)
Notes:
      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.
      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. Be sure to visit the excellent Arthur Conley page at: http://keepkey.yochanan.net/conley.htm


ARTHUR CONLEY - Walking On Eggs / More Sweet Soul Music (1972, Capricorn CPR 0001, 7" single)
Notes:
      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. Be sure to visit the excellent Arthur Conley page at: http://keepkey.yochanan.net/conley.htm


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). Be sure to visit the excellent Arthur Conley page at: http://keepkey.yochanan.net/conley.htm


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. Be sure to visit the excellent Arthur Conley page at: http://keepkey.yochanan.net/conley.htm


NAT CROSS - Theme From A Yet To Be Filmed Movie / Boogie Truck (1974, Island IS 013, 7" single)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      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.


DJ TINY T & THE DOG POUND - Foster Child / Dog Pound (1993, Super Power Records HAL 12397, 12" single)
Notes:
      Produced and arranged by Swamp Dogg & M.C. World for S.D.E.G. Executive Producer: Yvonne Williams. Published by Jerry Williams Music (BMI). From the LP, Cassette & CD "Foster Child" (HAL 3363). Marketed and distributed by Hot Productions, Inc. 7360 S.W. 48th St., Miami, FL 33155. Record executive and producer Henry Stone, an old business friend of Swamp Dogg, was involved with the Super Power Records label as an executive producer.


DJ TINY T & THE DOG POUND - FOSTER CHILD (1993, Super Power Records HAL 3363)
Notes:
      Unknown details. I've never been able to locate a copy of this anywhere and have some doubts as to whether or not it was actually ever released. All that I've ever been able to locate is the 12" single which refers to this.


THE DONNELS - Here Comes The Bride / Johnny Oh (1964, Alpha 001, 7" single)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      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)
Notes:
      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 - Full Time Woman / Your Best Friend (1975, Contempo CS.2064, 7" single)
Notes:
      "Full Time Woman" taken from the Woman album (CLP 519). "Your Best Friend" taken from the album I'm A Loser (CRM 101); arranged and produced by Jerry Williams, Jnr., 1971.


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)
Notes:
      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]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


DORIS DUKE - If She's Your Wife (Who Am I?) / It Sure Was Fun (1971, Mojo 2092-017, 7" single)
Notes:
      Side One track time = 4:08. Side Two track time = 2:38.


DORIS DUKE - To The Other Woman (I'm The Other Woman) / Feet Start Walking (1971, Contempo CS.9007, 7" single)
Notes:
      Side A track time = 2:55. Side B track time = 2:28.


DORIS DUKE - To The Other Woman (I'm The Other Woman) / I Don't Care Anymore (1970, Canyon #28, 7" single)
Notes:
      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 (1970, Canyon 7704; 1971, Mojo [UK] 2916001; 1981, Charly [UK] CRB 1027; 1988, P-Vine [Japan] PCD-902; 2013, Alive Naturalsound ALIVE0152-1 [vinyl] & ALIVE0152-2 [CD])
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]
Notes:
      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. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


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)
Notes:
      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)
Notes:
      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)
Notes:
      "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 [see note below], produced by Jerry Williams, Jr. Side B track time = 2:50. "East Coast Rapper" also released on the 1997 CD reissue of Let's Talk It Over [Saucer Man Records {Japan] SMD 9701].
      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)
Notes:
      "(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)
Notes:
      "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)
Notes:
      "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)
Notes:
      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.
      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." Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


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
Notes:
      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).


KENNY HAMBER - ??
      "I have a couple of great unreleased sides on Kenny Hamber." -Swamp Dogg, Southern Soul List (Yahoo) 10/19/09


CHARLES HAYES THE "SATIN KNIGHT" - THE KNIGHT BEFORE CHRISTMAS (2009, S.D.E.G. ??)
1. Sleigh Ride
2. Santa Claus Is Coming To Town
3. Have Yourself A Merry Little Christmas
4. Silent Night
5. Winter Wonderland
6. Someday My Prince Will Come
7. Rudolph The Red Nosed Reindeer
8. I'll Be Home For Christmas [featuring Kim Foley]
9. Christmas Song
10. Merry Christmas Baby
11. Let It Snow Let It Snow Let It Snow
12. Auld Lang Syne
Notes:
      Produced by Swamp Dogg, Charles Hayes, Brenda Kaye Pierce, Moogstar Clemon, and Stoney Dixon.


SIR JOHN HENRY - Let Them Talk / Live Everyday For Your Love (1969, Lonnie 801, 7" single; 1967, JMA 0001, 7" single)
Notes:
      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)
Notes:
      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]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


Z.Z. HILL - Faithful And True / I Think I'd Do It (1971, Mankind 12003, 7" single; 1972, Mojo 2092-019, 7" single)
Notes:
      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]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


Z.Z. HILL - Ha Ha (Laughing Song) / Second Chance (1972, Excello 100016 [France], 7" single)
Notes:
      Picture sleeve.


Z.Z. HILL - Hold Back (One Man At A Time) / Put A Little Love In Your Heart (1984, Rare Bullet RB 4241, 7" single)
Notes:
      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)
Notes:
      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]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


Z.Z. HILL - A Man Needs A Woman / Chokin' Kind (1972, Mankind M-12017, 7" single)
Notes:
      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]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


Z.Z. HILL - Second Chance / Faithful And True (1975, Contempo CS.2039, 7" single)
Notes:
      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]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


Z.Z. HILL - Second Chance / I Think I'd Do It (1972, Mankind M-12012, 7" single)
Notes:
      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]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


Z.Z. HILL - THE BRAND NEW Z.Z. HILL (1971, Mankind M-201; 1972, Contempo [UK] 515; 1972, Mojo [UK] 2916013; 2013, Alive Naturalsound ALIVE0153-1 [vinyl] & ALIVE0153-2 [CD])
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. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


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:
      Track 21, "I Think I'd Do It (Collectors Version)", has a serious defect. The start of the track is the last 1 minute and 13 seconds of track 20, "Early In The Morning (Collectors Version)", and "I Think I'd Do It (Collectors Version)", which actually begins at 1:15 into the track, has the second half of the song cut off/ommitted; there is only 1 minute and 14 seconds of the song. The complete version can be found on Swamp Dogg Droppin's (2008, S.D.E.G./Catch A Fire CAFCD2008).
      Track 18, "Put A Little Love In Your Heart (Collectors Version)", is actually the same version as what was released on Velvet Soul [1982, Malibu MR 05820] and Thrill On The (Z.Z.) Hill [1984, Rare Bullet RB-LP-2001]. Track 14 is the original unaltered version from the 1971 sessions.
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 - THE BRAND NEW Z.Z. HILL / FREDDIE NORTH - 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
      [Jimmy 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, Jimmy Roach and P. Sawyer]
22. Cuss The Wind
      [Jerry Williams, Jr. and Stan McKenney]
Notes:
      Reissues plus 2 additional Freddie North tracks.


Z.Z. HILL - FAITHFUL AND TRUE (1985, ???? GC67512)
Side 1:
1. Faithful And True
      [M. Greene, J. Greene and Dan Penn]
2. Early In The Morning
      [B. Darin and W. Harris]
3. Second Chance
      [Jerry Williams, Jr., Gary Bonds and Don Hollinger]
4. Hold Back
      [D. Monda and R. Burns]
5. It Ain't No Use
      [Jerry Williams, Jr., Gary Bonds and Don Hollinger]
Side 2: - unknown
Notes:
      Reissue of the Swamp Dogg-produced tracks from 1972.


Z.Z. HILL - FAITHFUL AND TRUE (1991, ????)
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
      [D. Monda and R. Burns]
7. I Think I'll Do It
      [Sam Dees]
8. Reprise #69
      [Jerry Williams, Jr. and Yvonne Williams]
Notes:
      There is also a release by this title from 1994 on the Pair label, track list unknown.


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)
Notes:
      "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)
Notes:
      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)
Notes:
      "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)
Notes:
      "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 (3:55)
      [Kenneth Gamble and Leon Huff]
2. Until My Arms Fall Off (Radio Edit) (3:43)
      [Swamp Dogg and Bob Jones]
3. Until My Arms Fall Off (LP version) (5:01)
      [Swamp Dogg and Bob Jones]
4. I'll Always Be Your Man (Radio Edit) (4:20)
      [Swamp Dogg and Charles J. Hunt]
5. I'll Always Be Your Man (LP version) (5:55)
      [Swamp Dogg and Charles J. Hunt]
6. O' Holy Night (4:14)
      [traditional]
Notes:
      Somewhat rare promo EP CD which contains 2 radio edit variations not available elsewhere.


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)
Notes:
      Produced by Swamp Dogg and Milton DeCoronado. "Why James Brown?" written by Swamp Dogg. 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-PO31, 12" single)
Notes:
      Produced by Swamp Dogg and Milton DeCoronado.


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
Notes:
      Produced by Swamp Dogg and Milton DeCoronado. "Why James Brown?", "Now That's Love" and "Face" written by Swamp Dogg.


JAY J. JONES - I Don't Know About You / Bring Back My Dog (1962, V-Tone V-508, 7" single)
Notes:
      "I Don't Know About You" written by L. Lendon & B. Massey; track time = 2:00. "Bring Back My Dog" produced by Jerry Williams, Jr., co-written by Jerry Williams, Jr. & Jay J. Jones; 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}).
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"."


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])
Notes:
      Includes "Kako's Boogaloo" featuring Jerry Williams, Jr. on guest 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 punctuation 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."


THE KITTENS - Give Me A Shove / Hot Water (1964, Don-El 123, 7" single)
Notes:
      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 - He's Gone / Dance To The Rhythm Of Love (1969, Atlantic 45-2610, 7" single)
Notes:
      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)
Notes:
      "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)
Notes:
      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.
      "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.
      Alto Lee died on January 23, 2010. Swamp Dogg sent a copy of Alto's one and only record to the Lee family, along with a eulogy:
      "To: Shari Lee, Lori Lee and the whole wonderful family of Alto Lee.
      "I met Alto in 1966 but I don't totally recall the occasion. I believe it was at the Embassy Club in Ft. Lauderdale, where I was appearing. Nevertheless, we became instant buddies and commenced working together towards going into the studio and making some records. His voice was unique and powerful.  I knew that he could have been another Marvin Gaye, but.....being he was my first artist on my first record label, he and I were in a learning process; meaning we really didn't know what we were doing, or who we were supposed to do it to.
      "In 1966, we got in Alto's new Thunderbird and drove to Philadelphia, where we recorded his first record, for my 87.30 label. That was the address of my house in Miami...87.30 NW 16th Ave. His session  musicians read like a who's who of guys who were destined to become  stars in their fields, such as Norman Harris (guitar), Richard Rome of Richie Family (arranger), Joel Fein (engineer), Ronnie Baker(bass) and myself (producer and pianist). There were many others, whom I don't remember, but I do remember that we had a ball recording him at the old Cameo Parkway studio, now the site of Gamble & Huff's Philadelphia International Records.
      "I looked for Alto over the years, but to no avail. I wanted to produce an album on him, after finally learning the business from all sides. I'm so sorry that I couldn't find him, and my heart goes out to all his family and to those who knew him.
      "I'm sorry that he's passed on and I'm sorry that he had such a struggle in his last days.
      "I can always visualize him in his stingy brim hat, flashing a toothy smile with his eyes lighting up the room or wherever he happened to be. I am truly sorry about his passing .... I loved him.
      "He was a proud man with a great voice. I was lucky to have known him.
      "My love and condolences to all of you."  
      -- Swamp Dogg, January 25, 2010


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" was produced which included a scene of Swamp Dogg as a peanut salesman.


LIGHTNIN' SLIM - My Babe / Good Morning Heartaches (1971, Excello EX-2320, 7" single)
Notes:
      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
Notes:
      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; 2013, Alive Naturalsound Records ALIVE0147-1 [vinyl], ALIVE0147-2 [CD])
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).
LINER NOTES by B.B. King:
      Over the years I have listened to many records and albums of many types of music. As a disc jockey I played many different kinds of sounds, but I guess as an entertainer I pull a little harder for the blues performers because I want them to be heard, played and respected as much as other music is; that is, when it merits it. Lightning Slim's new album I think merits all the qualities that a great artist and a hit album should have. It's some great sounds. This is my opinion. Musically Yours, B.B. King
Additional Notes:
      The 2013 reissue on Alive Naturalsound Records includes Swamp Dogg's recollection on tracking down B.B. King for the above liner notes, along with his own take on Lightnin' Slim:
After chasing B.B. around the globe for six months, the above doesn't give me any insight as to how he feels about the recording or the artist. He's a championship skater when it comes to saying nothing about a motherfu**er.
      After meeting with Sid Seidenberg, his deceased manager, I had to step out of the picture and let my wife (now deceased) Yvonne take over. She was a master when it came to detecting bullsh*t in any situation. Anyway, he finally wrote these watery liners after Yvonne went up to his penthouse suite in a ten star, New Orleans hotel; the Rosemont or some sh*t that had to do with a Mont. I went back to the Ramada, after thinking about leaving my wife with a famous multi-millionaire blues singer. I said to myself, "fu** these liners, I'm going up there". I knocked on the door like a gentleman with my .38 in my shoulder bag. An attendant opened the door and the place was laid out with all kinds of champagne, finger sandwich sh*t, wines, food, etc. Don't get me wrong, I didn't blame him if his goal was what I thought. I just intended to foil the plot, and if Yvonne's hair and clothes were disheveled, I was going to do some damage to both, and maybe (?), jump out the window. Nooooo, fu** that! Upon my entrance and being introduced to him by my wife, he offered me a drink and commenced to write the above notes that could apply to any blues singer.
      I've produced and written for some great artists in my life and Lightning Slim is in my top ten. He didn't have to be coddled, nursed, etc. He learned the songs and got down to business. He only gave me three days to record him because he wanted to get back to Pontiac, Michigan to get back to his job at a lock factory. This album is as good as most blues albums and better than most. It has the Muscle Shoals, Alabama A-team rhythm section and the horn section that David Johnson (owner / engineer of Broadway Sound) and I assembled, which later became the Muscle Shoals horns. I'll speculate that if Eric Clapton, Keith Richards, George Benson, Albert King and Freddy King ever heard this blues album, they would rate Lightning's great delivery, song writing and innovative swamp guitar style in their top ten of authentic blues men. - Swamp Dogg


LIGHTNIN' SLIM - HIGH & LOW DOWN / WHISPERING SMITH - 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]
Notes:
      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]
Notes:
      A repackaging of High & Low Down.


THE LINNEAS - Forever Baby / It's A Good Kind Of Hurt
(1968, Diamond D-241, 7" single)
Notes:
      Both sides supervised by Brooks O'Dell, arranged and conducted by Duke Hall.
      "Duke Hall, Brooks O'Dell and I formed a company called Producers Inc. We went to Diamond and got a two artist production deal and recorded the Linneas. I didn't like not having my name as producer, writer, etc., so I walked away. We also had a one act deal at Jubilee [Josie] where we produced an artist named Mr. Pitiful." -Swamp Dogg, private email 10/17/08


THE LINNEAS - My Baby Comes Home Today / Born To Be Your Baby
(1968, Diamond D-248, 7" single)
Notes:
      Both sides supervised by Brooks O'Dell, arranged and conducted by Duke Hall.
      "Duke Hall, Brooks O'Dell and I formed a company called Producers Inc. We went to Diamond and got a two artist production deal and recorded the Linneas. I didn't like not having my name as producer, writer, etc., so I walked away. We also had a one act deal at Jubilee [Josie] where we produced an artist named Mr. Pitiful." -Swamp Dogg, private email 10/17/08


LITTLE CHARLES AND THE SIDEWINDERS - Please Open Up The Door / Shanty Town (1968, Botanic B-1001, 7" single)
Notes:
      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). "Shanty Town" is also available on Superfunk: Rare And Classic Street Funk From The Vaults 1966-1973 Volume 4 [2004, Beat Goes Public CDBGPD 160].
      "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, Lonnie grew tired of the record business because it was not showing the growth of his other enterprises, so I ended up as owner of the company, masters and publishing interests."
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 4/4/01: "The Little Charles that I recorded is another gentleman from Nashville named Charles Walker. At one point he was a cabaret star throughout the east coast and Puerto Rico as Little Charles & Sidewinders."


LITTLE CHARLES AND THE SIDEWINDERS - You're A Blessing / Please Open Up The Door (1968, Red Sands 45-701, 7" single)


LITTLE TOMMY - I'm Hurt / Lov'h (1964, Sound Of Soul NO. 100, 7" single; 1964, Sound Of Soul 45-100, 7" single)
Notes:
      Master produced by Jerry Williams, Jr. "I recorded him first in Philadelphia in 1964 but before I could release the record he went back to Richmond [Virginia] and signed with Mr. Wiggles' label [Sound Of Soul] who released my master". --Swamp Dogg, from "A Dogg's Tale", 1998/2001 interview with Ray Ellis published in Juke Blues #49. "There was two sides, "I'm Hurt" and the other I'll have to look up. It was uptempo." --Swamp Dogg, private email 9/4/07. Tyrone Thomas [a.k.a. Wolfoon] was 16 years old when he recorded "I'm Hurt": http://www.lifeandsoulpromotions.net/tyrone.html
      There are two different issues of this single. The original issue, Sound Of Soul NO. 100, has black lettering on a yellow label with the "I'm Hurt" side containing the additional label number SS 812653 and the "Lov'h" side containing the additional label number SS 812654. "I'm Hurt" is credited to C. Armstrong - Little Tommy - Mr. Wiggles. "Lov'h" is credited to Little Tommy - Mr. Wiggles. Side A track time = 2:39. Side B track time = 1:59. The reissue, Sound Of Soul 45-100, has black lettering on a white label with a caption on the bottom of the label reading "Distributed by Atlantic Record Sales, 1841 Broadway New York N.Y.". The "Lov'h" side contains the additional label number SOS-9283 and is credited to Tommy - Wiggles. "I'm Hurt" is also available on Mr. Wiggles Classic Soul: 22 Soul Hits (2002, Sound Of Soul SOS 1004).


TONY MATHEWS - ALIEN IN MY OWN HOME (1989, S.D.E.G./Sonet SNTCD 1028; 1990, S.D.E.G. 4004)
1. Too Many People In My Bed
      [Jerry Williams, Jr.]
2. Alien In My Own Home
      [Tony Mathews]
3. (Coming With) Love On My Mind
      [Jerry Williams, Jr.]
4. My Life Ain't Nothing But A Blues Song
      [Jerry Williams, Jr.]
5. You Send Me
      [Sam Cooke]
6. Warning (Big Danger Ahead)
      [Tony Mathews and Robert Love]
7. One Hour Ago
      [Jerry Williams, Jr.]
8. She Rides In The Fast Lane
      [Tony Mathews]
9. Who Needs It I'll Tell You I Do
      [Jerry Williams, Jr.]
Notes:
      Produced and arranged by Swamp Dogg. Swamp Dogg also plays keyboards and provided the album cover concept.


M.C. CHILE' & THE KONCRETE JUNGO FEATURING D.J. FAZE - I Just Wanna Rock You [3 mixes] // Free At Last (Dedication To Martin Luther King) + I Just Wanna Rock You [super dub mix] (1993, S.D.E.G. 7052, 12" single)
Notes:
      "I Just Wanna Rock You" produced by Swamp Dogg, M.C. World {Aaron Williams a.k.a. Hump Dogg}, Lonzo Williams and William Zimmerman. "Free At Last (Dedication To Martin Luther King)" produced by Swamp Dogg and M.C. World {Aaron Williams a.k.a. Hump Dogg}. Artist subtitle on both sides: 1993 duet with Yarbrough and Peoples. From the album "Everything You Wanted To Know About Compton... But Was Too Scared To Go There And Find Out" [1993, S.D.E.G. 3102]. "Free At Last (Dedication To Martin Luther King)" uses a sample from a Swamp Dogg song, though which one is uncertain.
      Side One (Very Radio Friendly): I Just Wanna Rock You (super mix by Yarbrough and Peoples), track time = 4:20; I Just Wanna Rock You (jungo mix by M.C. Chile' & D.J. Faze), track time = 4:22; I Just Wanna Rock You (album mix by Swamp Dogg & M.C. World {Aaron Williams a.k.a. Hump Dogg}), track time = 4:53. Side Two (Radio Friendly & Educational): Free At Last (Dedication To Martin Luther King), track time = 6:34; I Just Wanna Rock You (super dub mix by Yarbrough & Peoples), track time = 4:20.


M.C. CHILE' & THE KONCRETE JUNGO FEATURING D.J. FAZE - I Just Wanna Rock You (radio friendly) / Here Comes The Slave Master (absolutely not radio friendly) (1993, S.D.E.G./Shanachie S.D.E.G. 7051, 12" single)
Notes:
      "I Just Wanna Rock You" produced by Swamp Dogg, M.C. World {Aaron Williams a.k.a. Hump Dogg}, Lonzo Williams and William Zimmerman. "Here Comes The Slave Master" produced by Swamp Dogg and M.C. World {Aaron Williams a.k.a. Hump Dogg}. Side A track time = 4:50. Side B track time = 4:43. From the album "Everything You Wanted To Know About Compton... But Was Too Scared To Go There And Find Out" [1993, S.D.E.G. 3102]. The track timings are the same as what appears on the CD album version, so it is assumed they are the same versions.


M.C. CHILE' & THE KONCRETE JUNGO FEATURING D.J. FAZE - EVERYTHING YOU WANTED TO KNOW ABOUT COMPTON... BUT WAS TOO SCARED TO GO THERE AND FIND OUT (1993, S.D.E.G. 3102)
1. I Just Wanna Rock You (4:50)
2. Growing Up In The Ghetto (5:01)
3. Free At Last (6:38)
4. Here Comes The Slavemaster (4:43)
5. Off To Da' Party (3:52)
6. F___ With A Heavyweight (5:01)
7. Sexline (3:45)
8. Hassled and Ghaffled In The Back Seat (3:58)
9. It's A 2-11 (3:38)
Notes:
      Produced and arranged by Swamp Dogg and M.C. World {Aaron Williams a.k.a. Hump Dogg}. "I Just Wanna Rock You" and "F___ With A Heavyweight" produced by Swamp Dogg, M.C. World {Aaron Williams a.k.a. Hump Dogg}, Lonzo Williams and William Zimmerman. Swamp Dogg is credited with contributing keyboards, lead vocals and background vocals and effects, although he doesn't actually sing lead vocals (not that I can hear). "Free At Last (Dedication To Martin Luther King)" uses a sample from a Swamp Dogg song, though which one is uncertain. Swamp Dogg can be heard singing background vocals on "Sexline". Promo Video: I Just Wanna Rock You - http://www.youtube.com/watch?v=zxVvRMzSrpE


M.C. WORLD & THE GIRLZ - Brainwashed (After The Pain) / Spotlight (1991, S.D.E.G./SOH Distributors Network SOH 1713, 12" single)
Notes:
      Co-produced by Swamp Dogg. Executive produced by E. Rodney Jones. M.C. World is Aaron Williams a.k.a. Hump Dogg. Side A track time = 4:42.


M.C. WORLD & THE GIRLZ - Now Dance / I'm Working (1991, S.D.E.G./SOH Distributors Network SOH 1721, 12" single & CD single)
Notes:
      Co-produced by Swamp Dogg. Executive produced by E. Rodney Jones. M.C. World is Aaron Williams a.k.a. Hump Dogg. Side A track time = 5:15. Side B track time = 4:14.


M.C. WORLD AND GIRLZ - I JUST GOT TO BE ME (1991, SOH Distributors Network SCD 7007)
World Side:
1. Turn Up The Music
2. I Just Got To Be Me
3. Shimmy Shimmy #2
4. Now Dance
5. Brainwashed
6. When Bobby Gets Back
Girlz Side:
7. I'm Working (featuring E. Rodney Jones)
8. How Sweet Is Your Love (featuring Renetta Maze)
9. Spotlight
10. I Want You Back (Loretta)
11. Turn Up The Music (Drum Mix)
Notes:
      Produced by M.C. World, Michael Lockette and Swamp Dogg. The CD version of this release does not list song composer credits nor musician credits. SOH is an acronym for Select-O-Hits [Memphis, Tennessee]. The song "Brainwashed" is a particularly beautiful song, a melodic ballad incorporating sampled lyrics from the song "Just My Imagination". M.C. World is Aaron Williams a.k.a. Hump Dogg.


BOBBY MCCLURE - I Need A Job / Today You Started Leaving Him (And Loving Me) (1989, Ichiban/S.D.E.G. 89-506, 7" single)
Notes:
      Produced by Swamp Dogg. Side A track time = 4:28.


BOBBY MCCLURE - THE CHERRY ALBUM: HOT PARTY REMIX (1988, P-Vine [Japan] PLP-6103; 1989, P-Vine [Japan] PCD-2117)
1. Leaving Him Loving Me
      [Jerry Williams, Jr.]
2. Cherry Pie
      [M. Phillips and J. Josea]
3. When The Flavor's Gone
      [Jerry Williams, Jr.]
4. I Can't Get Enough
      [Jerry Williams, Jr.]
5. Do Do Do Doop (Please Come Back)
      [Jerry Williams, Jr.]
6. I Need A Job
      [Jerry Williams, Jr.]
7. Please Don't Put Me Out Of The Band
      [Jerry Williams, Jr.]
8. I Write Another Love Song
      [Jerry Williams, Jr.]
9. I Brought It Back
      [Jerry Williams, Jr.]
10. Younger Man Blues
      [Jerry Williams, Jr.]
Notes:
      Swamp Dogg produced and arranged the album, plays keyboards and sings background vocals. All songs written by Jerry Williams, Jr. (except "Cherry Pie", written by M. Phillips and J. Josea). Reissued as part of Three Sweet Soul Music Kings (2007, S.D.E.G. SDEG 1967).


BOBBY MCCLURE - THE CHERRY LP (1989, Ichiban/S.D.E.G. SDE 4008)
1. Today You Started Leaving Him And Loving Me
      [Jerry Williams, Jr.]
2. Cherry Pie
      [M. Phillips and J. Josea]
3. When The Flavor's Gone
      [Jerry Williams, Jr.]
4. I Can't Get Enough
      [Jerry Williams, Jr.]
5. Do Do Do Doop (Please Come Back)
      [Jerry Williams, Jr.]
6. I Need A Job
      [Jerry Williams, Jr.]
7. Please Don't Put Me Out Of The Band
      [Jerry Williams, Jr.]
8. I Write Another Love Song
      [Jerry Williams, Jr.]
9. I Brought It Back
      [Jerry Williams, Jr.]
10. Younger Man Blues
      [Jerry Williams, Jr.]
Notes:
      Repackaging of The Cherry Album. Produced and arranged by Jerry "Swamp Dogg" 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.
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.


BOBBY MCCLURE - CHERRY PIE (199?, Classic Sound 7725)
1. Today You Started Leaving Him (And Loving Me)
      [Jerry Williams, Jr.]
2. Cherry Pie
      [M. Phillips and J. Josea]
3. When The Flavor's Gone
      [Jerry Williams, Jr.]
4. I Can't Get Enough
      [Jerry Williams, Jr.]
5. Do Do Do Doop (Please Come Back)
      [Jerry Williams, Jr.]
6. I Need A Job
      [Jerry Williams, Jr.]
7. Please Don't Put Me Out Of The Band
      [Jerry Williams, Jr.]
8. I Write Another Love Song
      [Jerry Williams, Jr.]
9. I Brought It Back
      [Jerry Williams, Jr.]
10. Younger Man Blues
      [Jerry Williams, Jr.]
Notes:
      Repackaging of The Cherry Album.


BOBBY MCCLURE - YOUNGER MAN BLUES (1994, Shanachie 9203)
1. Today You Started Leaving Him (And Loving Me)
      [Jerry Williams, Jr.]
2. Cherry Pie
      [M. Phillips and J. Josea]
3. When The Flavor's Gone
      [Jerry Williams, Jr.]
4. I Can't Get Enough
      [Jerry Williams, Jr.]
5. Do Do Do Doop (Please Come Back)
      [Jerry Williams, Jr.]
6. I Need A Job
      [Jerry Williams, Jr.]
7. Please Don't Put Me Out Of The Band
      [Jerry Williams, Jr.]
8. I Write Another Love Song
      [Jerry Williams, Jr.]
9. I Brought It Back
      [Jerry Williams, Jr.]
10. Younger Man Blues
      [Jerry Williams, Jr.]
Notes:
      Repackaging of The Cherry Album.


MAURICE MCCORMICK & MAGGI - 15 Minutes / The Reeaall Deeaall (1981, Charly [UK] CYS 1078, 7" single)
Notes:
      "15 Minutes" written by Maurice McCormick and produced by Swamp Dogg. "The Reeaall Deeaall" written by Maurice McCormick and produced by Swamp Dogg and Yvonne Williams. Side 1 track time = @3:25. Side 2 track time = @3:57. Also released in France on Bleu Blanc Rouge Records, in Sweden on Planet Records and in Germany on Autobahn Records. Comes in a picture sleeve; depending on the record label the sleeve is either a photo of Maurice McCormick and Maggi (Michelle Williams, Swamp Dogg's daughter) or a graphic art sleeve. An excerpt can be heard at: http://www.youtube.com/watch?v=luoBh_3Hmto


MAURICE MCCORMICK & MAJI - 15 Minutes / Reeall Deeall (1981, Atomic Art AA-45001, 7" single)
Notes:
      "15 Minutes" written by Maurice McCormick and produced by Jerry Williams, Jr. (The Swamp Dogg) for European Video-Audio Communications Development, Ltd. Manufactured and distributed by Solid Smoke Records. Side A track time = 3:11. "Reeall Deeall" written by Maurice McCormick and produced by Jerry Williams, Jr. (The Swamp Dogg) and Yvonne Williams. Side B track time = 4:38. From Atomic Art LP 5201 - 15 Minutes.
      There were two versions released. The first version (probably the 7" single version on Charly) does not have an introductory instrumental. According to Swamp Dogg only about 200 copies of the first version were released. [From Swamp Dogg's comments below, it seems more likely that it was the instrumental intro 12" version that would have only sold @200 copies as it is extremely difficult to locate, whereas the 7" version does show up from time to time.] The second version (probably the 12" version on Atomic Art with a longer track time, 5:55) was edited to include an instrumental intro to the song.
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/2/07:  ""15 Minutes" was among the top three master deals made at Midem that year (I forget what year). Everybody thought it was great and I was hailed a hero. It was touted as being the savior for the disco clubs. What happened? Something that we all overlooked. The beginning didn't have any music...just spoken word. Imagine, you're on the floor dancing to a hot record...it ends..."15 Minutes" comes on without music...the floor gets empty quick. Later I added music to the intro but by then the cow had left the pasture."
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/2/07: "Maurice is a ex, but constantly in character, Navy Seal. He prides himself on knowing a hundred ways to kill you without physical contact."
An MP3 copy of this version of "15 Minutes" can be heard at: http://burkleo.seesaa.net/article/76420866.html


MAURICE MCCORMICK & MAJI - 15 Minutes / Reeall Deeall (1981, Atomic Art AA-1201, 12" single)
Notes:
      "15 Minutes" written by Maurice McCormick and produced by Jerry Williams, Jr. (The Swamp Dogg) for European Video-Audio Communications Development, Ltd. Manufactured and distributed by Solid Smoke Records. Side A track time = 5:55. "Reeall Deeall" written by Maurice McCormick and produced by Jerry Williams, Jr. (The Swamp Dogg) and Yvonne Williams. Side B track time = 4:38. From Atomic Art LP 5201 - 15 Minutes. This 12" version of the single is extremely difficult to find. It contains a longer version of "15 Minutes" than what appears on the 7" single version. The start of the song is an instrumental intro, which is a different mix from the 7" version on Atomic Art. This mix includes a synthesizer especially noticeable at the start of the instrumental intro.


MELODY MCKINLEY "angel of new orleans" - I Want To Sleep With You Baby / Melody #27 (Instrumental) (1987, S.D.E.G. 310, 7" single)
Notes:
      "I Want To Sleep With You Baby" written by Jerry Williams, Jr. "Melody #27 (Instrumental)" written by Jerry Williams, Jr. and Mike Goods. Produced by Swamp Dogg. Mixed & engineered by Norman "Slam" Whitfield, Jr. Keyboards & programmer: Dale Powers. DX7 harmonica: Mike Goods. Distributed by Quicksilver Records, 6914 Canby Ave., Suite 110, Reseda, CA 91335, (818) 342-2880. Side A track time = 3:40. Side B track time = 3:10.


MELODY MCKINLEY "angel of new orleans" - I Want To Sleep With You Baby [12" mix] // Melody #27 (Instrumental) + I Want To Sleep With You Baby (Radio Edit) (1987, S.D.E.G. 9584-12, 12" single)
Notes:
      "I Want To Sleep With You Baby" written by Jerry Williams, Jr. "Melody #27 (Instrumental)" written by Jerry Williams, Jr. and Mike Goods. Produced by Swamp Dogg. Mixed & engineered by Norman "Slam" Whitfield, Jr. Keyboards & programmer: Dale Powers. DX7 harmonica: Mike Goods. Distributed by Quicksilver Records, 6914 Canby Ave., Suite 110, Reseda, CA 91335, (818) 342-2880. Side A track time = 5:32. Side B track times = 4:27 + 2:41.


MISS VERA'S BOYS - Kiss Me Hit Me Touch Me / Moon Mixture (1985, Rare Bullet RB 12-2022, 12" single)
Notes:
      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.


MOOGSTAR AKA BABY CAM!!! [Larry D. Clemon] - 21... 4 'Life (2010, S.D.E.G. ??)
1. Kanabis...Kush Life
2. Ure No Good 4 Me
3. I Love My Dog
4. Damn...Don't You Give
5. Let's Stay Together
6. U're Blowing My Mind
7. Magical
8. If Loving U Is Right
9. She Likes to Partee...All Night
10. Res Q Me
11. Don't Follow Me
12. Put That Thang on Me
13. Let's Stay Together (House Mix)
14. Time Flys
Notes:
      Swamp Dogg co-produced and provides background vocals on a couple tracks.


MOOGSTAR & COMPANY FEATURING CRAIG KIMBROUGH - CHRISTMAS WITH MOOGSTAR (2009, S.D.E.G. ??)
1. Santa Claus Is Coming To Town
2. Away In A Manger
3. Just A Closer Walk With Thee
4. Winter Wonderland
5. Joy To The World
6. O' Come All Ye Faithful
7. Silent Night
8. White Christmas
9. Jingle Bells
10. Silver Bells
11. Little Drummer Boy
12. Joy To The World [scat]
13. Santa Claus Is Coming To Town Via Compton (Reprise)
Notes:
      Produced & arranged by Swamp Dogg.


MIKELLE MORGAN - MAMA DON'T TAKE NO SH** (2012, S.D.E.G. 1982)
1. Cyberspace Love Affair
      [Jerry Williams, Beverly Green]
2. A Man Gotta Do What A Man Gotta Do
      [Lee Fields]
3. Deception In The Name Of Love
      [Jerry Williams, Beverly Green, Larry Clemon, Bob Jones]
4. You Had Him (Finders Keepers)
      [Jerry Williams, Beverly Green]
5. I Want You So Bad
      [Lee Fields]
6. Mama Don't Take No S*** (Radio Version)
      [Jerry Williams, Beverly Green, Larry Clemon]
7. A Mother's Love
      [Jerry Williams, Beverly Green]
8. I'm Standing Between A Rock And A Hard Place
      [Jerry Williams, Beverly Green, Larry Clemon]
9. She Didn't Know (She Kept On Talking)
      [Jerry Williams, Gary Bonds, Charlie Whitehead]
10. Soul To Blessed Soul
      [Jerry Williams, Beverly Green]
11. To The Other Woman (I'm The Other Woman)
[Jerry Williams, Gary Bonds]
12. The Homosexual Song (Trippin On The Downlow)
      [Jerry Williams, Beverly Green]
13. Mama Don't Take No S*** (Explicit Version)
      [Jerry Williams, Beverly Green]
Notes:
      "The Homosexual Song (Trippin On The Downlow)" is a duet with Swamp Dogg.


MR. PITIFUL - Girl Can't Help It / One Dollar Man (1968, Josie 45-987, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. and Brooks O'Dell for Producers, Inc. Both sides arranged by Richard Rome. "Girl Can't Help It" written by Bobby Troup. "One Dollar Man" written by Yvonne Williams and Charlie Foxx. Side A contains the additional label number JOZ 606; track time = 2:05. Side B contains the additional label number JOZ 607; track time = 2:39. A product of Jay - Gee Record Co., Inc., N.Y.
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 9/8/07: "I forgot his name. He was from Jersey, I believe Newark and one of the nicest people you could ever meet. We just called him Pitiful. He really thought that he was Otis Redding and he thought he sounded like Otis. I heard other qualities, that's why I cut "Girl Can't Help It". Brooks O'Dell and I were partners and he discovered Pitiful. We took him up to Clyde Otis who went across the street and got us a budget from Hal Blaine at Jubilee/Josie. We produced two sides on him, but never anymore. His pitch and singing was not up to what I wanted to work with."
      There are 2 variations of this single, both white label promotional copies ("Advance Release, Disc-Jockey Record, Not for Sale"). Variation 1 has the Josie label name in white lettering on a black oval. Variation 2 has the Josie label name in black lettering alone.


NDESCENT XPOSURE - Get Your Head Wet [Radio Friendly] / Walk Like A Man [Not Radio Friendly] (1993, Super Power Records HAL 12396, 12" single)
Notes:
      Produced and arranged by Swamp Dogg & M.C. World for S.D.E.G. Executive Producer: Yvonne Williams. Published by Jerry Williams Music & Rachelle A. Barnes Music (BMI). From the LP, Cassette & CD "Phone Sex" (HAL 3364). Marketed and distributed by Hot Productions, Inc. 7360 S.W. 48th St., Miami, FL 33155. Record executive and producer Henry Stone, an old business friend of Swamp Dogg, was involved with the Super Power Records label as an executive producer. Side A track time = 4:03.


NDESCENT XPOSURE - Get Your Head Wet (DT. Head Mix) / Get Your Head Wet (Album Mix) / Get Your Head Wet (Radio Edit...Cold) // Walk Like A Man / Walk Like A Man (DT. Instrumental Mix) (1993, First Quake Entertainment FQMV 5053, 12" single; CD single)
Notes:
      Side One labeled "Radio Friendly". Side Two labeled "Absolutely Not Radio Friendly". Get Your Head Wet (Album Mix) co-produced by M.C. World & Swamp Dogg. Walk Like A Man co-produced by M.C. World & Swamp Dogg. Released as a 12" vinyl single and a CD single. "Get Your Head Wet" written by Rachelle Barnes & Aaron Williams. "DT. Instrumental Mix" written by Swamp Dogg, Greg Beasley & Brian Valentine. Side One track times: DT. Head Mix = 5:00; Album Mix = 4:03; Radio Edit ... Cold = 3:15. Side Two track times: Walk Like A Man = 4:45; DT. Instrumental Mix = 5:00.


NDESCENT XPOSURE - PHONE SEX (1993, Super Power Records HAL 3364; S.D.E.G./First Quake Entertainment FQSDE1976)
1. Wet Dream (6:42)
2. Girl Like Me (4:59)
3. She's Dangerous (4:43)
4. Walk Like A Man (4:45)
5. Can't Get No Satisfaction (4:11)
6. Get Busy On The Wild Side 3:53)
7. Something In The Bass (4:30)
8. Promise Not To Tell (4:32
[writers: Aaron Williams, Collisional M.C.]
9. Get Your Head Wet (4:03)
10. Phone Sex (featuring V. Thompson) (6:31)
[writers: Rachelle Barnes, Aaron Williams, V. Thompson]
Notes:
      Produced by Swamp Dogg and M.C. World for S.D.E.G. Executive producer: Yvonne Williams. All selections written by Rachelle Barnes and Aaron Williams except where noted. All selections published by: Jerry Williams Music (BMI) and Rachelle A. Barnes Publishing (BMI).


FREDDIE NORTH - Cuss The Wind / Love To Hate (1975, Mankind M-12022, 7" single)
Notes:
      "Cuss The Wind" produced by Jerry Williams, Jr., written by Jerry Williams, Jr. and Stan McKenney, and available on "Cuss The Wind" [1975, Mankind 205] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532]. "Love To Hate" produced by Freddie North, written by M. Franklin and E. Burt, and available on "Cuss The Wind" [1975, Mankind 205] and "Funky Tales" [1996, Southbound/Pinnacle CDSEWD 111]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - Did I Come Back Too Soon [compatible stereo] / Did I Come Back Too Soon [compatible stereo] (1971, Mankind M-12009, 7" single, D.J. copy)
Notes:
      Produced by Jerry Williams, Jr., written by Jerry Williams, Jr., Gary Bonds and Charles Whitehead, and available on "Friend" [1971, Mankind M-204; 1971, Mojo [UK] 2916002] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - You And Me Together Forever / Did I Come Back Too Soon (1971, Mankind M-12009, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. "Did I Come Back Too Soon" written by Jerry Williams, Jr., Gary Bonds and Charles Whitehead. "You And Me Together Forever" written by Jimmy Roach. Both songs available on "Friend" [1971, Mankind M-204; 1971, Mojo [UK] 2916002] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - Roll Over (Play Like Our Love Ain't Dead) / Are You Thinking Of Him (When You're Loving Me) (1972, Mankind MK 12014, 7" single)
Notes:
      Both sides arranged and produced by Jerry Williams, Jr. Both songs written by Jerry Williams, Jr. and Stan McKenney. Side A track time = 2:45. Side B track time = 2:30. Both songs only available on this single. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - She's All I Got / Ain't Nothing In The News (1971, Mankind 12004, 7" single; 1973, Contempo-Raries CS.9020, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. "She's All I Got" written by Jerry Williams, Jr. and Gary Bonds. "Ain't Nothing In The News" written by Jerry Williams, Jr. Side A track time = 2:45. Both songs available on "Friend" [1971, Mankind M-204; 1971, Mojo [UK] 2916002] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532].
      "She's All I Got" also available on Dirty Laundry: The Soul Of Black Country [2004, Trikont US-0333], The Excello Story, Volume 4: 1961-1975 [1999, Hip-O HIPD-40157], Night Train To Nashville: Music City Rhythm & Blues 1945-1970, Volume Two [2005, CMF/Lost Highway B0005228-02], Soul Patrol, Vol. 2: 18 Southern Soul Classics [1995, Ripete 2220] and Soul Sensations: 24 Essential Soul Classics [2004, Ripete 2292].
      When Swamp Dogg was asked which of all the cover versions of "She's All I Got" that he liked best he said, "I'm torn between Freddie North and Conway Twitty. I'm a Twitty addict." --March 16, 2008, The Southern Soul List (Yahoo)
      In November 2009 a remixed version of this song appeared on YouTube.com. The remix was done by "Baby Bollox" aka "Mista G", a musician from Swindon, Wiltshire, England. YouTube links:
http://www.youtube.com/watch?v=A3UKBZziPC0
http://www.youtube.com/user/BabyBollox
      Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - Song #29 (I'm Your Man) / Laid Back And Easy (1972, Mankind M 12016, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. "Song #29 (I'm Your Man)" written by Jerry Williams, Jr. and Gary Bonds and only available on this single. "Laid Back And Easy" written by Jerry Williams, Jr. and K. Shelton, and available on "Friend" [1971, Mankind M-204; 1971, Mojo [UK] 2916002] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532]. Side A track time = 4:15. Side B track time = 2:32. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - Sweeter Than Sweetness / I Did The Woman Wrong (1971, Mankind 12011, 7" single; 1972, Mojo [UK] 2092-043)
Notes:
      Both sides produced by Jerry Williams, Jr., written by Jerry Williams, Jr. and Charles Whitehead, and available on "Friend" [1971, Mankind M-204; 1971, Mojo [UK] 2916002] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - Taking Her Love Ain't Gonna Be Easy / Raining On A Sunny Day (1973, Mankind M-12020, 7" single)
Notes:
      "Taking Her Love Ain't Gonna Be Easy" written by Lee Emerson, produced by Freddie North and arranged by Bergen White. "Raining On A Sunny Day" written by R. Daniels, produced and arranged by Jerry Williams, Jr., and also available on "Friend" [1971, Mankind M-204; 1971, Mojo [UK] 2916002] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532]. Side A track time = 2:16. Side B track time = 3:18. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - You And Me Together Forever / She's All I Got (1980, AVI Antiques ANT 704 S, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. "You And Me Together Forever" written by Jimmy Roach. "She's All I Got" written by Jerry Williams, Jr. and Gary Bonds. Both songs available on "Friend" [1971, Mankind M-204; 1971, Mojo [UK] 2916002] and "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532].


FREDDIE NORTH - You're Killing Me Slowly But Surely / It's So Groovy Doing What You Want To Do (With Who You Want To Do It To) (1973, Mankind M 12018, 7" single)
Notes:
      "You're Killing Me Slowly But Surely" written by Frank Johnson and Carl Lumbus, produced by David Johnson and recorded at Quinvy Sound Studios, Muscle Shoals, Ala. "It's So Groovy Doing What You Want To Do (With Who You Want To Do It To)" written by Jerry Williams, Jr. and Charles Whitehead, and produced and arranged by Jerry Williams, Jr. Side A track time = 2:45. Side B track time = 3:09. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - CUSS THE WIND (1975, Mankind 205)
Side 1:
1. Cuss The Wind
2. My Whole World Has Ended
3. Love To Hate
4. Sun Comes Up
Side 2:
1. Gotta Go Get Your Mommy
2. I Loved Another Woman
3. Oh Lord What Are You Doing
4. Rainy Night In Georgia
Notes:
      "Cuss The Wind" written by Jerry Williams, Jr. and Stan McKenney, produced by Jerry Williams, Jr. and available on "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532]. "My Whole World Has Ended" available on "The Brand New Z.Z. Hill / Friend" [1994, Ace CDCHD 532]. "Sun Comes Up" available on "The Heart Of Southern Soul Volume 3: The Flame Burns On" [1997, Excello/Ace/Pinnacle CDCHD 660]. "Love To Hate" available on "Funky Tales" [1996, Excello/Southbound/Ace CDSEWD 111]. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - FRIEND (1971, Mankind M-204; 1971, Mojo [UK] 2916002)
Side 1:
1. She's All I Got
      [Jerry Williams, Jr. and Gary Bonds]
2. Raining On A Sunny Day
      [R. Daniels and Yvonne Williams]
3. Sweeter Than Sweetness
      [Jerry Williams, Jr. and Charles Whitehead]
4. Sidewalks, Fences And Walls
      [Jerry Williams, Jr. and Maurice Gimbel]
5. I Did The Woman Wrong
      [Jerry Williams, Jr. and Charles Whitehead]
Side 2:
1. Yours Love
      [Harlan Howard]
2. Laid Back And Easy
      [Jerry Williams, Jr. and K. Shelton]
3. You And Me Together Forever
      [Jimmy Roach]
4. Ain't Nothing In The News (But The Blues)
      [Jerry Williams, Jr.]
5. Did I Come Back Too Soon (Or Stay Away Too Long)
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
Notes:
      Jerry Williams, Jr. produced and arranged the album and plays piano. Comes with a 24" x 48" foldout poster of Freddie North. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


FREDDIE NORTH - FRIEND / Z.Z. HILL - THE BRAND NEW Z.Z. HILL (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
      [Jimmy 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, Jimmy Roach and P. Sawyer]
22. Cuss The Wind
      [Jerry Williams, Jr. and Stan McKenney]
Notes:
      Reissues plus 2 additional Freddie North tracks.


BROOKS O'DELL - Is It Real / Got To Travel On (1971, Mankind 12010, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams Jr. "Is It Real" written by Jerry Williams, Jr. and Don Hollinger. "Got To Travel On" written by Jerry Williams, Jr. and Troy Davis. Credits for "Got To Travel On" according to Swamp Dogg on The Southern Soul List (Yahoo) 11/20/02:
      Background Vocals: Linda November, Helen Miles, Arlene Martel, Pat ??, Jean ??; Organ and Electric Piano: Clayton Ivy; Grand Piano: Swamp Dogg; Guitar: Jessie "Pete" Carr; Bass: Court Pickett / Robert Popwell; Drums: George Soule / Johnny "Duck" Sandlin; Congas: Robert Popwell; Engineer: David Johnson (Quinvy Studios, Muscle Shoals, AL) and Joel Fine (Regent Sound, Philadelphia, PA). Both songs available on I'm Your Man: The Anthology 1963-1972 (2008, Ace/Kent CDKEND 296). Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


BROOKS O'DELL - Predicament #2 / Turn My World Around (1971, Mankind 12000, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. "Predicament #2" written by Jerry Williams, Jr. "Turn My World Around" written by Jerry Williams, Jr. and Charles Whitehead, and uses the same backing track as Irma Thomas' version of the song as found on her In Between Tears album (1973, Fungus FB 25150; 1981, Charly [UK] CRB 1020; 1988, P-Vine [Japan] PCD-904). Both songs available on I'm Your Man: The Anthology 1963-1972 (2008, Ace/Kent CDKEND 296). Side A track time = 3:57. Side B track time = 2:14. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


BROOKS O'DELL - I'M YOUR MAN: THE ANTHOLOGY 1963-1972 (2008, Ace/Kent CDKEND 296)
1. I'm Your Man
2. Walk On By
3. Watch Your Step
4. Shirley Remember Me
5. Soul Serenade
6. If I Had You
7. You Better Make Up Your Mind
8. It Hurts Me To My Heart
9. Walkin' In The Shadow Of Love
10. Standing Tall
11. The Lively Ones
12. The Heartless One
13. I Got What It Takes Pts 1 & 2 and 3 (If We Have Time)
14. Now You Are Gone
15. Nothing's The Same Without You
16. What's So Wrong With You Loving Me
17. Everybody's Friend, Nobody's Lover
18. Turn My World Around
19. (I Didn't See The Smoke) Until The Fire Was Gone
20. Don't Want To Hear It Anymore
21. You Can Always Get It Where You Got It
22. I Don't Want To Cry
23. Predicament #2
24. Is It Real
25. Got To Travel On
26. Hooked On A Feeling
LINER NOTES EXCERPTS:
      "I met Brooks O'Dell for the first time in Philadelphia in 1962. He was one of the more popular club attractions in the Philadelphia, New York, Washington D.C. area. There were other local celebrities also, such as Harold Melvin, Bunny Sigler, Billy Paul, Lynn Hope, etc. Brooks was the most popular, because he had just returned from a successful tour of Europe, with emphasis on Italy.
      "After Luther Dixon decided to produce the hit 'Watch Your Step' on Brooks, it put him in the company of recording artists whom he identified and socialized with but never had the success of, such as Freddie Scott, Chuck Jackson (his idol), Tommy Hunt, Lenny Welch, Brook Benton and Tony Williams of the Platters.
      "After an eight year association with Brooks, I signed him to Mankind Records in 1971 and produced his only album. This album's production commenced in 1970, when he and I went to Macon, Georgia and recorded 'Hooked On A Feeling' and 'Predicament #2'. These two cuts were supposed to be released by Scepter, but they never concluded the deal. Later, Lloyd Price released 'Hooked On A Feeling' on Scepter. He was also the person I was negotiating with. He has still remained my dear friend, because I've never felt any viciousness emanating from Lloyd.
      "All (other) rhythms were cut in Alabama at Broadway Sound, with David Johnson doing the engineering honors. Later we put the strings and voices on at Sigma Sound in Philadelphia, with Richard Rome doing the arrangements and Joe Tarsia at the board. The album was completed at Cameo Parkway studio in Philadelphia, with Joel Fine doing the engineering.
      "For some unknown reason, the press has eluded him throughout his career, thus keeping him in abject obscurity. Over the years I've heard rumors of his demise, only to thankfully discover that the rumors were false. I tried to contact him today (2 Feb 2008) to no avail, as someone picked up the phone but never spoke..."
      --Jerry Williams Jr. aka Swamp Dogg
Notes:
      "I Got What It Takes Pts 1 & 2 and 3 (If We Have Time)" includes the extended "part 3" which was previously unreleased.
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 3/24/99: "There's a unreleased (...soon to be released) Brooks O'Dell album that I produced in Muscle Shoals at Broadway Studio with David Johnson engineering of course and George Soule' honoring us with his drumming expertise. George also wrote a couple of the songs."
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 3/25/99 regarding the unreleased Brooks O'Dell album tracks: "...two of the cuts, "Hooked On A Feeling" and "Predicament #2" (ballad) were recorded between 69' and 70', the remainder of the tracks ("Is It Real", "Everybody's Friend Nobody's Lover" (ballad), "Turn My World Around", "Until The Fire Was Gone" (ballad), "Don't Want To Hear It Anymore", "You Can Always Get It Where You Got It" (ballad), "I Don't Want to Cry") were recorded in 72'. Without referring to my files, I know that "Everybody's Friend..." and "You Can Always...." were written by George Soule' with a possibility of one other. "I Don't Want....." is the Chuck Jackson classic (we took this to another Muscle Shoals funk level) and "Hooked" is the Blue Swede smash which I must say we did a motherfucker of a job!!"


THE ORLONS - Anyone Who Had A Heart / Spinnin' Top (1966, Calla 113, 7" single; Planet [UK] PLF 117, 7" single)
Notes:
      "Anyone Who Had A Heart" written by Burt Bacharach and Hal David, produced by Richard Rome and Jerry Williams, Jr., also available on "CamPark Records Volume 4: The Vocal Groups" (200?, CamPark 4004). "Spinnin' Top" was the B-side rather than the A-side, which seems to be a common mistake when this single is listed by others. "Anyone Who Had A Heart" had been a Top 10 hit in the USA for Dionne Warwick in January 1964.


THE PASSIONS - One Night Affair / A Toast (May There Be No Last Time) (1972, GSF Records 6880, 7" single)
Notes:
      Both songs produced and arranged by Jerry Williams, Jr. "One Night Affair" written by Jerry Williams, Jr. and Charles Whitehead. "A Toast (May There Be No Last Time)" written by Jerry Williams, Jr., Charles Whitehead and Stan McKenney.


SANDRA PHILLIPS - TOO MANY PEOPLE IN ONE BED (1970, Canyon 7712; 1977, Special Agent [UK] SPY 100; 198?, P-Vine [Japan] 367; 2013, Alive Naturalsound ALIVE0150-1 [vinyl] & ALIVE0150-2 [CD])
1. Rescue Song
      [Jerry Williams, Jr.]
2. I've Been Down So Long
      [Jerry Williams, Jr. and Gary Bonds]
3. My Man And Me
      [Jerry Williams, Jr.]
4. To The Other Woman (I'm The Other Woman)
      [Jerry Williams, Jr. and Gary Bonds]
5. Now That I'm Gone (When Are You Leaving)
      [Jerry Williams, Jr. and Charles Whitehead]
6. Someday We'll Be Together
      [Beaver, Bristol and Johnson]
7. After All I Am Your Wife
      [Jerry Williams, Jr. and Gary Bonds]
8. Ghost Of Myself
      [Jerry Williams, Jr.]
9. If You Get Him (He Was Never Mine)
      [Jerry Williams, Jr.]
10. She Didn't Know (She Kept On Talking)
      [Jerry Williams, Jr. and Gary Bonds]
11. Please Don't Send Him Back To Me
      [Jerry Williams, Jr. and Gary Bonds]
12. Some Mother's Son
      [Jerry Williams, Jr. and Charles Whitehead]
Notes:
      Jerry Williams, Jr. produced and contributes background vocals and piano. Reissued as part of Miss Rhythm & Miss Blues (2007, S.D.E.G. 1961). Sandra Phillips has made other recordings under her married name Sandra Reaves-Phillips.
Liner notes by Swamp Dogg:
      "Too Many People In One Bed" is a generalization of all the cuts in this album and true life, the way seventy percent of our society lives it. How many women have been guilty of loving another woman's husband? This is an everyday occurrence.
      How many situations are you aware of where two women get together for an informal gathering and through conversation discovered they shared a vast amount in common; such as the same lover and benefactor?? Through extensive conversation (if one of them can remain cool), sometimes they'll find that their children are related by mutal association...
      How many times has your mother, sister, or close friend tried to bring a situation to your attention and then blow it out of proportion? For instance, your man drinks and gets drunk every now and then - everybody's man drinks and has been drunk at least once. So what's the issue? The issue is - they don't have a man of their own, if so, he's a monster or a vegetable, compared to yours...they're jealous of what you're doing, basically because they're not doing it and feel that they could do it better.
      This album is the mirror that will enable you to see what's really going on around you, so that you can "get it together".
      You will get the solution to your problem - the material acts as a guideline - if you follow what it has to say you'll find it more effective than Hijon the conqueror, sala-faster, fortune tellers, crystal ball gazers, astrology, or the art of "fist to cuff".
      If you are not living among at least one of the situations contained in the album, then you are either a nun, pervert, degenerate, or dead. That's just how close to contents of this album are to home and family.
      There has never in the history of recorded music been an album so blunt, to the point, and honest in reference to helping you find your head...
The major part of this project could not have been done without Sandra Phillips, the performer; Sandra Phillips, the wife; Sandra Phillips, the mother; Sandra Phillips, the other woman; Sandra Phillips, the human being.
      She is twenty-four years old, and is happy to be away from Mullins, South Carolina, a place known for "tending to other people's business".
      Sandra as a performer is so great that another album is being constructed for release shortly after this one, which will show just how diversified Sandra is.
      She has been working the "Chittling Circuit" down behind the "Cotton Curtain" (for those who still lead sheltered lives) Georgia, Mississippi, Maryland, Alabama, etc. We feel that this album will make her universal - and gain her the respect, fame and wealth as others who have preceded her.
      Idols? There aren't any!!! In the process of "woodsheding" to ready herself, she missed out on the possibility of copying someone else's style or technique. This is another aspect of the S.P. delivery that will be refreshing and transitional from all the female contemporaries and greats. If a comparison just has to be made, I'd say Clyde McPhatter.
      This is also an appropriate time to mention that Sandra Phillips is exciting, emotional, colorful, groovy, funky, vivacious, loveable, and electric; every Pop, R & B, Rock, and Acid Act in the world claims one or more of these adjectives - Sandra lives up to them.
Right on!!
      Jerry Williams, Jr.
      P.S. I wouldn't trade her for a tap-dancing turkey.


SANDRA PHILLIPS / BETTE WILLIAMS - SWAMP DOGG'S SOUTHERN SOUL GIRLS (2007, Ace/Kent CDKEND 288)
SANDRA PHILLIPS - Too Many People In One Bed - Canyon LP 7712 (1970)
1. Rescue Song
2. I've Been Down So Long
3. My Man And Me
4. To The Other Woman (I'm The Other Woman)
5. Now That I'm Gone (Why Are You Leaving?)
6. Someday We'll Be Together
7. After All I Am Your Wife
8. Ghost Of Myself
9. If You Get Him (He Never Was Mine)
10. She Didn't Know (She Kept On Talking)
11. Please Don't Send Him Back To Me
12. Some Mother's Son
BETTE WILLIAMS
13. He Took My Hand - Swamp Dogg Presents 101 (1971)
14. Now That I'm Gone (Why Are You Leaving?) - Gregar 71-0113 (1971)
15. If She's Your Wife (Who Am I?) - Gregar 71-0113 (1971)
16. Can't Win For Losing - previously unissued
17. A Feeling (For Someone Else Has Grown) - Gregar 71-0110 (1971)
18. Another Man Took My Husband's Place - Gregar 71-0110 (1971)
19. If You Get Him (He Never Was Mine) - Gregar 71-0113 (1971)
20. Got To Travel On - previously unissued
21. Robin Right On (Instrumental) - Swamp Dogg Presents 101 (1971)


BRENDA KAYE PIERCE - GIFT WRAPPED (2009, S.D.E.G. ??)
1. The First Noel
2. Glory B 2 God
3. It Came Upon A Midnight Clear / Do You Hear What I Hear
4. Have Yourself A Merry Little Christmas
5. My Favorite Things
6. Away In The Manger
7. The Christmas Song
8. It's The Most Wonderful Time Of The Year
9. Angels We Have Heard On High
10. O Come All Ye Faithful
11. Hark The Herald Angels Sing
12. This Christmas
Notes:
      Produced by Swamp Dogg, Brenda Kaye Pierce, and Moogstar Clemon.


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."


GENE PITNEY - Run Run Roadrunner / JERRY WILLIAMS - Run Run Roadrunner (@1988, Stardust URS 062)
Notes:
      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).


THE PRECISIONS - New York City / You're The Best (That Ever Did It) (1969, Atco 45-6669, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. and arranged by Garry Sherman. "New York City" written by Jerry Williams, Jr. "You're The Best (That Ever Did It)" written by Jerry Williams, Jr., Gary Bonds and Charles Walker (a.k.a. Little Charles). "You're The Best (That Ever Did It)" also available on Beg, Scream & Shout!: The Big Ol' Box Of '60s Soul (1997, Rhino R2 72815). Side A contains the additional label number 69-C-16414-PL or 69-C-16414-SP (promotional copies); track time = 2:47. Side B contains the additional label number 69-C-16415-PL or 69-C-16415-SP (promotional copies); track time = 2:48.
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 2/4/02: "The Precisions.....only two sides released on Atco and I have the other two which are "I Kissed Your Face" and.........................I rehearsed the group in Detroit and produced them in NYC...they, as you know were some of the best singers of that time. The best musicians that NYC had to offer were included, e.g., Eric Gale (guitar) , Chuck Rainey (bass), Herbie Levell (drums), George Butcher (piano), Swamp Dogg (piano), Gary Sherman (arranger), Blue Mitchell (trumpet), Pepper Adams (baritone), etc., etc."


BILLY PRICE - CAN I CHANGE MY MIND (1999, Green Dolphin GD122099)
1. Crack Crack (When Are You Coming Back)
      [Jerry Williams, Jr.]
2. Mine All Mine All Mine
      [Jerry Williams, Jr.]
3. I Know It's Your Party (I Just Came Here To Dance)
      [Jerry Williams, Jr.]
4. This Magic Hour
      [Jerry Williams, Jr.]
5. Indefinitely
      [Jerry Williams, Jr.]
6. What Is Love (What Makes You Think You Deserve Some)
      [Jerry Williams, Jr.]
7. No Matter How You Turn Or Twist It
      [Jerry Williams, Jr.]
8. Can I Change My Mind
      [Barry Despenza and Carl Wolfolk]
9. One In a Million
      [Peter Brown and Brank Fuchs]
10. Pass The Sugar
      [Jerry Williams, Jr.]
Notes:
      Swamp Dogg produced and arranged the record, plays piano and keyboards, and contributes background vocals.


BILLY PRINCE - SHAMEFUL INDULGENCE IN SCANDALOUS LOVE (2011, SDEG 1981)
1. We Have A Chance To Do It Over Again
      [Jerry Williams, Beverley Green]
2. I'm In Mississippi
      [Jerry Williams, Stoney Dixon]
3. You're At Your Crossroad (Bring The Wood Home)
      [Jerry Williams, Bob Jones]
4. How Did You Feel?
      [Jerry Williams, Bob Jones, B. Thomas]
5. Granulated Sugar (Sweet Sweet Woman Of Mine)
      [Jerry Williams, Bob Jones, B. Thomas]
6. My Daddy Taught Me To Be
      [Jerry Williams, Beverley Green]
7. Eight Habits Of My Heart
      [Jerry Williams, Beverley Green]
8. My Offer Of Support
      [Jerry Williams, Beverley Green, Steve Turner]
9. Shameful Indulgence In Scandalous Love
      [Jerry Williams, Beverley Green]
10. Bad Boy
      [Jerry Williams, Billy Prince]
11. I Wish You Well
      [Jerry Williams, Billy Prince, Larry Clemon]
12. Why Does This Song Have To Be So Sad?
      [Jerry Williams, Beverley Green, Jewel Horde]
13. Sneaking And Cheating
      [Jerry Williams, Bob Jones]
Notes:
      Produced & arranged by Jerry "Swamp Dogg" Williams & Moogstar Clemon. Recorded @ The Dogg House (Northridge, CA). Engineer: Moogstar Clemon. Background vocals: Billy Prince, Toni Watson, Moogstar Clemon, Wilson Williams & Swamp Dogg. Mastering Engineer: Charles Laurence. Piano: Swamp Dogg. Guitar: Guitar Shorty. Bass: Stoney Dixon & Moogstar Clemon. Drums: Moogstar Clemon & Larry Clemon, Jr. Keyboards and programming: Moogstar Clemon. Photography: Brian. Art & graphic design: Shamasilicoi (Oakland, CA).
      Although Swamp Dogg is listed as a background vocalist it is not readily apparent on any of the tracks.
LINER NOTES Excerpt:
      [The Precisions] For their next recording session, Jerry Williams (Swamp Dogg) was in charge and he opted to cut the group at Hit Factory studios in New York. The teaming quickly gelled and recorded "You're The Best (That Ever Did It)" which had been written specially for them. "New York City" was selected to form the A side of their next single, which when issued in April 1969, proved to be their last release. The group still toured but split later that year after a disagreement. They returned to Detroit but shortly afterwards, Michael, Dennis & Billy all quit the music business (by coincidence they all relocated to California).


RAW SPITT [Charlie Whitehead] - Songs To Sing / That Ain't My Wife (1971, United Artists 50813, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. "Songs To Sing" written by Jerry Williams, Jr. and Troy Davis. "That Ain't My Wife" written by Jerry Williams, Jr., Gary Bonds and Charles Whitehead. Both songs available on "Songs To Sing: The Charlie Whitehead Anthology 1970-1976" [2006, Ace/Kent CDKEND 261]. "Songs To Sing" also available on "Dave Godin's Deep Soul Treasures: Taken From The Vaults, Volume 1".


RAW SPITT [Charlie Whitehead] - RAW SPITT (1970, Canyon 7710; 2013, Alive Naturalsound ALIVE0146-1 [vinyl] & ALIVE0146-2 [CD])
Side 1:
1. Put A Little Love In Your Heart (2:57)
      [Jimmy Holiday, Randy Myers, Jackie DeShannon]
2. Raw Spitt (2:38)
      [Jerry Williams, Jr., Troy Davis]
3. Call Me Nigger (2:41)
      [Jerry Williams, Jr.]
4. The Freedom Under Certain Konditions Marching Band (2:52)
      [Jerry Williams, Jr.]
5. Midnight Rider (2:35)
      [Jerry Williams, Jr., Troy Davis]
Side 2:
1. Who Do They Think They Are (2:42)
      [Jerry Williams, Jr., Troy Davis]
2. I Dig Black Girls (2:07)
      [Jerry Williams, Jr., Troy Davis]
3. This Old Town (2:57)
      [William Stevenson, Don Covay, Wilson Pickett]
4. Sweet Bird Of Success (2:28)
      [Jerry Williams, Jr., Troy Davis]
5. Excuses (2:43)
      [Jerry Williams, Jr., Troy Davis]
Notes:
      Recorded and Mixed at Capricorn Studios, Macon, Georgia. Front cover: D. Tanous.
THE RAW SPITT AUXILIARY:
      Jesse (Beaver) Carr - Guitarist / Funny Faces
      Johnny (Duck) Sandlin - Drummer / Percussionist / Complaint Dept.
      Robert (Pop) Popwell - Bass / All Night Conversation
      Paul (Berry) Hornsby - Organist / Jews Harp / Chord Sheets
      Jerry Williams, Jr. - Pianist / Genius
      Samuel Stokes - Baritone / Sleep
      Thomas Goodwin - Trumpet / ????????
      Oscar Jackson - Tenor / Flute / Ginger Ale
      Jackie Avery Tongue & Cheek Choir - Background Vocals
      Jim (Madman) Hawkins - Engineer
      Willis Hogans, Jr. - Cover Photo
      Yvonne Williams - Album Coordinator
      Jerry Williams, Jr. - Producer / Arranger / Conductor
      Frank Fenter - Still Wheeling & Dealing
      Charlie Whitehead - ????????
      Lucille - B.B. King's Guitar
      Lucy - Albert King's Guitar
      Elvis Presley - Col. Tom Parker's Guitar
      Dr. Animal Persichetti - Hypnotist (Raw Spitt Has Fears of Being Afraid of Things That He's Scared Of)
      Adolph Hitler - Humor Dept.
      Gary (U.S.) Bonds - Adolph's Assistant
      Zildjan Stravinsky Nono - "I Told You So's"
      Memphis Schwanekamp - Blues Authority
      Arnold Schoenberg - Raw Spitt's Identity
      Sabu - Raw Spitt's Analyst
      Cord Wainer - Carrier
      Alan Walde - Raw Spitt's Theatrical Booking Agent Who Books Clarence Carter Instead
HAND SAVINGS:
      "Give Me Librium or Give Me Meth" - Raw Spitt's Manager
      "A Bird in the Hand Gathers No Moss" - Mr. Wees (McDonald's Hamburger Franchise Owner in Smithtown, Long Island)
      "Don't Thank the Lord for Something You Got from Me" - Swamp Dogg
      "Every Dog's Got His Fire Hydrant" - Rin Tin Tin
      "It's a Vile Thing That This Chronic Nut Has Done While Suffering From A Case Of Terminal Dumb-Ass - He Should Die the Death of a Roach in a Pool of Black Flag Spray" - Raw Spitt's Mother Upon Hearing That Her Son Had Changed His Name
      Back cover - IDEAOLOGY: Right On; Anemic Promises That Are Just That; Weirdos That Must Be Overcome; Soul Your Only Legacy; Pimps That Run the Power Structure; Impotent Values to Live By; Token Acceptances; Toms That Wear A New Disguise.
      Swamp Dogg sings background vocals, most noticeable on "Who Do They Think They Are" and "She's All I Got". All songs are also available on "Songs To Sing: The Charlie Whitehead Anthology 1970-1976" [2006, Ace/Kent CDKEND 261]. The noted track timings are taken from the 2013 CD reissue.
      Reissued on vinyl and digipack CD in 2013 by Alive Naturalsound Records with 5 additional bonus tracks (CD only):
11. Between The Lines [1972, Stone Dogg 802] (2:15)
      [Clarence Reid / Willie Clarke]
12. Predicament #2 [actually Predicament #3, 1972, Stone Dogg 802] (5:55)
      [Jerry Williams, Jr.]
13. That Ain't My Wife [1971, United Artists 50813] (3:12)
      [Jerry Williams, Jr., Gary Bonds, Charlie Whitehead]
14. Synthetic World [previously unreleased] (4:21)
      [Jerry Williams, Jr.]
15. Hey Jude [1977, Whitehead At Yellowstone, Wizard W1305] (5:39)
      [John Lennon, Paul McCartney]
      The track time for "Hey Jude" is slightly longer than the Whitehead At Yellowstone album (5:26), though comparison between the two versions shows them to be the same; probably the LP version speed runs slightly fast and has been corrected on the remastered CD version, thus the difference in track times.
      Artwork restoration: Georff Crowe. Mastered by Dave Cooley at Elysian Masters. Inside digipack photo of Charlie Whitehead courtesy of Swamp Dogg. Copyright 2013 by Alive Naturalsound records. Released under license from SDEG Records. www.alivenergy.com
      2013 reissue liner notes by Swamp Dogg:
      Top Ten on my very best friends list. Charlie Whitehead a/k/a Raw Spitt hails from Smithfield, Virginia; about thirty miles from my hometown, Portsmouth, Virginia. Nevertheless, we didn't meet until 1966 in New York City. I was knocked out by his voice and delivery so I immediately got Musicor Records, who I was working for, to sign him. We cut one single, "How Can I Forget" b/w "Story Of Mr. Pitiful", which was not unusual in those days. If you didn't hit the first time out, your ass was grass and Broadway was the lawnmower.
      Charlie was doing well financially with his singing partner, Joe Pond, making frequent trips to Europe as Sam & Dave and alone as Ben E. King. In the meantime I signed with Canyon Records and had plans of Charlie being the other Swamp Dogg; that's why the two "t's" in Spitt.  Upon release the album started getting play on underground stations, but Canyon went belly-up before sales could be realized. Charlie was on the FTA Tour with Jane Fonda, Dick Gregory, Peter Boyle, Donald Sutherland and I. I signed Charlie to United Artist but that didn't last long. Just a single and they gave me the album back. Charlie's contract called for two albums a year, so they had to pay us for the non-existing album. This gave credence to the axioms, "there's some dumb motherfu**ers in this industry" and "money don't make you smart."
      We hit it big together in 1974 on Island Records with "Love Being Your Fool." which was also covered by the Staple Singers, Jerry Reed, Coon Elder Band, Travis Womack (top 20 pop) and a few others. Charlie came to me with most of the lyrics and thought they were sh*t and I was not going to record it. He told me that he had adhered to every song and concept that I had suggested, without any success. He was right, so I swallowed my fu**in' ego and let him have his day in court. He was right and I was happy to take credit for this genius change of directions. We have a tremendous past together which includes the writing of Dee Dee Warwick's Grammy nominated "She Didn't Know (She Kept On Talking)".
Charlie is in Brooklyn, N.Y., where he's a recent widower, avid gambler who always wins, and a sometime performer. If I divulge more you won't buy my autobiography. - Swamp Dogg


AUGIE RIOS - Augie Stay Home / Lullaby (1963, Shelley SH185, 7" single)
Notes:
      "Augie Stay Home" written and produced by Jerry Williams, Jr. and arranged by Billy Mure. "Lullaby" written by P. Brentano and F. De Trano, produced by Frankie Dee and arranged by Billy Mure. Released on September 10, 1963. Side A master number CR910631. Side B master number CR910632. Both songs also available on "Teen Scene!: Rock & Roll Stars and Vocal Groups from Long Island's Golden Crest and Shelley Records" (2002, Dee-Jay Jamboree DJ-CD 55113).


ROYAL T - Feel My Wrath / Wrath Of T. (1987, D&D DD 5244-12A, 12" single)
Notes:
      Both sides produced by Swamp Dogg and Robert Mercer. Both songs written by Terry Cotton, published by Glory Moses Music/Jerry Williams Music, BMI. Executive Producer: David Moses. Arranger: Robert Mercer and Royal T. Programmer: Robert Mercer. Scratcher: DJ Mannie Fresh. Engineer: Jack Berry/Dr. Robert Feist. Recorded at Seasaint (New Orleans) and Track (Los Angeles). Distributed by D&D Enterprises, Inc. (818) 712-0913. Side A track time = 3:45 (actual time = @5:15). Side B track time = 4:54.


SATURDAYS CROWD - Do I Still Figure (In Your Life) / A Little Boy & A Little Girl (1968, Botanic B-1003, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. "Do I Still Figure (In Your Life)" written by Pete Dello; track time = 2:33. "A Little Boy & A Little Girl" written by Jerry Williams, Jr. and Delsey McKay; track time = 2:25.


SLICK 'N' THE FAMILY BRICK - Don't Trust A Woman / The Pelican (1973, Swamp Dogg Presents SD-500/SDP-SFB, 7" single)
Notes:
      "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".


THE SUBURBANS - Mary Had A Little Lamb / Walk Beside Me (1963, Shelley SH184, 7" single)
Notes:
      Both sides produced by Matt Parsons and Jerry Williams, Jr. (a M. Parsons "Little Jerry" Production). "Mary Had A Little Lamb" written by Jerry Williams, Jr. and Matt Parsons. Side A master number CR94631. Side B master number CR94632. Released September 4, 1963. Both songs available on "Altar Of Dreams: Classic East Coast Doo Wop & Girl Groups" (1999, Early Bird EBCD1001). Recorded at Frank Virtue's studio in Philadelphia. Lead vocals by Ricky Cordo (of The Majors).


DEMETRISS TAPP - The Sun's Gonna Shine / You've Lost That Loving Feeling (1971, Nasco 021, 7" single)
Notes:
      "The Sun's Gonna Shine" produced by Bob Tubert and Jerry Williams, Jr., horns arranged by Jerry Williams, Jr., written by Demetriss Tapp, track time = 2:50 and the run-out groove area has "Swamp" stamped in the vinyl. "You've Lost That Loving Feeling" produced by Bob Tubert, arranged by Bergen White, written by Mann, Wiel and Spector, track time = 4:55 and taken from the album "A Little Bit Of Demetriss" Nasco 9007.


IRMA THOMAS - Coming From Behind - Part 1 (A Monologue Rap) / Coming From Behind - Part 2 (A Monologue Rap) + Wish Someone Would Care (1974, Fungus F 15353, 7" single)
Notes:
      Produced and arranged by Jerry Williams, Jr. "Coming From Behind" written by Jerry Williams, Jr. "Wish Someone Would Care" written by Irma Thomas. Side A track time = 3:48. Side B track total time = 2:36 (Part 2 = 1:20 + WSWC = 1:16). Available as a greatly extended (12+ minutes) single song medley on "In Between Tears" [1973, Fungus FB 25150; 1981, Charly {UK} CRB 1020; 1988, P-Vine {Japan} PCD-904] and "A Woman's Viewpoint: The Essential 1970s Recordings" [2006, Ace/Kent CDKEND 260].


IRMA THOMAS - I'd Do It All Over You / We Won't Be In Your Way Anymore (1970, Canyon #31, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. "I'd Do It All Over You" written by Jerry Williams, Jr. "We Won't Be In Your Way Anymore" written by Jerry Williams, Jr. and Troy Davis. Side B track time = 3:12. Both songs available on "A Woman's Viewpoint: The Essential 1970s Recordings" [2006, Ace/Kent CDKEND 260].


IRMA THOMAS - In Between Tears [stereo] / In Between Tears [stereo] (1973, Fungus F 15141, 7" single)
Notes:
      Produced and arranged by Jerry Williams, Jr. and written by Jerry Williams, Jr. and Troy Davis. Available on "In Between Tears" [1973, Fungus FB 25150; 1981, Charly {UK} CRB 1020; 1988, P-Vine {Japan} PCD-904] and "A Woman's Viewpoint: The Essential 1970s Recordings" [2006, Ace/Kent CDKEND 260].


IRMA THOMAS - She'll Never Be Your Wife / She'll Never Be Your Wife
(1973, Fungus F 15119, 7" single promo)


IRMA THOMAS - She'll Never Be Your Wife / You're The Dog (1973, Fungus F 15119, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. "She'll Never Be Your Wife" written by Jerry Williams, Jr. "You're The Dog" written by Jerry Williams, Jr., Gary Bonds and Charles Whitehead. Side A track time = 2:55. Both songs available on "In Between Tears" [1973, Fungus FB 25150; 1981, Charly {UK} CRB 1020; 1988, P-Vine {Japan} PCD-904] and "A Woman's Viewpoint: The Essential 1970s Recordings" [2006, Ace/Kent CDKEND 260]. "She'll Never Be your Wife" is also available on If Loving You Is Wrong: 20 Cheatin' Heartbreakers [2002, Kent CDKEND 208].


IRMA THOMAS - These Four Walls / A Woman's Viewpoint (1970, Roker 502, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. "These Four Walls" written by Lynne Farr. "Woman's Viewpoint", credited to Irma Thomas, is a condensed version of the monologue/rap/medley "Coming From Behind/Wish Someone Would Care" written by Jerry Williams, Jr. Side A track time = 3:09. Side B track time = 3:54. Both songs available on "In Between Tears" [1973, Fungus FB 25150; 1981, Charly {UK} CRB 1020; 1988, P-Vine {Japan} PCD-904] and "A Woman's Viewpoint: The Essential 1970s Recordings" [2006, Ace/Kent CDKEND 260].


IRMA THOMAS - IN BETWEEN TEARS (1973, Fungus FB 25150; 1981, Charly [UK] CRB 1020; 1988, P-Vine [Japan] PCD-904; 2013, Alive Naturalsound ALIVE0145-1 [vinyl], ALIVE0145-2 [CD])
Side 1:
1. In Between Tears
      [Jerry Williams, Jr. and Troy Davis]
2. She'll Never Be Your Wife
      [Jerry Williams, Jr.]
3. These Four Walls
      [Lynne Farr]
4. What's So Wrong With You Loving Me
      [Jerry Williams, Jr. and Charles Whitehead]
5. You're The Dog (I Do The Barking Myself)
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
Side 2:
1. Medley: Coming From Behind (monologue) / Wish Someone Would Care
      [Jerry Williams, Jr.] / [Irma Thomas]
2. Turn My World Around
      [Jerry Williams, Jr. and Charles Whitehead]
Notes:
      Jerry Williams, Jr. produced, and contributes piano and background vocals (most noticeable on "In Between Tears"). Recorded in 1970. Available on "A Woman's Viewpoint: The Essential 1970s Recordings" [2006, Ace/Kent CDKEND 260].
      The 2013 vinyl reissue on Alive Naturalsound Records includes the 2 tracks from her 1970 Canyon single (#31): "I'd Do It All Over You", "We Won't Be In Your Way Anymore".


IRMA THOMAS - TURN MY WORLD AROUND (1993, S.D.E.G./Shanachie 9201)
1. Turn My World Around
      [Jerry Williams, Jr. and Charles Whitehead]
2. These Four Walls
      [Lynne Farr]
3. You're The Dog (But I Do All The Barking Myself)
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
4. Coming From Behind (Monologue) /
      [Jerry Williams, Jr.]
5. Wish Someone Would Care
      [Irma Thomas]
6. In Between Tears
      [Jerry Williams, Jr. and Troy Davis]
7. She'll Never Be Your Wife
      [Jerry Williams, Jr.]
8. We Won't Be In Your Way Anymore
      [Jerry Williams, Jr. and Troy Davis]
9. I'd Do It All Over You
      [Jerry Williams, Jr.]
10. What's So Wrong With You Loving Me
      [Jerry Williams, Jr. and Charles Whitehead]
Notes:
      A remixing of Thomas' "In Between Tears" album with different backing tracks, plus two additional session tracks: "We Won't Be In Your Way Anymore" written by Jerry Williams, Jr. and Troy Davis, and "I'd Do It All Over You" written by Jerry Williams, Jr. [original mixes released on a single in 1970 as Canyon #31]. The CD contains the additional label number LC 5762.
      Produced by Swamp Dogg [the back cover also notes: produced by Swamp Dogg and King Errisson for Swamp Dogg Productions and Nassau Music, Inc.]. Tracks 8 and 9 produced by Swamp Dogg and George McGregor. Executive producer and album co-ordinator: Yvonne Williams. String and horn arrangements by Charles Hayes. Rhythm section arrangements by Swamp Dogg. Tracks 8 and 9 rhythm section arrangements by Swamp Dogg and George McGregor. Recorded at Capricorn Studio, Macon, GA (Jim Hawkins: Engineer), Muscle Shoals Sound, Muscle Shoals, AL (Jimmy Johnson: Engineer), Sigma Sound, Philadelphia, PA (Joe Tarsia: Engineer), Jamland Studio, Mission Hills, CA (Roger Curly: Engineer). Re-mixed and re-sweetened 4/22/93 - 5/24/93 at Jamland Studio, Mission Hills, CA (Roger Curly: Engineer). Front cover: Joanne Marino. Booklet design: Joan Pelosi. Digital mastering: Robert Vosgien, CMS Digital, CA. Recorded analog, mixed and mastered digitally.
      Swamp Dogg - piano. Rodney Thomas - new piano tracks 4 and 5. Sooner Oldham - piano tracks 8 and 9. Robert "Pop" Popwell - bass tracks 1 and 2. "King" Charles Glen - new bass tracks 3-10. Duane Allman - guitar tracks 3-5. Jesse "Pete" Carr - guitar tracks 1, 7, 9 and 10. Alan Schwartz - new guitar tracks 2-10. Jimmy Johnson - guitar tracks 8 and 9. Paul "Berry" Hornsby - organ. Kenny Altbush - new drums tracks 1-10. Eleanor Rigby, Sabrina Wilson - new background vocals. Tracks 8 and 9: Charles Chalmers - tenor sax; Andrew Love - tenor sax; Wayne Jackson - trumpet; Floyd Newman - baritone sax. Charles Hayes - new/additional tenor and alto sax tracks 1-10. Charles Hayes - proteus E-Mu tracks 1, 2, 4, 5, 6, 8 and 10. Joe Davis - new/additional trumpet tracks 1-10.
Liner Notes:
      This album has been a long time in the making and although it has been released all over the world, seen chart action in the U.S. and U.K., it was incomplete.
      In 1970, Irma and I were on Canyon Records, where I was asked to produce her album, but they wanted a single release immediately - before I could cut a record they wanted a record - talking about driving a motherfucker, they had it in second gear and were pushing it to the floor. I called George McGregor in Detroit, who immediately informed me that he was heading to Muscle Shoals, Alabama the next morning to record Timmy Willis and he'd cut me two funky tracks as the first thing on his agenda. George jumped on a plane to Los Angeles two nights later, played me the tracks - I flipped, wrote "We Won't Be In Your Way Anymore" and "I'd Do It All Over You" within three hours, picked up Irma, brought her back to my place, taught her the songs, went into the studio at ten a.m. the next morning, recorded it, mixed it, and presented it to Canyon three o'clock that afternoon, who had test pressings on the street two days later.
      Now Irma and I fly to New York to rehearse the album songs at my house. After a week of picking songs and rehearsing we flew to Macon, Georgia and commenced recording at Capricorn Studio. I made the mistake of calling out to Canyon and telling Wally Roker that the album was coming along fantastically. He asked me to send him a 7-1/2 ips reel to reel reference mix - I complied to two decades of sorrow. After receiving it he called Macon, cancelled the remaining studio time and proclaimed the project a smash in its present state. Although I didn't agree, at that moment my ego which was about twice the size of Mt. Vesuvius at that time, led me to believe that since I did it he had to be right. Some extraordinarily insane and elementary politics in which I refused to partake in were going on at Canyon, which caused at least twenty albums to be released before the Irma project. Actually Irma was never released because Canyon folded two weeks before the final scheduled release.
Next step - I bought this album along with several other albums from the bankrupt Canyon, and signed Irma to Jerry Williams Productions and Fungus Records, a first label venture for BASF. The album was released, sold about forty thousand and the single "She'll Never Be Your Wife" stayed on the charts for six weeks and sold a hundred and ten thousand. Still no remix - I'm convinced that this album is great because of the critical acclaim and sales, though knowing all the while that it's an unfinished piece of shit.
      Over the past twenty years this album has sold over a million units worldwide with the help of some of the world's legendary bootleggers and honest independents with some integrity remaining. Keeping all of this in mind, the album still was not the album I set out to do.
      1993 - Shanachie - they would like to release the Irma Thomas - Wait! First I'm going to complete the album that I started in 1970 then you can release until you get tired or rich, whichever comes first.
      I went into the studio for three weeks with some great musicians, stripped the tracks and musically rebuilt the entire project keeping only Irma's vocals, Duane Allman's guitar, my piano and selected performances (see musicians' credits) by the original players. As a result I've finally finished this fuckin' album and now it is as good as I fooled myself into believing it was twenty years back. This album can now be ranked among the best albums cut in the early seventies - I did not attempt to bring it to the nineties, employ hop-hop, rap, urban or any of the other genres that's running wild in the streets today. This was a be-true-to-yourself project and now that it is finished I feel complete and as happy as a sissy with two assholes.
      Sincerely,
      Swamp Dogg
      P.S. "We Won't Be In Your Way Anymore" and "I'd Do It All Over You" became obscure and were never included in the past album releases.
P.P.S. I saw Irma in New Orleans in '85 and she didn't have a clue as to who I was, but the main thing is I recognized and recognize her in more ways than one because she was a trill a minute to work with and is always a sexual experience to my ears when I listen to her sing. Maybe we'll do it together again one day - but for starters, I better introduce myself.
I love you....
      "Irma's album was one of my better albums. As far as I was concerned, I never finished the album in the first place, but Canyon wanted it right away. Before Canyon could get it out, I put it out myself on Fungus ['In Between Tears' on Fungus 25150 in 1973]. Everybody said, it's great, it's great, leave it like it is. Only I knew it wasn't finished. But I didn't tell anybody. Everybody was raving about it. I was not satisfied until I went back into the studio and finished doing what I had planned to do. As you listen to that album [Turn My World Around], you'll find I didn't try to make it the 1990s. I didn't go in there using drum machines and shit. I went in to finish the best album I could make for 1973. ... After finishing the album, I'm convinced that everybody was right...it was finished when I first came out of the studio. There's more soul and performance quality in the original." --Swamp Dogg, from "A Dogg's Tale", 1998/2001 interview with Ray Ellis published in Juke Blues #49.


IRMA THOMAS - TWO PHASES OF IRMA THOMAS (2007, S.D.E.G. 1963)
1. In Between Tears
      [Jerry Williams, Jr. and Troy Davis]
2. She'll Never Be Your Wife
      [Jerry Williams, Jr.]
3. These Four Walls
      [Lynne Farr]
4. What's So Wrong With You Loving Me
      [Jerry Williams, Jr. and Charles Whitehead]
5. You're The Dog (But I Do The Barking Myself)
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
6. Medley: Coming From Behind (monologue) / Wish Someone Would Care
      [Jerry Williams, Jr.] / [Irma Thomas]
7. Turn My World Around
      [Jerry Williams, Jr. and Charles Whitehead]
8. We Won't Be In Your Way Anymore
      [Jerry Williams, Jr. and Troy Davis]
9. I'd Do It All Over You
      [Jerry Williams, Jr.]
10. Save A little Bit For Me
      [Milton Bland, Di Fosco Ervin and Mamie Davis]
11. That's How I Feel About You
      [Virginia Bland, Mamie Davis and Marshall Greathouse]
12. Turn My World Around
      [Jerry Williams, Jr. and Charles Whitehead]
13. These Four Walls
      [Lynne Farr]
14. You're The Dog (But I Do The Barking Myself)
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
15. Medley: Coming From Behind (monologue) /
      [Jerry Williams, Jr.]
16. Wish Someone Would Care
      [Irma Thomas]
17. In Between Tears
      [Jerry Williams, Jr. and Troy Davis]
18. She'll Never Be Your Wife
      [Jerry Williams, Jr.]
19. We Won't Be In Your Way Anymore
      [Jerry Williams, Jr. and Troy Davis]
20. I'd Do It All Over You
      [Jerry Williams, Jr.]
21. What's So Wrong With You Loving Me
      [Jerry Williams, Jr. and Charles Whitehead]
Notes:
      Digitally re-mastered reissue of 1973's "In Between Tears" album, the 1993 remixed version of that album (Turn My World Around), the Canyon 31 single plus 2 additional tracks ("Save A little Bit For Me" and "That's How I Feel About You"). Includes a 12-page booklet with memorabilia and contracts rather than the usual liner notes.


IRMA THOMAS - A WOMAN'S VIEWPOINT: THE ESSENTIAL 1970S RECORDINGS (2006, Ace/Kent CDKEND 260)
1. In Between Tears
      [Jerry Williams, Jr. and Troy Davis]
2. She'll Never Be Your Wife
      [Jerry Williams, Jr.]
3. These Four Walls
      [Lynne Farr]
4. What's So Wrong With You Loving Me
      [Jerry Williams, Jr. and Charles Whitehead]
5. You're The Dog (I Do The Barking Myself)
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
6. Medley: Coming From Behind (Monologue) / Wish Someone Would Care
      [Jerry Williams, Jr.] / [Irma Thomas]
7. Turn My World Around
      [Jerry Williams, Jr. and Charles Whitehead]
8. We Won't Be In Your Way Anymore
      [Jerry Williams, Jr. and Troy Davis]
9. I'd Do It All Over You
      [Jerry Williams, Jr.]
10. I'm So In Love
      [??]
11. Can't Get Enough
      [Jerry Williams, Jr.]
12. Save A Little Bit For Me
      [Milton Bland, Di Fosco Ervin and Mamie Davis]
13. That's How I Feel About You
      [Virginia Bland, Mamie Davis and Marshall Greathouse]
14. A Woman Left Lonely
      [Dan Penn and Spooner Oldham]
15. Dance Me Down Easy
      [Billy Burnette and Larry Henley]
16. Zero Willpower
      [Dan Penn, Spooner Oldham and Donnie Fritts]
17. Don't Blame Him For What You Didn't Do
      [Kim Morrison]
18. Safe With Me
      [Lewis Anderson]
19. Looking Back
      [Brook Benton, Clyde Otis and Belford Hendricks]
Notes:
      A reissue of Thomas' "In Between Tears" album plus additional tracks.


OSCAR TONEY, JR. - Thank You, Honey Chile / I Do What You Wish (But I Wish What You Do Wouldn't Hurt Me So) (1972, Capricorn CPR 0005, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. "Thank You, Honey Chile" written by Jerry Williams, Jr. and Charles Whitehead. "I Do What You Wish (But I Wish What You Do Wouldn't Hurt Me So)" written by Jerry Williams, Jr. Side A track time = 2:40. Side B track time = 2:15.
      There are apparently two other songs from this same recording session: "...we cut four sides [for Capricorn in 1972]". --Swamp Dogg, from "A Dogg's Tale", 1998/2001 interview with Ray Ellis published in Juke Blues #49.


CHIP TYLER - I Love You Yvonne / If You Ask Me...(Because I Love You) (1966, Chicory CH-401, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. and arranged by Richard Rome. "I Love You Yvonne" written by Jerry Williams, Jr. "If You Ask Me...(Because I Love You)" written by Jerry Williams, Jr. and Rick Spain. Side A track time = 2:41. Side B track time = 2:59. The word "Chicory" is associated with Jerry Williams, Jr. via Chicory Music publishing (see singles 1964-66). Both sides use the same backing tracks as the Jerry Williams single. Pete Morgan has found the date of release to be 1966, which is consistent with the date recalled by Swamp Dogg, i.e. "circa 1965-66"; see The Airheads Radio Survey Archive: http://www.las-solanas.com/arsa/charts_item.php?hsid=16520


JIMMY WALLACE - How You Did Destroy / Forever (1964, Alpha 002, 7" single)
Notes:
      Both sides arranged and conducted by Jerry Williams, Jr. "How You Did Destroy" written by Jerry Williams, Jr. and Larry Clinton. "Forever" written by B. Holland, F. Gorman and Lamont Dozier. Side A contains the additional label number A 45-641-10 D; track time = 2:05. Side B contains the additional label number A 45-641-10 F; track time = 2:27. The run-out groove is stamped "Bell Sound".


DEE DEE WARWICK - She Didn't Know (She Kept On Talking) / Make Love To Me (1970, Atco 45-6754, 7" single)
Notes:
      "She Didn't Know (She Kept On Talking)" produced by Jerry Williams, Jr. and written by Jerry Williams, Jr. and Gary Bonds. Also available on She Didn't Know: The Atco Sessions [1996, Ichiban/Soul Classics CD 2111].


BILLY WEBSTER AND THE CLUB ROCKERS - Good People / Jazz Jerk (@1963, Silver-Tone S-203, 7" single)
Notes:
      Both sides produced by Lenny Caldwell and Jerry Williams. "Good People" written by Jerry Williams and Venton Caldwell; track time = 2:25. "Jazz Jerk", an instrumental, was written by Venton Caldwell and Jerry Williams; track time = 2:30. I suspect the release date to be circa 1962, possibly 1963, due to Venton "Lenny" Caldwell of V-Tone Records being involved. Swamp Dogg has stated, "circa 62'-63'...more 63' than 62'. By the way, Billy Webster 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


CHARLES WHITEHEAD - Between The Lines / Predicament #3 (1972, Stone Dogg 802, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. "Between The Lines" written by Clarence Reid. "Predicament #3" written by Jerry Williams, Jr. and Charles Whitehead. Both songs available on "Songs To Sing: The Charlie Whitehead Anthology 1970-1976" [2006, Ace/Kent CDKEND 261]. "Between The Lines" also available on Funkaphonix vol. 4: Raw & Uncut Funk [2001, Electrostatic ???]. Willie "Little Beaver" Hale plays guitar on "Between The Lines". Pete Carr plays guitar on "Predicament #3".


CHARLES WHITEHEAD - How Can I Forget / The Story Of Mr. Pitiful (1969, Dynamo D-132, 7" single)
Notes:
      "How Can I Forget" produced by Jerry Williams, Jr. and Richard Rome, arranged by Richard Rome and written by Ed Townsend. "The Story Of Mr. Pitiful" produced by Jerry Williams, Jr. and Gary US Bonds, arranged by Richard Rome and written by Jerry Williams, Jr. The rhythm tracks were recorded in Philadelphia. The vocal tracks were recorded in New York with backing vocals by Jerry Williams, Jr., J.R. Bailey, Kenny Carter and Gary Bonds. The female backing vocals were provided by The Orlons. Both songs are available on "When A Man Cries: The Deep Soul Of Scepter/Wand and Musicor/Dynamo" [1999, Ace/Kent CDKEND 176].


AMAZING CHARLIE WHITEHEAD - I Finally Found Myself Something To Sing About / I Was Dancing When I Fell In Love (1976, Atomic Art 1942, 7" single)
Notes:
      "I Finally Found Myself Something To Sing About" produced by Jerry Williams, Jr. (The Swamp Dogg) and written by Jerry Williams, Jr. and Yvonne Williams. "I Was Dancing When I Fell In Love" written by Jerry Williams, Jr. Side A track time = 2:47. There are 2 label variations, one being yellow with black lettering, the other being green with black lettering. Both songs available on "Whitehead At Yellowstone" [1977, Wizard Records 1305]. "I Finally Found Myself Something To Sing About" also available on "Songs To Sing: The Charlie Whitehead Anthology 1970-1976" [2006, Ace/Kent CDKEND 261] and "Soul Allnighter: 60s Stompers & 70s Dancefloor Classics" [2002, Metropolitan Soul ???].
      Comment by Swamp Dogg on The Southern Soul List (Yahoo) 8/9/99: "I was kidding around ...having fun with Charlie and he bet me that I wouldn't manufacture the record as the "Amazing"...........I won the bet!"


CHARLIE WHITEHEAD - I Was Dancing When I Fell In Love / People Tell Me I'm Losing My Baby (1977, Contempo CS 2120, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. "I Was Dancing When I Fell In Love" written by Jerry Williams, Jr. "People Tell Me I'm Losing My Baby" written by Travis Wammack. Both songs available on "Whitehead At Yellowstone" [1977, Wizard Records 1305].


CHARLES WHITEHEAD - Let's Do It Again Pt. 3 1/2 // Let's Do It Again Pt. 3 1/2 (1973, Fungus F 15147, 7" single)
Notes:
      Produced, arranged and written by Jerry Williams, Jr., who also provides noticeable background vocals. Track time on both sides = 3:07. This single is an edited variation of "Let's Do It Again Parts 3 & 4" as it appears on the "Charlie Whitehead & The Swamp Dogg Band" album [1973, Fungus 25145] and "Songs To Sing: The Charlie Whitehead Anthology 1970-1976" [2006, Ace/Kent CDKEND 261].


CHARLIE WHITEHEAD - Love Being Your Fool / Love Being Your Fool (1974, Island [UK] IS007, 7" single, promo)
Notes:
      Produced by Jerry Williams, Jr. and written by Jerry Williams, Jr. and Charles Whitehead. Track time = 3:19. Also available on 101 Blues & Soul Classics (1986, S.D.E.G. ??).


CHARLIE WHITEHEAD - Love Being Your Fool / Now That I Can Dance (1974, Island [UK] IS007, 7" single)
Notes:
      Produced by Jerry Williams, Jr. and written by Jerry Williams, Jr. and Charles Whitehead. Side A track time = 3:19. Side B track time = 3:30. "Love Being Your Fool" also available on 101 Blues & Soul Classics (1986, S.D.E.G. ??).


CHARLIE WHITEHEAD - Midnight Hour / Predicament No. 3 (1972, Stone Dogg 803, 7" single)
Notes:
      "Midnight Hour" written by Wilson Pickett and Steve Cropper. Track time = 2:58. "Predicament No. 3" written by Jerry Williams, Jr. and Charles Whitehead. Track time = 4:50. Both sides arranged and produced by Jerry Williams, Jr. and Steve Alaimo. "Predicament No. 3" is also available on "Songs To Sing: The Charlie Whitehead Anthology 1970-1976" [2006, Ace/Kent CDKEND 261]. "Midnight Hour" is only available on this single, which is rather difficult to find. Side A contains the additional label number 575. Side B contains the additional label number 576.


CHARLIE WHITEHEAD - People Tell Me I'm Losing My Baby / I Finally Found Myself Something To Sing About (1980, Sweetheart 29, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. (The Swamp Dogg), string arrangement by Harrison Calloway and Charles Rose. "People Tell Me I'm Losing My Baby" written by Travis Wammack. "I Finally Found Myself Something To Sing About" written by Jerry Williams, Jr. and Yvonne Williams. Side A track time = 3:55. Side B track time = 4:24. Both songs available on "Whitehead At Yellowstone" [1977, Wizard Records 1305]. "I Finally Found Myself Something To Sing About" also available on "Songs To Sing: The Charlie Whitehead Anthology 1970-1976" [2006, Ace/Kent CDKEND 261].


CHARLIE WHITEHEAD - (Shu-Doo-Pa-Poo-PooP) Love Being Your Fool / Now That I Can Dance (1974, United Artists UP 35898, 7" single)
Notes:
      Both sides written by Jerry Williams, Jr. and Charles Whitehead, published by Mr. Dogg Music Inc./ATV Music (BMI), produced by Jerry Williams, Jr. (The Swamp Dogg), arranged by Richard Rome and Jerry Williams, Jr. and engineered by David Johnson. Side A of the Island Records variation of this single is simply titled "Love Being Your Fool". "Love Being Your Fool" also available on 101 Blues & Soul Classics (1986, S.D.E.G. ??).


CHARLIE WHITEHEAD - BLUE MOON: ROCK MASTERS (2006, Prime Masters ??)
1. I Was Dancing When I Fell In Love
      [Jerry Williams, Jr.]
2. Grooving and Swinging
      [Jerry Williams, Jr.]
3. People Tell Me I'm Losing My Baby
      [Travis Wammack ]
4. I Finally Found Myself Something To Sing About
      [Jerry Williams, Jr.]
5. Blue Moon
      [Richard Rodgers and Lorenz Hart]
6. Disco Queen
      [Jerry Williams, Jr.]
7. Dance 'Till The Morning Come
      [Jerry Williams, Jr.]
8. Buffalo Soldier
      [Smith, Lewis and Barnes]
9. Fire And Rain
      [James Taylor]
10. Hey Jude
      [John Lennon and Paul McCartney]
Notes:
      This appears to be an internet download-only release of Charlie Whitehead At Yellowstone (1977, Wizard W1305).
http://mp3.rhapsody.com/charliewhitehead/bluemoon/bluemoon


CHARLIE WHITEHEAD - CHARLIE WHITEHEAD & THE SWAMP DOGG BAND (1973, Fungus 25145)
Side One:
1. Shaft's Mama
      [Jerry Williams, Jr.]
2. The B.B. King
      [Jerry Williams, Jr.]
3. Help (God Help America)
      [Jerry Williams, Jr.]
Side Two:
1. Gazelle
      [Jerry Williams, Jr.]
2. She's All I Got
      [Gary Bonds and Jerry Williams, Jr.]
3. Let's Do It Again Parts 3 & 4
      [Jerry Williams, Jr.]
Notes:
      Swamp Dogg produced, plays piano and sings background vocals (most noticeable on "Let's Do It Again Parts 3 & 4"). Available on "Songs To Sing: The Charlie Whitehead Anthology 1970-1976" [2006, Ace/Kent CDKEND 261].


CHARLIE WHITEHEAD - SONGS TO SING: THE CHARLIE WHITEHEAD ANTHOLOGY 1970-1976 (2006, Ace/Kent CDKEND 261)
1. Songs To Sing
      [Jerry Williams, Jr. and Troy Davis]
2. Put A Little Love In Your Heart
      [Jimmy Holiday, Jackie DeShannon and Randy Myers]
3. Raw Spitt
      [Jerry Williams, Jr. and Troy Davis]
4. Call Me Nigger
      [Jerry Williams, Jr.]
5. The Freedom Under Certain Konditions Marching Band
      [Jerry Williams, Jr. and Troy Davis]
6. Midnight Rider
      [Jerry Williams, Jr. and Troy Davis]
7. Who Do They Think They Are
      [Jerry Williams, Jr. and Troy Davis]
8. I Dig Black Girls
      [Jerry Williams, Jr. and Troy Davis]
9. This Old Town
      [Wilson Pickett, William Stevenson and Don Covay]
10. Sweet Bird Of Success
      [Jerry Williams, Jr. and Troy Davis]
11. Excuses
      [Jerry Williams, Jr. and Troy Davis]
12. Between The Lines
      [Clarence Reid]
13. Predicament #3
      [Jerry Williams, Jr. and Charles Whitehead]
14. That Ain't My Wife
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
15. I Finally Found Myself Something To Sing About
      [Jerry Williams, Jr. and Yvonne Williams]
16. Shaft's Mama
      [Jerry Williams, Jr.]
17. The B.B. King
      [Jerry Williams, Jr.]
18. Help (God Help America)
      [Jerry Williams, Jr.]
19. Gazelle
      [Jerry Williams, Jr.]
20. She's All I Got
      [Gary Bonds and Jerry Williams, Jr.]
21. Let's Do It Again Parts 3 & 4
      [Jerry Williams, Jr.]
Notes:
      A reissue of "Raw Spitt" and "Charlie Whitehead & The Swamp Dogg Band" plus additional tracks. Swamp Dogg produced, plays piano and sings background vocals (most noticeable on "Let's Do It Again Parts 3 & 4").


CHARLIE WHITEHEAD - WHITEHEAD AT YELLOWSTONE (1977, Wizard W1305)
Side A:
1. I Was Dancing When I Fell In Love
      [Jerry Williams, Jr.]
2. Grooving and Swinging
      [Jerry Williams, Jr.]
3. People Tell Me I'm Losing My Baby
      [Travis Wammack ]
4. I Finally Found Myself Something To Sing About
      [Jerry Williams, Jr.]
Side B:
1. Blue Moon
      [Richard Rodgers and Lorenz Hart]
2. Disco Queen
      [Jerry Williams, Jr.]
3. Dance 'Till The Morning Come
      [Jerry Williams, Jr.]
4. Buffalo Soldier
      [Smith, Lewis and Barnes]
5. Fire And Rain
      [James Taylor]
6. Hey Jude
      [John Lennon and Paul McCartney]
Notes:
      Produced by Jerry Williams, Jr. (The Swamp Dogg) for Atomic Art Productions, Inc. and Wizard Productions, Inc. Engineer: David Johnson / Steve Herbert. Recorded at Broadway Sound, Muscle Shoals, Alabama. Piano: Jerry Williams, Jr. / Randy McCormick. Vibes and Organ: Randy McCormick / Clayton Ivey. Drums: Jimmy Evans / Jasper Guerino. Guitar: Travis Wammack / Pete Carr. Bass: Bob Wray / Robert Popwell. Horns: Harrison Calloway / Ronnie Eades / Stacey Goss / Harvey Thompson / Charles Rose / Mike Stough. Album Co-ordinator: Yvonne Williams. Album design: Bob Clark, Zenith Communications. Wizard Productions, Inc., 2501 S. Ocean Drive, Hollywood, Florida. Printed in U.S.A.
      "This was also for a tax shelter and was not supposed to see the light of day; with the exception of five thousand vinyls and cassettes initially manufactured for the governments scrutiny and blessings." --Swamp Dogg, Southern Soul List (Yahoo), 11/8/08
      "I Finally Found Myself Something To Sing About" is 2 minutes longer than the version found on singles and various CD releases.


BETTE WILLIAMS - A Feeling For Someone Else Has Grown / Another Man Took My Husband's Place (1971, Gregar 71-0110, 7" single)
Notes:
      Produced and arranged by Jerry Williams Jr. "A Feeling For Someone Else Has Grown" written by Jerry Williams, Jr. and Bette Williams. "Another Man Took My Husband's Place" written by Jerry Williams, Jr., Gary Bonds and Charles Whitehead. Side A track time = 3:04.
      "She was on Gregar Records. She was supposed to be on Elektra, but it was the time of the cute black woman. She didn't look like a Freda Payne, she was full bodied and dark-skinned. She was from Baltimore. After I cut her, I did something that almost back-fired. I got the contracts made. Elektra didn't have but one black act at the time [in 1971]. When they signed me, they got rid of the Voices of East Harlem. This was the first time they were going to have 2 black acts. But they didn't want the girl to look black. They wanted her to look very fair. It just wasn't going to work, so I just got distressed and gave the album to my wife. I said, 'Look, this is your album. Go sell it. Whatever you get off of it is yours.' So, she messed around with it and got it to George Grief who owned Gregar, distributed by RCA. I think they gave her $25,000. They put out a bunch of singles, but the album never came out." --Swamp Dogg, from "A Dogg's Tale", 1998/2001 interview with Ray Ellis published in Juke Blues #49.


BETTE WILLIAMS - He Took My Hand / Robin Right On (1973, Swamp Dogg Presents 101, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. Both songs written by Jerry Williams, Jr. Side A track time = 2:26. Side B track time = 2:28. "The disc jockey who brought her to me was Rockin' Robin. So, I gave him a piece of the publishing of an instrumental and renamed the song 'Robin Right On'". --Swamp Dogg, from "A Dogg's Tale", 1998/2001 interview with Ray Ellis published in Juke Blues #49.


BETTE WILLIAMS - If She's Your Wife (Who Am I) / If You Get Him (He Was Never Mine) (1971, Gregar 71-0113, 7" single, promotional copy error, yellow labels)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. The B-Side is actually the song "Now That I'm Gone (When Are You Leaving)"; apparently these promotional pressings had the wrong label placed on the B-Side. "If She's Your Wife (Who Am I)" written by Jerry Williams, Jr. and Charles Whitehead; track time = 3:34 (actual time = 4:34). Side A, noted as the plug side, contains the additional label number ATKM-5558. "If You Get Him (He Was Never Mine)" written by Jerry Williams, Jr.; track time = 3:46. Side B contains the additional label number ATKM-5553. Manufactured and distributed by RCA Records - New York, N.Y. Both sides are mono.


BETTE WILLIAMS - If She's Your Wife (Who Am I) / Now That I'm Gone (When Are You Leaving) (1971, Gregar 71-0113, 7" single, green labels)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. Both songs written by Jerry Williams, Jr. and Charles Whitehead. Side B track time = 2:47.


MICHELLE WILLIAMS - Don't Stop The Boogie / Mad Love (1983, Rare Bullet RB 101-12, 12" single)
Notes:
      Both songs produced, arranged and written by Swamp Dogg. Side A track time = 4:53, which is longer than the variation on Dancin' With Soul [1983, Rare Bullet Rare LP1] and shorter than the variation on Make Me Yours [1984, Rare Bullet RB-LP-2003; 1985, Rams Horn Records RHR 5101]. Side B track time = 5:10, which is slightly longer (8 seconds) than the variations on Dancin' With Soul [1983, Rare Bullet Rare LP1], Make Me Yours [1984, Rare Bullet RB-LP-2003; 1985, Rams Horn Records RHR 5101] and Ted & Venus: Original Motion Picture Soundtrack [1992, Warlock/S.D.E.G. WARCD-2734]. This 12" single comes with a photograph of Michelle Williams.


MICHELLE WILLIAMS - I Feel Much Better Now / Now (1979, DJM Records DJS 10921, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. (The Swamp Dogg) and King Errisson for Euro Mr. Dogg, Inc. Both sides arranged by Art Freeman. "I Feel Much Better Now" written by Jerry Williams, Jr. "Now" written by A. Delory and B. Raleigh. Side A track time = 3:37. "Now", track time = 3:27, is shorter than what appears on the album Give Me Back My Love [1980, Atomic Art LP 3317].


MICHELLE WILLIAMS - I Feel Much Better Now #2 / I've Got A Reason To Dance (1979, Atomic Art 302, 7" single)
Notes:
      Both sides produced by Jerry Williams, Jr. and King Errisson. Both songs written by Jerry Williams, Jr. Side A contains the additional label number R-6363. "I Feel Much Better Now #2", track time = 3:43, is only available on this single. Side B contains the additional label number R-6364. "I've Got A Reason To Dance", track time = 4:25, is shorter than the version that appears on the album Give Me Back My Love [1980, Atomic Art LP 3317].


MICHELLE WILLIAMS - Keep On Doin' Whatcha Doin', Whatcha Doin', Whatcha Doin' [stereo] / Keep On Doin' Whatcha Doin', Whatcha Doin', Whatcha Doin' [mono] (1978, Parachute 515, 7" single)
Notes:
      Produced and arranged by Jerry Williams, Jr. (Swamp Dogg) and King Errisson for Atomic Art Productions, Inc. and Nassau Music, Inc. through special arrangement with Midget Productions, Inc. Written by Jerry Williams, Jr. Track time for both sides = 3:42.


MICHELLE WILLIAMS - Keep On Doin' Whatcha Doin', Whatcha Doin', Whatcha Doin' / This Magic Hour (1978, Parachute RR 515, 7" single)
Notes:
      Both sides produced and arranged by Jerry Williams, Jr. (Swamp Dogg) and King Errisson for Atomic Art Productions, Inc. and Nassau Music, Inc. through special arrangement with Midget Productions, Inc. Both songs written by Jerry Williams, Jr. Side A track time = 3:42. Side B track time = 4:09.


MICHELLE WILLIAMS - Make Me Yours / Don't Stop The Boogie (1984, Rare Bullet RB 1940-12, 12" single)
Notes:
      Both songs produced, arranged and written by Swamp Dogg. Both songs available on Make Me Yours [1984, Rare Bullet RB-LP-2003; 1985, Rams Horn Records RHR 5101]. Side A track time = 5:26. Side B track time = 6:02.


MICHELLE WILLIAMS - DANCIN' WITH SOUL [with Jerry Swamp Dogg Williams Jnr.] (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 (4:21)
      [Jerry Williams, Jr.]
2. Lovercise (3:43)
      [Jerry Williams, Jr.]
3. Don't Stop The Boogie (4:16)
      [Jerry Williams, Jr.]
4. Mad Love (3:59)
      [Jerry Williams, Jr. and M. Lewis]
5. Make Me Yours (4:14)
      [Bettye Swann]
Notes:
      Cover wording includes: Some Kind of Wonderful, Make Me Yours, Hold On I'm Coming. Some copies have blank/white record labels, perhpas promotional copies (?). 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 (in considerably longer versions) 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


MICHELLE WILLIAMS - GIVE ME BACK MY LOVE (1980, Atomic Art LP 3317)
Side A:
1. Pleasure And Pain (4:20)
      [Jerry Williams, Jr.]
2. Now (7:55)
      [A. Delory and B. Raleigh]
3. Give Me Back My Love (7:11)
      [Jerry Williams, Jr.]
Side B:
1. I Got A Reason To Dance (4:59)
      [Jerry Williams, Jr.]
2. Mama Why Can't I Turn Him On (4:40)
      [Jerry Williams, Jr.]
3. I'm Not A Child Anymore (5:18)
      [Jerry Williams, Jr.]
4. I Feel Much Better Now (3:48)
      [Jerry Williams, Jr.]
Notes:
      Produced by Jerry Williams, Jr. (The Swamp Dogg) and King Errisson for Euro Mr. Dogg, Inc. Album co-ordinator: Yvonne Williams. Photography: Yon Herbert. Coiffeur: Lawerence Trotter c/o Averatts of Hollywood. Arranger: Art Freeman. Engineer: Marc Piscitelli. Assistant Engineer: Russ Bracher. Recorded at Britannia Studios, Hollywood. "I'm Not A Child Anymore" also available on Make Me Yours [1984, Rare Bullet RB-LP-2003; 1985, Rams Horn Records RHR 5101].
Liner Notes:
      A most deserving thanks to Swamp Dogg (my father), King Errisson (my co-producer, friend and neighbor), Bob Etoll, David Ervin, Kenny Lewis, Robert Popwell, Ed Greene, Harvey Mason, Willie Ornelas, Dan Turner, Nytro, Buddy Scott, Warren Lanier, Sr., Warren Lanier, Jr., Ronnie Granger, Sam Trust, Steve Love, Eloise Peacock, Pat, Aunt Ben, Aunt Cecelia, Grandaddy, Irene, Earl Rhone, Jonny Jenkins, Ernie Leaner, Phyllis White, Mae Mercer, Mel Moore, Irene Moore, and last but not least Wayne Bennet who always thought I was a star.........(may good) and all the Angels watch over him)..........
      I take the greatest of pride and pleasure in dedicating this album to Debbie, Toni, Joy and "little" Jeri, four ladies that I'm proud to have as sister. Also to the greatest and most unusual woman on earth, my mother. Without her I would never have known what seventeen years old felt like...... "Mama I love you".


MICHELLE WILLIAMS - MAKE ME YOURS (1984, Rare Bullet RB-LP-2003; 1985, Rams Horn Records RHR 5101)
Side One:
1. Kick It (6:36; actual time = 6:54)
      [Jerry Williams, Jr.]
2. Make Me Yours (5:26)
      [Bettye Swann]
3. I'm Not A Child Anymore (5:12)
      [Jerry Williams, Jr.]
4. Lovercise (4:00)
      [Jerry Williams, Jr.]
Side Two:
1. Mad Love (5:02)
      [Jerry Williams, Jr. and M. Lewis]
2. Foxy Foxy Rapp (5:00)
      [Jerry Williams, Jr.]
3. Don't Stop The Boogie (6:02)
      [Jerry Williams, Jr.]
4. Let's Make A Video (5:52)
(featuring Michelle's 7 yr. old sister, Jeri)
      [Jerry Williams, Jr.]
Notes:
      Produced and arranged by Jerry Williams, Jr. (The Swamp Dogg). "I'm Not A Child Anymore" produced and arranged by Jerry Williams, Jr. (The Swamp Dogg) and King Errisson. Executive producer and album co-ordinator: Yvonne Williams. Swamp Dogg also plays piano and provides background vocals. "I'm Not A Child Anymore" is also available on Give Me Back My Love [1980, Atomic Art LP 3317]. "Mad Love" is also available on Ted & Venus: Original Motion Picture Soundtrack [1992, Warlock/S.D.E.G. WARCD-2734].
LINER NOTES [probably Swamp Dogg]:
      Although still relatively new to the American record market, Michelle Williams was the toast of Italy, Spain and England in 1980 because of the huge success of her "Give Me Back My Love" LP and "Now" single, which appeared on DJM (England), Atomic Arts (Italy/Spain) distributed by PANA and Marfer respectively.
      A twenty-one year old sophomore at Pierce College (Woodland Hills, Ca.), majoring in drama, costume designing and make-up.
      The classic Gemini, moody/groovy, wet/dry, rainy/sunshiny, lovable/--(smile). This album could have easily been titled Gemini because it shows the many moods of the lady. Even the album cover reflects her unpredictability.
      This lady's voice is totally different from anyone. She is not a copy - doesn't want to copy because she's still young enough to possess that cockiness of "let em' copy me" "I'm as unique as the most unique"...Let's face it, she has made believers of three countries - next the World. Co-starred in a two hour T.V. Special emanating from Torino, Italy and seen as far as Monaco.
      To call her beautiful is an understatement, Michelle is what God created eyes for...and she can sing.


WILSON WILLIAMS - "EATING AIN'T CHEATING" (2001, S.D.E.G. 1945)
1. Eating Ain't Cheating
      [Jerry Williams, Jr., Wilson Williams and Marie Washington]
2. One Man's Leftovers Is Another Man's Feast
      [Jerry Williams, Jr.]
3. We Can't Stop Sneaking Around
      [Jerry Williams, Jr. and Bob Jones]
4. I Ain't Nobody
      [Jerry Williams, Jr.]
5. I'm The Other Man (Any Name You Call)
      [Jerry Williams, Jr. and Bob Jones]
6. Real Confessions #2
      [Jerry Williams, Jr.]
7. My Woman Got A Caseworker
      [Jerry Williams, Jr. and Bob Jones]
8. You're Never Around When I Need You
      [Jerry Williams, Jr.]
9. Hallelujah And Congratulations
      [Jerry Williams, Jr.]
10. Big House
      [Wilson Williams]
11. Nobody But Me
      [Jerry Williams, Jr. and Bob Jones]
Notes:
      Produced and arranged by Jerry "Swamp Dogg" Williams, who also contributes background vocals and keyboards. "My Woman Got A Caseworker" can also be found in a remixed version (by E. Rodney Jones) on the compilation E. Rodney Jones: The World's Greatest Disc Jockey Presents...The World Series Of Blues & Soul Vol. 1 (2001, S.D.E.G. 1947).


THE WITCHES AND A WARLOCK - Won't You Please / Heavenly Love (1965, Calla C-108, 7" single)
Notes:
      Both sides produced by Richard Rome and Jerry Williams, Jr. Both sides arranged by Richard Rome. "Won't You Please" written by Verdell Smith; track time = 2:37. "Heavenly Love" written by Jerry Williams, Jr. and Richard Rome; track time = 2:25.


WOLFMOON [Tyrone Thomas a.k.a. Little Tommy] - God Bless / My Kinda People (1973, Fungus F 15118, 7" single)
Notes:
      Both songs produced and arranged by Jerry Williams, Jr. in 1969. "God Bless" written by Jerry Williams, Jr. "My Kinda People" written by Jerry Williams, Jr., Gary Bonds and Maurice Gimbel. Side A track time = 3:38. Side B track time = 2:37. Both songs available on Wolfmoon [1973, Fungus FB 25149].


WOLFMOON [Tyrone Thomas a.k.a. Little Tommy] - WOLFMOON (1973, Fungus FB 25149; 2013 Alive Naturalsound ALIVE 0151-1 [vinyl] & ALIVE 0151-2 [CD])
Side 1:
1. Cloak Of Many Colors
      [Jerry Williams, Jr., Gary Bonds, Maurice Gimbel and R. Calilli]
2. If He Walked Today
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
3. My Kinda People
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
4. If I Had A Hammer
      [Lee Hayes and Pete Seeger]
5. People Get Ready
      [Curtis Mayfield]
Side 2:
1. Proud Mary
      [John Fogerty]
2. God Bless
      [Jerry Williams, Jr.]
3. What Is Heaven For
      [Jerry Williams, Jr. and Maurice Gimbel]
4. Treasures That I Found
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
5. The Artist
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
Notes:
      Jerry Williams, Jr. produced and arranged the album in 1969, and provides guest vocals on "People Get Ready". Swamp Dogg provides a back cover note: "Win with Pride and Glory, Lose with Style and Grace and remember no matter how good you are you can always be replaced. Wolfmoon Is A Mother!"
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 10/17/00: "Wolfmoon is an artist from Richmond Virginia also known as Little Tommy. I recorded him first in Philadelphia in 64' but before I could release the record he went back to Richmond and signed with Mr. Wiggles' label, released my master. I did not hold that against him so when I got my BASF distributed Fungus label I resigned him and released the album that I cut in 69' and leased to Capitol, who decided that the public wasn't ready for a pop gospel album."


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".
      Promo Videos:
      She Left Me For Randolph - http://www.youtube.com/watch?v=Ko-aKo1mab8
      If I Was An Angel - http://www.youtube.com/watch?v=Acs2Ve6aVlw
      Cajun Daze Of Christmas [live] - http://www.youtube.com/watch?v=u6mp5SZQutc
      Noel The Christmas Mouse - http://www.youtube.com/watch?v=78NFlq19ZOM
      Hillbilly Christmas - http://www.youtube.com/watch?v=5ub0uZfQ-PI
      (All I Want For Christmas Is) A Soldier Coming Home - http://www.youtube.com/watch?v=3tMieoDuGzk
      King Of Kings - http://www.youtube.com/watch?v=OAX32ht96lw


X-MAS BALLS - She Left Me For Rudolph (2000, S.D.E.G. 1944-CD, CD single)
1. She Left Me For Rudolph (radio mix) (4:07)
      [Jerry Williams, Ned McElroy and Robert Morris, Jr.]
2. She Left Me For Rudolph (club mix) (4:08)
      [Jerry Williams, Ned McElroy and Robert Morris, Jr.]
3. Foggy X-mas Breakdown (2:28)
      [Ann McElroy and Ned McElroy]
Notes:
      Produced by Swamp Dogg and Ned McElroy. "She Left Me For Rudolph (radio mix)" is similar to track 1 of the X-Mas Balls CD (2004, S.D.E.G./Moon & Stars Studio SDEG 1953), however this version doesn't have the acoustic guitar up front in the mix as on the album version. "She Left Me For Rudolph (club mix)" may be the same version as on the X-Mas Balls CD (2004, S.D.E.G./Moon & Stars Studio SDEG 1953), though the acoustic guitar is slightly subdued in the mix and the track opens with Monty Lane speaking the line "I'm on the back porch." "Foggy X-mas Breakdown" appears to be the same as on the X-Mas Balls CD (2004, S.D.E.G./Moon & Stars Studio SDEG 1953), though the recording levels seem to be much lower.


================
COVERS & SAMPLES:
================

      These are songs that Jerry Williams, Jr./Swamp Dogg has written (or co-written) that have been recorded by others. Many of these Swamp Dogg has never recorded himself.


ERIC AMBEL - Total Destruction To Your Mind
- Roscoe's Gang [1988, Enigma 773329-4]


LEE BAINS III & THE GLORY FIRES - Total Destruction To Your Mind
- 2012, Alive Naturalsound ALIVE 0139; digital download)
http://www.alive-totalenergy.com/x/?page_id=3093
http://soundcloud.com/pavement-pr/lee-bains-iii-the-glory-1


MOE BANDY - She's All I Got
- Act Naturally [1997, Intersound Inc. 9330]


JACK BARLOW - She's All I Got
- Catch The Wind [1971, Dot DOS-25995]


MOLLY BEE - She Kept On Talkin'
- 7" single [1974, Granite 509]
- Country Masters [2005, Digital Music Group, Inc. ???]
- Good Golly Ms. Molly [1974, Granite GS-1002; Pye NSPL 28206]
- Sounds Fine To Me [1982, Accord 7901]


THE BOMB BASSETS - Total Destruction To Your Mind
- Take A Trip With... [1997, Lookout! lk 165]


BRAHIM - Personne N'est Parfait [Nobody Is Perfect]
- Dans Quel Monde On Vit [2000, Universal 5268122]


JAMES BROWN - Can't Stand It
- Hot Pants [1971, Polydor ???; 1992, Polygram ???]
Notes:
      Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - Can't Stand It [live]
- The Lost James Brown Tapes [1991, Warner Reprise Video 38295-3]
Notes:
      Recorded 1979 Santa Cruz, California. Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - I Can't Stand It [live]
- The Godfather And The Dreamer: Live At Boston Garden 4/5/68 [2003, Big Fro BF-010 {bootleg}]
- Rare Broadcasts [2007, Storming/Nova/Pinnacle ???]
Notes:
      Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - I Can't Stand It [live]
- Revolution Of The Mind: Live At The Apollo Vol. 3 [1971, Polydor PD 2 3003; 1993, Polydor PLYD 3145179832]
Notes:
      Recorded July 24-26, 1971 at The Apollo Theater, New York NY. Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - I Can't Stand It "76"
- Hell [1974, Polydor 9001; 1995, Polydor PLYD 3145239832]
- Make It Funky: The Big Payback: 1971-1975 [1996, Polydor PLYD 31453 3052-2]
Notes:
      Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - I Can't Stand Myself (When You Touch Me)
- 7" single [1967, King 6144]
- The 50th Anniversary Collection [2003, UTV B000112502]
- Foundations Of Funk: A Brand New Bag: 1964-1969 [1996, Polydor PLYD 3145311652]
- Golden Hits [1996, ITC Masters ITC 1048]
- I Can't Stand Myself When You Touch Me [1968, King K1030; 19??, Polydor 1030; 2003, Universal {Japan} ???]
- Star Time [1991, Polydor PLYD 8491082]
- The Ultimate Collection [2004, Universal ???]
Notes:
      Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone [Dade Records 2010]...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - I Can't Stand Myself (When You Touch Me) [live]
- The Best Of James Brown Live [1995, St. Clair Entertainment Group/Excelsior EXL 10602]
- Live [1997, Eagle Masters EDM CD 017]
- Live At Chastain Park [2006, Music Avenue ???]
- Live: Forever Gold [2000, St. Clair STCR 5820]
- Live In Concert [2004, Brentwood Communication BCI 40665]
- Please Please Please [2005, Pazzazz PAZZ 200362]
- The Original Showman Live! [1991, Onyx Classix ???]
Notes:
      Recorded in April 1984 at Chastain Park Amphitheatre, Atlanta, Georgia. Also released as a DVD [2002, Cleopatra ???].
Note: Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - I Can't Stand Myself (When You Touch Me) [live]
- Live Dynamite [2001, Charly 1122]
Notes:
      Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - I Can't Stand Myself (When You Touch Me) [live]
- Live: Try Me [2007, Jukebox Entertainment ???]
Notes:
      Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - I Can't Stand Myself (When You Touch Me) [live]
- Say It Live And Loud: Live In Dallas 1968 [1998, Polydor PLYD 3145576682]
Notes:
      Recorded August 26, 1968 at Dallas Memorial Auditorium, Dallas, Texas. Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


JAMES BROWN - I Can't Stand Myself (When You Touch Me) [live]
- Sex Machine [1970, King KS 7 1115; 1993, Polydor PLYD 3145179842]
Notes:
      Recorded June 12, 1969 in Miama, Florida; October 1, 1969 at Bell Auditorium, Augusta, Georgia; October 14, 1969 - July 23, 1970 in Cincinnati, Ohio. Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


FRANK BRUNSON - Still Good
- unreleased, part of a 4-song session produced by Swamp Dogg


SOLOMON BURKE - Sidewalks, Fences And Walls
- Hold On [2003, Prestige Elite CDSGP 0416]
- 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 9024]


TRACY BYRD - Don't Take Her She's All I Got
- CD single [1996, MCAS7-55292]
- 20th Century Masters: The Millenium Collection [2001, MCA Nashville 088 170 245-2]
- Big Love [1996, MCA MCAD-11485]
- The Definitive Collection [2007, MCA Nashville B0008135-02]
- Keepers: Greatest Hits [1999, MCA Nashville MCAD-70048]
- Various Artists - Country Now! [1998, Simitar Entertainment ???]


CANNED HEAT - Choking To Death
- The Ties That Bind [1974/1997, Archive Recordings ACH 80002]
- Paradigm Associated Labels [1998, Paradigm Music, box set]


RAY CHARLES - Seems Like I Gotta Do Wrong
- A Message From The People [1972, ABC/Tangerine ABCX 755/TRC]


ROY CLARK - She's All I Got
- Roy Clark Country! [1972, Dot DOS-25997]


JIMMY CLIFF - Synthetic World
- 7" single [1970, Island WIP-6097; 1971, Island 6014 039]
- The Best of Jimmy Cliff [2005, Mango 842 773-2]
- Goodbye Yesterday [1979, Island ILPS 85 568]
- The Harder They Come: The Definitive Collection [2005, Trojan]
- Many Rivers To Cross [1978, Island 200 393-270]
- The Singles [2003]


COLD BLUE - Baby Baby [Baby, You're My Everything]
- 4-Ever Stuck "N" Da Game [2004, S.D.E.G. 1952]
Notes:
      Contains samples from "Baby, You're My Everything" [1965, Calla 105].


COLD BLUE - Shipwrecked #2
- 4-Ever Stuck "N" Da Game [2004, S.D.E.G. 1952]


BEN COLDER - She's All I Got No. 2
- Warming Up To Colder [1972, MGM SE-4807]


THE COMMODORES - Baby This Is Forever
- Early Gold And New Spins [2000, Goldenlane CLP 0847-2]
- The Great Commodores [1998, Goldies ???]
- Keep On Dancing [2005, Legacy Entertainment ???]
- Live! [2000, Columbia River ???]
- Rise Up [1984/1998/2002, MagMid/TKO Magnum Music MMCD 017]
- Various Artists - Beautiful Love Songs: 20 Hits [2002, UAE ???]
- Various Artists - The Eternal Love Box [2004, UAE ???]
- Various Artists - Soul Classics: The Gold Collection [2004, St. Clair ???]


THE COMMODORES - Keep On Dancing (Funk It Mix)
- Early Gold And New Spins [2000, Goldenlane CLP 0847-2]
Notes:
      Remixed by Julian Beeston.


THE COMMODORES - Love Canoe
- Early Gold And New Spins [2000, Goldenlane CLP 0847-2]
- The Great Commodores [1998, Goldies ???]
- Keep On Dancing [2005, Legacy Entertainment ???]
- Live! [2000, Columbia River ???]
- Rise Up [1984/1998/2002, MagMid/TKO Magnum Music MMCD 017]


THE COMMODORES - Rise Up
- Early Gold And New Spins [2000, Goldenlane CLP 0847-2]
- The Great Commodores [1998, Goldies ???]
- Keep On Dancing [2005, Legacy Entertainment ???]
- Live! [2000, Columbia River ???]
- Rise Up [1984/1998/2002, MagMid/TKO Magnum Music MMCD 017]
- Various Artists - Soul Emotion [2000?, Newsound 2000 Ltd. nscd011]
- Various Artists - Stax Of Soul: Ain't That Lovin' You Baby [2001, Newsound 2000 Ltd. nscd011]


THE COMMODORES - Rise Up (Future Mix)
- Early Gold And New Spins [2000, Goldenlane CLP 0847-2]
- Gold Funk & Soul [2004, Goldenlane CLP 1263-2]
- Into The Mix IV [2000, Hypnotic CLP 0905-2]
Notes:
      Remixed by Julian Synne.


THE COMMODORES - Sing A Simple Song (Style Mix)
- Early Gold And New Spins [2000, Goldenlane CLP 0847-2]
Notes:
      Remixed by Julian Beeston.


THE COMMOTIONS - Bad Things Happen To Me
- 7" single [1969, Capitol 2471]


ARTHUR CONLEY - Complication #4
- One More Sweet Soul Music [1988, P-Vine PJP-122 {Japan}, 7" EP]
- Three Sweet Soul Music Kings [2007, S.D.E.G. 1967]


ARTHUR CONLEY - Walking On Eggs
- 7" single [1972, Capricorn Records CPR 0001]


THE COON ELDER BAND - Love Being Your Fool
- The Coon Elder Band Featuring Brenda Patterson [1977, Mercury SRM-1-1140]


COUNTRY ALL STARS - Don't Take Her She's All I've Got
- Volume Three [2010, Orange Leisure ??]


THE COUNTRY RAMBLERS featuring Don Winters - She's All I Got
- 1972, Kiss An Angel Good Mornin' And Other Country Favorites [RCA Camden CAS-2552]


THE COUNTRYMEN - She's All I Got
- Traveling Country Roads [197?, Strings SI3462]


CRACKER JACK - Synthetic World
- unknown vinyl [@1987, ?? + YouTube.com]
Notes:
      A video appeared on YouTube.com in April 2010 credited simply to Cracker Jack. Research seems to indicate that this is a reggae musician from Guyana, whose real name is P. Ramsey. The video was posted by "27crackerjack", and includes a photo of a man with a backdrop of a double Guyana flag. 27crackerjack has also posted several videos credited to "Cracker Jack & Patches", a duo who released a few 12" vinyl records in 1987 on Impact!, a record label out of Brooklyn NY. The track time of the song is 4:43 minutes. YouTube links:
      http://www.youtube.com/watch?v=gMesP7qiKzw
      http://www.youtube.com/user/27crackerjack


FLOYD CRAMER - She's All I Got [instrumental]
- @1972, unknown


BOB DYLAN - Sidewalks, Fences And Walls [4 takes, unreleased]
- bootleg: March 5, 1987 Sunset Sound Studios, Hollywood, California
Notes:
      "The song was produced by David Briggs, best known for his production work with Neil Young. ... The recording...includes studio chatter between Dylan and Briggs. ... A studio log from the time lists a song identified merely as 'Side Walks' and suggests Dylan was accompanied by Jesse Ed Davis (guitar), Gary Ray (clarinet), Robert Tsukamoto (bass) and Mark A. Schatzkammer (drums)." http://www.nme.com/news/bob-dylan/26269
      "I believe the keyboard player is William "Smitty" Smith, a guy who I grew up with in Virginia and taught to play piano. He must have played Dylan the Soloman Burke version which he and I both played keyboards on. I hear Dylan saying "Soloman loves Mary". This is amazing...just to hear Dylan singing my lyrics." --Swamp Dogg, private email March 26, 2008
      "...one of the greatest honors of my music career, Bob Dylan singing my song, "Sidewalks Fences and Walls". My educated guess is that Dylan's keyboard man was Williams "Smitty" Smith, a guy I grew up with and taught to play the piano. Dylan is actually singing from the version I produced on Soloman Burke; using Soloman's riffs, runs and inflections. I've never heard him this soulful nor have I ever heard him take on an r'n'b song this intricate. To be able to add Dylan to my list of who recorded my songs is part of my dreams coming true. Too bad it hasn't been released commercially." --Swamp Dogg, The Southern Soul List (Yahoo) 3/26/08


HORTENSE ELLIS - To The Other Woman
- 7" single [1970, Gas 160]
- Trojan Reggae Sisters Box Set [2003, Trojan TJETD 073]


LEE FIELDS - Everybody Gonna Give Their Thing Away, Pt. 1
- 1979, Let's Talk It Over [Angle 3 Records A3 4-28-79]
Note: Part 1 track time = 2:32. Part 2 track time = 4:28.
- 199?, Let's Talk It Over [Angle 3 Records A3 4-28-79 {bootleg}]
- 1997, Let's Talk It Over [Saucer Man Records {Japan] SMD 9701]
Note: Also includes East Coast Rapper.
- 2013, Let's Talk It Over [Truth & Soul TS012-CD/TS012-LP]
Note: Part 1 track time = 2:37. Part 2 track time = 4:37.


LEE FIELDS - Everybody Gonna Give Their Thing Away, Pt. 2
- 1979, Let's Talk It Over [Angle 3 Records A3 4-28-79]
Note: Part 1 track time = 2:32. Part 2 track time = 4:28.
- 199?, Let's Talk It Over [Angle 3 Records A3 4-28-79 {bootleg}]
- 1997, Let's Talk It Over [Saucer Man Records {Japan] SMD 9701]
Note: Also includes East Coast Rapper.
- 2013, Let's Talk It Over [Truth & Soul TS012-CD/TS012-LP]
Note: Part 1 track time = 2:37. Part 2 track time = 4:37.


STEPHANIE FINCH and The Company Men - Count The Days 1-2-3-4-5-6-7
- Cry Tomorrow [2009, Belle Sound BS-007]


MAURY FINNEY - She's All I Got
- Saxophone Country [@1972, Demand DS-1350; Soundwaves SWB 100]


GRAHAM BLVD - Don't Take Her She's All I Got
- Country Hits 1997 Vol. 2 [2008, Suite 102 ??]


GARLAND GREEN - He Didn't Know (He Kept On Talking)
- 7" single [1973, Spring SPR 142]
- The Spring Story: Essential 70s Soul [1995, Southbound ???]
- The Very Best Of Garland Green [2009, Kent CD KEND303]


GUITAR SHORTY - I Want To Report A Crime
- Roll Over, Baby [1998, Black Top CD BT-1147]
Liner note excerpt, Guitar Shorty:
      "I thank my friend and neighbor, Swamp Dogg, and his partner and wife Yvonne, for writing four fine songs for this album." Also available on The Best Of Guitar Shorty: The Long And Short Of It [2006, Shout! Factory ??]


GUITAR SHORTY - Me And You Last Night
- Roll Over, Baby [1998, Black Top CD BT-1147]


GUITAR SHORTY - The Porkchop Song
- Roll Over, Baby [1998, Black Top CD BT-1147]


GUITAR SHORTY - Roll Over, Baby
- Roll Over, Baby [1998, Black Top CD BT-1147]


GUITAR SHORTY - She's Built, She's Built To Kill
- Get Wise To Yourself [1995, Black Top CD BT-1126]


HEDGEHOPPERS ANONYMOUS - Baby (You're My Everything)
- 7" single [1966, Decca F.12400 {UK}]
- 7" single [1966, Decca FM 7236 {South Africa}]
- 7" single [1966, Decca Y7303 {Australia}]
- 7" single [1966, Parrot 3002 {USA}]
- Jonathan King / Hedgehoppers Anonymous [2001, Wounded Bird 1013]
Notes:
      The backing track, produced by Jerry Williams, Jr., is the same as what appears on the Little Jerry Williams version of this song.


Z.Z. HILL - Right Arm For Your Love
- 7" single [1982, Malaco MAL-2079; A-side is "Cheating In The Next Room"]
- Blues Business [1997, Malaco SXCD 3105]
- Down Home [1992, Malaco MAL 7406]
- Greatest Hits [1990, Malaco MCD 7437]
- Various Artists - Romantic Love Songs [2005, ???]
      Note: this compilation appears in various places on the internet as a download-only collection; origin unknown.


BEVERLEY HILLS - I Don't Care Anymore / Evening Breeze
- 7" single [@1970, Air Play A.P. 0001]
Notes:
      Despite having another title and composer credits, the B-side is the backing track from the A-side. Both sides produced by Clarence Lawton. "I Don't Care Anymore" written by Jerry Williams and Gary Bond. "Evening Breeze" written by Clarence Lawton and Bert Keyes. Side A track time = 3:47; contains the additional label number (8838) and M.A. 25. Side B track time = 3:41; contains the additional label number (8839) and M.A. 26.


HOT PICKIN' BROTHERS - Don't Take Her
- Take A Ride With The Brothers [2009, Estudios REC, EP]
http://www.hpbcountry.com.ar/musica/


JAN HOWARD - He's All I Got
- Love Is Like A Spinning Wheel [1972, Decca DL7-5333]


TOMMY HUNT - Your Man
- The Biggest Man: Scepter and Dynamo recordings 1961-67 [1997, Ace/Kent CDKEND 145]
- Human - Golden Classics [1991, Collectables 5246]
- Your Man [1986, Kent LP 059]
Notes:
      "Your Man" was recorded circa 1966 at Bell Sound in New York NY and was slated for release on Dynamo as a single, though it never was released as a single.


DAVE HUNTER - She's A Heartbreaker
- 7" single [1968, RCA Victor {UK} RCA 1766]; the A-Side is "Love Me A Lifetime"
- She's a Heartbreaker: 20 Blue Eyed Soul Stings UK Floor Fillers, Vol. 4 [2008, Psychic Circle PC7026CD]


ETTA JAMES - [I Was] Born Blue
- Live From San Francisco [1994, Private Music/On The Spot 01005-82125-2]
Notes:
      Recorded March 1981, The Boarding House, San Francisco, California.


SONNY JAMES - She's All I Got
- Sings The Greatest Country Hits Of 1972 [1973, Columbia KC 32028]


NORMA JEAN - He's All I Got
- Thank You For Loving Me [1972, RCA Victor LSP-4691]
Notes:
      Vocal accompaniment by The Jordanaires.

GEORGE JONES - She's All I Got
- A Picture Of Me (Without You) [198?, Epic BG 33749]
- We Can Make It [1972, Epic KE-31321]
- Various Artists - Touch My Heart: A Tribute To Johnny Paycheck [2004, Sugar Hill SUG-CD-1081]


KARAOKE ALL STARS - (Don't Take Her) She's All I Got {Tracy Byrd}
- Karaoke Hits: Pure Country Vol. 86 [2005, SongDog Network ???]


KID ROCK - I Got One For Ya'
- Devil Without A Cause [1998, WEA/Atlantic/Lava 83119/83152]
Notes:
      Contains samples from "Slow, Slow Disco" from Swamp Dogg's "Finally Caught Up With Myself" album [1977, Musicor/Privilege/Springboard International MUS-2504].


LA-LE-LU - She's A Heartbreaker (Karaoke Version)
- Sing Like Me! Karaoke: Sing Like Gene Pitney [@200?, ??]


LA-LE-LU - She's A Heartbreaker (Karaoke Version with Guide Melody)
- Sing Like Me! Karaoke: Sing Like Gene Pitney [@200?, ??]


LADY LOTION - Right Arm For Your Love
- Texas Blueswomen: Live At The Texas Blues Café [1996, TopCat TC01962]


DENISE LASALLE - Right Arm For Your Love
- Z.Zelebration: A Tribute To The Late Great Z.Z. Hill [1994, Malaco MCD 7474]


THE LEIGHTONS - She's All I Got
- Their Best [2010, K-Tel ??]


LULU - I Don't Care Anymore
- The Atco Sessions 1969-1972 [2007, Rhino 8122799488]
- Melody Fair [1970, Atco 2400017]


LULU - I Don't Care Anymore [early mix]
- The Atco Sessions 1969-1972 [2007, Rhino 8122799488]


LULU - To The Other Woman (I'm The Other Woman)
- The Atco Sessions 1969-1972 [2007, Rhino 8122799488]
- Melody Fair [1970, Atco 2400017]


LORETTA LYNN - He's All I Got
- One's On The Way [1972, Decca DL 75334]


GLORIA LYNNE - Seems Like I Gotta Do Wrong
- 7" single [1971, Roker 504]
- The Boss Ladies Of Soul [2007, S.D.E.G. 1965]


THE MAGNIFICENT MEN - It's Still Good
- Better Than A Ten Cent Movie [1970, Mercury SR-61252]
Notes:
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 4/26/01: "The Magnificent Men's manager, Ron Gittman, was also semi-managing my writing partner and buddy, Gary Bonds. I signed Gary to Atlantic's Atco and then proceeded to Miami to produce some singles on him and myself for Atlantic. When we returned to New York, Gary played my recording of "It's Still Good" to Ron. He flipped and asked us to teach it to the Men. We did...they loved it.......they recorded it."


TONY MATHEWS - My Life Ain't Nothing But A Blues Song
- Alien In My Own Home [1989, S.D.E.G./Sonet SNTCD 1028]


M.C. CHILE' & THE KONCRETE JUNGO FEATURING D.J. FAZE - Free At Last (Dedication To Martin Luther King)
- Everything You Wanted To Know About Compton... But Was Too Scared To Go There And Find Out [1993, S.D.E.G. 31021993]
- 12" single [S.D.E.G. 7052]
Notes:
      Contains a sample from a Swamp Dogg song, unsure of which one.


MC5 - I Can't Stand Myself (When You Touch Me) [live]
- Are You Ready To Testify?: The Live Bootleg Anthology [2005, Castle ???]
- Starship: Live At Sturgis Armory June 1968 [1998, Total Energy NER 3018]
Notes:
      Recorded June 27, 1968 Sturgis Armory, Sturgis, Michigan. Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


MISS VERA'S BOYS - Kiss Me Hit Me Touch Me
- 12" single [1985, Rare Bullet RB 12-2022]


MONA LISA - I Can't Stand Myself
- 7" single [@1966, Dade 2010]
Notes:
      Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".


THE MORELLS - Total Destruction To Your Mind
- Instant Happy!!!: The Live! Symptoms/Skeletons/Morells Story: 102 Songs About Food, Cars, And Drinking....: Recorded At 16 Shows 1978-2002 [2007, Almeron 4005-4008]
Notes:
      http://cdbaby.com/cd/instanthappy


MIKELLE MORGAN - She Didn't Know (She Kept On Talking)
- Mama Don't Take No S*** [2012, S.D.E.G. 1982]


MIKELLE MORGAN - Soul To Blessed Soul
- Mama Don't Take No S*** [2012, S.D.E.G. 1982]


MIKELLE MORGAN - To The Other Woman (I'm The Other Woman)
- Mama Don't Take No S*** [2012, S.D.E.G. 1982]


LEE MOSES - If Loving You Is A Crime (I'll Always Be Guilty)
- 7" single [1967, Dynamo D-115]; track time = 2:31.
- Time And Place [1972, Maple 6001]
- Time And Place [2007, Sanctuary/Castle Music CMQCD1350/CMFDV1522]
- Various Artists - The Bumper Funk Book [1972, Pye International NSPL 28159]


DAVID NEWMAN - Seems Like I Gotta Do Wrong
- The Weapon [1973, Atlantic 1638]
- David Newman - The Weapon / Dizzy Gillespie - At Home & Abroad [1999, Collectables COL-CD-6280]


FREDDIE NORTH - Did I Come Back Too Soon (Or Stay Away Too Long)
- Friend [1971, Mankind M-204]
- The Brand New Z.Z. Hill/Friend - Freddie North [1994, Ace CDCHD 532]


FREDDIE NORTH - Sidewalks, Fences And Walls
- Friend [1971, Mankind M-204]
- The Brand New Z.Z. Hill/Friend - Freddie North [1994, Ace CDCHD 532]


BROOKS O'DELL - Predicament #2
- 7" single [1971, Mankind 12000]


TOMMY OVERSTREET - She's All I Got
- This Is Tommy Overstreet [1972, Dot DOS-25994]


JOHNNY PAYCHECK - She's All I Got [1971 version]
http://countrydiscography.blogspot.com/2010/08/johnny-paycheck.html
- 7" single [1971, Epic 5-10783]
- 7" single [1972, Epic 5-2321]
- 7" single [19??, Memory Lane 15-2327]
- 16 Biggest Hits [1999, Epic EK-68173]
- Best Of Johnny Paycheck [1996, Curb D2-77861]
- Biggest Hits [1982, Epic FE-38322]
- Collector's Edition [1997, Intercontinental 4015; 1999, Intercontinental CD-1120]
- Collector's Edition/Golden Classics: 20 Classic Tracks [1997, Double Play 4015]
- Country Outlaws: Willie Nelson and Johnny Paycheck [1998, Deuce ???]
- Country Stars & Stripes [2001, Direct Source ??]
- David Allan Coe and Johnny Paycheck [1996, King ???]
- Dueling Country: Johnny Paycheck & Conway Twitty [2000, Direct Source Music ???]
- Encore [1981, Epic FE 37345]
- The Essential [2006, CBUJ Entertainment ???]
- Forever Gold [2007, St. Clair ???]
- George Jones and Johnny Paycheck [1996, King ???]
- Greatest Hits [1974, Epic KE-33091]
- Greatest Hits [1999, Classic World 9920]
- Here's Johnny: Johnny Cash, Johnny Paycheck and Johnny Horton [1995, Sony Special Product ???]
- Hero Of The Workingman [2009, American Legends 210015]
- Hits Home [1990, Sony Music Special Products A-21607]
- The Johnny Paycheck Collection [1980, Imperial House WU-3510/CSP P-15468]
- Pure Country [2004, Sony Music Special Products A-31894]
- Remembering [2002, Park South ???]
- She's All I Got [1971, Epic E-31141; 2000, Koch KOC-CD-7901]
- Someone To Give My Love To [1971, Epic ??]
- Song And Dance Man [2003, Blu Mountain ???]
- The Soul & The Edge: The Best of Johnny Paycheck [2002, Legacy EK-85246]
- Super Hits [1997, Epic EK-68173]
- Take This Job And Shove It [1988, Richmond ??? {cassette}; 1996, Richmond NCD-2300 {CD}]
- Tough Country Heroes - Merle Haggard and Johnny Paycheck [2006, Direct Source Music ???]
- The Very Best Of Johnny Paycheck [2007, Master Classics ???]
- Various Artists - 4 Country Living Legends: 20 Hits [1999, Double Play ???]
- Various Artists - 20 Greatest Country Hits 1970 [1994, Deluxe ???]
- Various Artists - 48 No. 1 Country Hits [1995, Sony ???]
- Various Artists - 70 Ounces Of Gold: Country Gold [1997, Compose ???]
- Various Artists - 70's Country [1997, Madacy ???]
- Various Artists - American Jukebox Country Classics, Vol. 3 [1996, Sterling Gold ???]
- Various Artists - Back To The '70s: Country [1989, K-Tel ???]
- Various Artists - The Best Of Country [1997, Madacy ???; 2007, Madacy ???]
- Various Artists - The Best Of Country Music [2007, MRA ???]
- Various Artists - Branson Brothers: Heartmender [1992, Warner Bros./WEA ???]
- Various Artists - Classic Country: 48 Great Hits By The Original Artists [1995, Drive Archive ???]
- Various Artists - Columbia Country Classics, vol. 4: The Nashville Sound [1991, Sony ???]
- Various Artists - The Country Collection [1997, Madacy ???]
- Various Artists - Country Family [2000, Direct Source Music ???]
- Various Artists - Country Gold [2005, K-Tel ???]
- Various Artists - Country Heartbreakers [2005, St. Clair Entertainment Group ???]
- Various Artists - Country Legends: 21 Winners [1997, Madacy
- Various Artists - Country Love And Heart...break [2006, Direct Source Music ???]
- Various Artists - Country Music Classics, Vol. XI: Early 70's [1991, K-Tel ???]
- Various Artists - Country Outlaws: Workin' Man Blues [2007, St. Clair ???]
- Various Artists - Country Pride: A Special Brand Of Country [2000, Direct Source Music ???]
- Various Artists - Country Roads, Vol. 11 [1999, Country Roads Nl ???]
- Various Artists - Country Spotlight [2000, Direct Source Music ???]
- Various Artists - Country Stars, Vol. 2 [1994, Hollywood ???]
- Various Artists - Country Stars On C.D.: 62 Hits [1996, King ???]
- Various Artists - Country Stars On LP: TV Special Vol. 2 [1995, Hollywood ???]
- Various Artists - Country Superstars [1992, K-Tel ???]
- Various Artists - Country USA [1971, Time-Life ??]
- Various Artists - The Country You Keep [1995, Drive Archive ???]
- Various Artists - Forever Gold: Country Love Songs [2001, St. Clair ???]
- Various Artists - Gentlemen Of Country [2005, St. Clair ???]
- Various Artists - Good Old Country: Men Of Country, Volume 2 [2000, St. Clair ???]
- Various Artists - Men Of Country [2000, St. Clair ???]
- Various Artists - No One Loves Their Mama Like A Cowboy [2006, Direct Source Music ???]
- Various Artists - Stone Cold Country [1999, Spy ???]


JOHNNY PAYCHECK - She's All I Got [1981 Nashville version]
- All Time Greatest Hits [2002, K-Tel 3074-2]
- Country Spotlight [1991, Dominion 3005-2]
- The Johnny Paycheck Collection [1981, K-Tel {Canada} WC-353]


JOHNNY PAYCHECK - She's All I Got [1982 Gusto version]
- 20 Greatest Hits [1986, Highland Music/Deluxe DCD-7799]
- Golden Classics [1983, Gusto GT-0098]


JOHNNY PAYCHECK - She's All I Got [@1983 Pete's Place version]
- Take This Job And Shove It [1992, Laserlight 15 483]


JOHNNY PAYCHECK - She's All I Got [1985 Gilley's version]
- Live At Gilley's [1998, QVC/Q Records Q10012; Atlantic 92829-2]
Notes:
      Recorded October 9, 1985 at Gilley's Dallas, Dallas, Texas.


JOHNNY PAYCHECK - She's All I Got [1992 Branson version]
- Live From Branson, Missouri: The Best Of Glen Campbell, Roy Clark, Johnny Paycheck [1995, LaserLight 55 567]
- Live In Branson, MO, USA [1993, LaserLight 12 136]
Note: recorded live to two-track digital on August 4, 1992 at Roy Clark Celebrity Theatre, Branson, Missouri
- Various Artists - Live In Branson, MO, USA {5 CD set: Moe Bandy; Roy Clark; Johnny Paycheck; Connie Smith; Faron Young} [1993, LaserLight 15 924]


THE PEOPLE'S CHOICE - It's Still Good
- I Likes To Do It: Funkadelphia Vol. 1 [2000, Jamie 4012]
Notes:
      This previously unreleased song was recorded in 1971.


WILSON PICKETT - It's Still Good
- 7" single [1970, Atlantic 45-2753]; track time = 2:36.
- Right On [1970, Atlantic SD 8250]
- Right On 5-track jukebox EP [1970, Atlantic SD7-8250)
Notes:
      Comment by Swamp Dogg on The Southern Soul List (Yahoo) 10/28/07: "Jerry Wexler passed it along to Pickett because he liked my version."


GENE PITNEY - 1-2-3-4-5-6-7 (Count The Days)
- 24 Hours From Tulsa [1969, Musicor MDS 1008]
- The Fabulous Gene Pitney [1975, Columbia House 2P-6347]
- The Great Recordings [1995, Rhino/Tomato R2-7132]
- Love Grows: Pop Masters [2005, Carinco Ag ???]
- Pitney Today [1968, Stateside SSL-10242]
- She's A Heartbreaker [1968, Musicor MM 2164 {mono}; MS 3164 {stereo})
- Sings Bacharach, David And Others / Pitney Today [1997, Sequel/Pinnacle ???]
Notes:
      When Gene Pitney recorded the songs written/co-written by Jerry Williams, Jr. for his She's A Heartbreaker album, he was vocally singing along to demos recorded by Jerry Williams, Jr., which can be heard bleeding through and sounding like background vocals.


GENE PITNEY - Baby, You're My Kind Of Woman  
- 7" single [1969, Columbia MU-4-1348]
- Golden Greats & This Is Gene Pitney [1998, Sequel NEM CD 897]
- Love Grows: Pop Masters [2005, Carinco Ag ???]
- Twenty Four Hours From Tulsa: The Very Best Of Gene Pitney - The Musicor Years 1961-1972 [2002, Sanctuary ???]
Notes:
      When Gene Pitney recorded the songs written/co-written by Jerry Williams, Jr. for his She's A Heartbreaker album, he was vocally singing along to demos recorded by Jerry Williams, Jr., which can be heard bleeding through and sounding like background vocals.


GENE PITNEY - Hate
- 7" single [1969, Columbia MU-4-1348]
- 7" single [1973, Pye Records International 7N 25624]
- Love Grows: Pop Masters [2005, Carinco Ag ???]
- Pitney Today [1968, Stateside SSL-10242]
- She's A Heartbreaker [1968, Musicor MM 2164 {mono}; MS 3164 {stereo})
- Sings Bacharach, David And Others / Pitney Today [1997, Sequel/Pinnacle ???]
Notes:
      When Gene Pitney recorded the songs written/co-written by Jerry Williams, Jr. for his She's A Heartbreaker album, he was vocally singing along to demos recorded by Jerry Williams, Jr., which can be heard bleeding through and sounding like background vocals.


GENE PITNEY - Run Run Roadrunner
- 7" single [1968, Musicor MU 1474]
      "Run Run Roadrunner" produced by Jerry Williams, Jr. and Charlie Foxx and written by Jerry Williams, Jr. 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].
- 7" single [1973, Musicor MU 1474]
- 7" single [@1988, 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).
- 24 Hours From Tulsa [1969, Musicor MDS 1008]
- Looking Through: The Ultimate Collection [2001, Sequel/Castle NEECD 380]
- Love Grows: Pop Masters [2005, Carinco Ag ???]
- Pitney Today [Sequel NEMCD 896]
- Pitney Today [1968, Stateside SSL-10242]
- She's A Heartbreaker [1968, Musicor MM 2164 {mono}; MS 3164 {stereo}]
- Sings Bacharach, David And Others / Pitney Today [1997, Sequel/Pinnacle ???]
- Twenty Four Hours From Tulsa: The Very Best Of Gene Pitney - The Musicor Years 1961-1972 [2002, Sanctuary ???]
Notes:
      When Gene Pitney recorded the songs written/co-written by Jerry Williams, Jr. for his She's A Heartbreaker album, he was vocally singing along to demos recorded by Jerry Williams, Jr., which can be heard bleeding through and sounding like background vocals.


GENE PITNEY - Run Run Roadrunner [1971 Peter Eden remix]
- 7" single [1971, Pye International 7N.25564]
- A Golden Hour Of Gene Pitney [1972, Musicor MS 3233]
      Notes: The difference between this remixed version and the original version can be heard during the first vocal line just after "I'm a road runner baby, don't try to tie me down"; the remixed version includes a backup singer singing "I won't tie you down", the original version does not have a backup singer at this point and succeeding similar points in the song. Also, the remixed version has eliminated the instrumental strings introduction that is present on the original version.


GENE PITNEY - She's A Heartbreaker
- 7" single [1968, Musicor MU 1306]
- 7" single [1969, Stateside SS 2131]
- 7" single [19??, Musicor MU 1940]
- 7" single [19??, Columba {Canada} MU-4-1306]
- 7" single [19??, CBS 3476]
- 7" single [19??, CBS {Peru} CSR-0655]
- 18 All-Time Greatest Hits [2004, Tee Vee ???]
- 24 All-Time Greatest Hits [1999, Varese Sarabande ???]
- 24 All-Time Greatest Hits [??]
- 36 Pop Memories [2003, Excellence ???]
- Anthology: 1961-1968 [1986, Rhino RNCD-75896; 1990, Rhino ???]
- Best Of Gene Pitney [1995, Laserlight ???]
- The Best Of Gene Pitney [1991, K-Tel 3028-2]
- The Best Of Gene Pitney [1977, Musicor MUX-4600]
- The Best Of The Best [1998, Federal ???]
- The Definitive Collection [1999, Charly ???]
- The Fabulous Gene Pitney [1977, K-Tel NC-477]
- The Great Recordings [1995, Rhino/Tomato R2-7132]
- Greatest Hits [1997, Galaxy ???]
- Greatest Hits Vol. 2 [1996, Golden Stars {Holland} ???]
- The Greatest Hits of Gene Pitney [1969, Musicor MS-3174]
- His Golden Classics [1991, Collectables COL-5084]
- I'm Gonna Be Strong: The Hits And More [2001, Goldies ???]
- Looking Through: The Ultimate Collection [2001, Sequel/Sanctuary Group ???]
- Love Grows: Pop Masters [2005, Carinco Ag ???]
- Mr. Hitmaker [1992, Charly ???]
- Pitney Today [1968, Stateside SSL-10242]
- The Platinum Collection [2006, EMI International ???]
- She's A Heartbreaker [1968, Musicor MM 2164 {mono}; MS 3164 {stereo})
- She's A Heartbreaker [2011, Gusto GT-9254]
- Sings Bacharach, David And Others / Pitney Today [1997, Sequel/Pinnacle ???]
- Something's Gotten Hold Of My Heart: The Collection [2005, Music Club Deluxe ???]
- The Story [2004, EMI International ???]
- Super Hits [2009, Gusto GT7-2094-2]
- Town Without Pity [1969, Hallmark SHM 866]
- Twenty Four Hours From Tulsa: The Very Best Of Gene Pitney - The Musicor Years 1961-1972 [2002, Sanctuary ???]
- Ultimate Anthology [1995, One Way ???]
- The Very Best Of Gene Pitney [2005, Crimson Productions ???]
Notes:
      When Gene Pitney recorded the songs written/co-written by Jerry Williams, Jr. for his She's A Heartbreaker album, he was vocally singing along to demos recorded by Jerry Williams, Jr., which can be heard bleeding through and sounding like background vocals.


GENE PITNEY - She's A Heartbreaker [live]
- Recorded Live On Stage [2006, Past Programs PP 1005/#PP 100]
Notes:
      One reviewer seems to think this show was recorded in the United Kingdom sometime between the mid-1990s and the mid-2000s.


BILLY PRICE - I Know It's Your Party (I Just Came Here To Dance)
- Sworn Testimony: The Billy Price Band Live [2002, Green Dolphin GD60102]
Note: Recorded April 26-27, 2002 at Ram's Head Tavern, Annapolis, Maryland.


BILLY PRICE - Mine All Mine All Mine
- Sworn Testimony: The Billy Price Band Live [2002, Green Dolphin ???]
Note: Recorded April 26-27, 2002 at Ram's Head Tavern, Annapolis, Maryland.


BILLY PRICE - Pass The Sugar
- Can I Change My Mind [1999, Green Dolphin GD122099]


THE PRIMEVALS - Total Destruction To Your Mind
- Neon Oven: Live, The Rex Paris [1988, DDT Records DISP LP 21]


JAMES & BOBBY PURIFY - You And Me Together Forever Unlock Your Mind
- 7" single [1977, Casablanca 827]
- You And Me Together Forever [1977, Casablanca 7011 {US]; 1977, Casablanca CAL 2025 {UK}]


DEXTER REDDING - God Bless
- 7" single [1973, Capricorn 0033 {US}; 1973, Capricorn 2089 003 {UK}; 1973, Capricorn K 17515 {UK}]; track time = 3:00. The B-side is "Love Is Bigger Than Baseball".
- Various Artists - The Kiddie Sound: "So Young", Vol. 1, Rare and Unreleased [????, Magic Rabbit MR 3001]


JERRY REED - Love Being Your Fool
- The Man With The Golden Thumb [1982, RCA Victor AHL1 4315]


REFLECTION ETERNAL [TALIB KWELI & HI-TEK] - Move Somethin' [clean version]
- CD single [2000, Rawkus Records PCDS-38704]
Notes:
      Contains samples from "Shaft's Mama" from Charlie Whitehead & The Swamp Dogg Band [1973, Fungus 25145].


REFLECTION ETERNAL [TALIB KWELI & HI-TEK] - Move Somethin' [explicit version]
- CD single [2000, Rawkus Records PCDS-38703]
- Train Of Thought [2000, Rawkus Records ??]
Notes:
      Contains samples from "Shaft's Mama" from Charlie Whitehead & The Swamp Dogg Band [1973, Fungus 25145].


REFLECTION ETERNAL [TALIB KWELI & HI-TEK] - Move Somethin' [instrumental version]
- CD single [2000, Rawkus Records PCDS-38703]
- CD single [2000, Rawkus Records PCDS-38704]
- Train Of Thought [2000, Rawkus Records ??]
Notes:
      Contains samples from "Shaft's Mama" from Charlie Whitehead & The Swamp Dogg Band [1973, Fungus 25145].


CLARENCE REID - Send Me Back My Money
- 7" single [Alston 4574]
- Dancin' With Nobody But You Babe [1969, Atco SD 33-307; 2003, Water WTR121]


JEANNIE C. RILEY - To The Other Woman
- The Generation Gap [1971, Plantation PLP-11]
- From Nashville With Love [1977, Plantation PLP-505]


BARRY RILLERA - Right Arm For Your Love
- From Where I Stand [2005, Barry Rillera/Two Boys Music TBM 143]


THE ROAD SHOW - If You Ain't Got It, Forget It
- 7" single [1969, Warner Bros.-Seven Arts 7281]
Notes:
      The A-Side is "Well I Know Too Well", written by Steve Alaimo, track time = 2:11, contains the additional label number M17092. "If You Ain't Got It, Forget It" written by Shapiro, Anderson & Williams, track time = 1:56, contains the additional label number M17093. Both sides arranged & produced by Steve Alaimo.


ROOTS SYNDICATE - Synthetic World [featuring M.C. Deff Rhymes]
- Rude & Gentle [1991, Zola & Zola CD 00007]


ROST - Love Being Your Fool (Shu-Do-Pa-Poop)
- 7" single [1982, EMI/Parlophone 7C 006-35962 {Sweden}]
- Rost [1982, EMI/Parlophone 7C 062-35977 {Sweden}]


JOHN ROWLES - She's All I Got
- 7" single [1971, Kapp K-2162; 1972, MCA MU 1157]


RUBIN [Rubin Parker] - Baby, You're My Everything
- 7" single [1967, Kapp K-869]
      Note: This single appears to only have been issued as a promotional/DJ copy.
- 7" single [1975, MCA 196]
- 7" single [197?, Rita RT-226 {UK}]
      Note: This is likely a bootleg reissue of the original Kapp single.
- Tip your Kapp to Rock and Roll and More Vol. 2 [2008, Kapp Records #5006]


JIMMY RUFFIN - You And Me Together Forever
- Jimmy Ruffin [1973, Polydor {UK} 2383240]


SILKY SLIM - American Justice  
- I Sold My Soul To The Hood [1994, S.D.E.G. SDE-1977; 1995, Step One ???]


PERCY SLEDGE - Everything You'll Ever Need
- 7" single [1972, Atlantic 45-2886]


SOMETHING REAL - Ain't That Cold
- 7" single [1971, Mankind 12008]; track time = 2:30.


SOMETHING REAL - Yes I Do
- 7" single [1971, Mankind 12008]; track time = 2:06.


SOUL SISTERS - Give Me Some Satisfaction  
- 7" single [1966, Sue 45-140]
Notes:
      The A-side is "Flashback". There are 3 variations of this single. Variation 1 has red labels with the record label name Sue in black lettering. Variation 2 has red labels with the record label name Sue in white lettering. Variation 3, a promotional copy, has white labels with black lettering.


THE STAPLES [THE STAPLE SINGERS] - (Shu-doo-pa-poo-poop) Love Being Your Fool
- Unlock Your Mind [1978, Warner Bros. BSK 3192]


JOSS STONE - 1-2-3-4-5-6-7 (Count The Days)
- The Soul Sessions Vol. 2, Deluxe Edition [2012, S-Curve Records/Stone'd Records 807315210229]


STONEGROUND - Total Destruction To Your Mind
- Family Album [1971, Warner Bros. 2ZS 1956]


STONEGROUND - Total Destruction To Your Mind
- The Last Dance: Recorded Live January 6, 1973 [2001, Dig 103]


STONEGROUND - Total Destruction To Your Mind
- On Stage {1970 Warner Bros. demo} [2003, Blue Velvet Records]
Notes:
      http://208.109.67.98/stoneground/on_stage.htm


NAT STUCKEY - She's All I Got
- Is It Any Wonder That I Love You [1972, RCA LSP-4743]
Notes:
      Vocal accompaniment by The Jordanaires.


JOE TEX - The Baby Is Mine
- From The Roots...Came The Rapper [1972, Atlantic SD 8292; 2002, Ace/Kent CDKEND 216]


CHARLIE THOMAS - Run Run Roadrunner
- 7" single [1974, EMI International INT 506]
Notes:
      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]. A-side is "I'm Gonna Take You Home".


OSCAR TONEY, JR. - The Baby Is Mine
- 7" single [1971, Capricorn C-8018]; track time = 3:20.


TANYA TUCKER - He's All I Got
- Best Of My Love [1992, Sony Music Special Products A 21126]
- Delta Dawn [1972, Columbia KC 31742]
- Tammy Wynette, Tanya Tucker [1999, Platinum Disc Corp. 17722]


MARY LOU TURNER - To The Other Woman (I'm The Other Woman)
- 7" single [1972, Jamboree U.S.A. 45-101, promotion copy]
Notes:
      This is an extremely rare item on an equally obscure record label. There is an additional label number of JUSA-3-BW. Produced by Ray Pennington.


MARY LOU TURNER - To The Other Woman (I'm The Other Woman)
- Mary Lou Turner [1972, Jamboree U.S.A. JLP 1002]
Notes:
      The album track listing: Like We Used To; He'll Never Stumble; To The Other Woman; It Just Happened That Way; Chances Are; I Built A Wall; I Don't Believe; Holding On With Open Arms; No One To Cry To; Where Were You, When I Gave My Love Away. Jamboree U.S.A. Records, Inc. were based out of Wheeling, West Virginia and distributed by Perception Records [New York], a division of Perception Ventures, Inc. A partial scan of the cover can be seen at: http://www11.brinkster.com/groovies1/MaryLouTurnerLP.jpg


CONWAY TWITTY - She's All I Got
- I Can't See Me Without You [1972, MCA/Decca DL 75335]
Notes:
      When Swamp Dogg was asked which of all the cover versions of "She's All I Got" that he liked best he said, "I'm torn between Freddie North and Conway Twitty. I'm a Twitty addict." --The Southern Soul List (Yahoo), 3/16/08


CHIP TYLER - I Love You Yvonne
- 7" single [1966, Chicory Records CH-401]


CHIP TYLER - If You Ask Me...(Because I Love You)
- 7" single [1966, Chicory Records CH-401]


THE UNITED STATES NAVY BAND: COUNTRY CURRENT: COUNTRY-BLUEGRASS GROUP - (Don't Take Her) She's All I Got
- Havin' A Ball [1999, U.S. Department of Defense HDCD]
Notes:
      Robert Sullivan - electric guitar, background vocals; Wayne Taylor - lead vocal, acoustic guitar; John Emrich - drums, percussion; Keith Arneson - acoustic guitar; Pat White - fiddle; Joe Wheatley - bass; Dave Sutton - pedal steel. Track time = 3:42.


VARIOUS ARTISTS - (Don't Take Her) She's All I Got {Tracy Byrd}
- 90's Country Hits, Vol. 4 {Karaoke} [2007, Chartbuster Karaoke ???]


VARIOUS ARTISTS - (Don't Take Her) She's All I Got {Tracy Byrd}
- The Best of 1997, Vol. 2 {Karaoke} [2005, Chartbuster Karaoke ???]


VARIOUS ARTISTS - (Don't Take Her) She's All I Got {Tracy Byrd}
- Country 500 {Karaoke} [2004, Chartbuster Karaoke ???]


VARIOUS ARTISTS - (Don't Take Her) She's All I Got {Tracy Byrd}
- Male Country Hits, Vol. 10 {Karaoke} [1998, Sound Choice ???]


VARIOUS ARTISTS - (Don't Take Her) She's All I Got {Tracy Byrd}
- Pickin' On Tracy Byrd: A Bluegrass Tribute [2005, CMH Records 8845]


VARIOUS ARTISTS - (Don't Take Her) She's All I Got {Tracy Byrd}
- Tracy Byrd, Vol. 1 {Karaoke} [2004, Chartbuster Karaoke ???]


DON VARNER - He Kept On Talking
- Finally Got Over!: Deep Soul from the Classic Era [2005, Shout! RPMSH 299]
- Various Artists - Down & Out: The Sad Soul Of The Black South [1998, Trikont US-0243]
- Various Artists - The Sweet Sounds Of Muscle Shoals, vol. 3: You Better Believe It! [1996, Overture 34903-2]
Notes:
      Recorded circa 1969-71. The booklet note to Shout! RPMSH 299 indicates that the master of "He Kept On Talking" was supplied by Mrs. Francine Varner, and that in a David Cole interview Don Varner stated, "I thought that was the one. Everybody else thought that was the one, but it just did not happen, it did not even get a release", i.e. never released as a single or album track.


VITO AND THE SALUTATIONS - Eenie Meenie
- 7" single [1963, Herald H-586]
- Unchained Melodies: Their Complete Recordings - 32 Original Songs [1995, E-Z CD 601]
- Vito and The Salutations [1998?, Red Boy 200-201]
Notes:
      http://www.colorradio.com/Celebs/Vito_And_The_Salutations.htm


CHARLES WALKER & THE DYNAMITES - Please Open Up The Door
- Love Is Only Everything [2013, Gemco GEM-3002CD; 2013, Gemco GEM-3002LP]
Notes:
      Also released in France as a vinyl LP credited to The Dynamites featuring Charles Walker [2013, Groove Cosmique GC 018LP]. Charles Walker is the same person as Little Charles who originally recorded this song on a 7" single (1968, Botanic B-1001).


TRAVIS WAMMACK - (Shu-Doo-Pa-Poo-Poop) Love Being Your Fool
- 7" single [1975, Capricorn CPS 0239; 1975, Capricorn 2089015 {UK}]
Notes:
      My copy of this single is a pressing error; it has a song called "Pure Love" as the actual song on Side A rather than "(Shu-Doo-Pa-Poo-Poop) Love Being Your Fool". The B-Side of the single is "Shotgun Woman".
- Not For Sale [1975, Capricorn CP-0162]
- Various Artists - Peaches: Pick Of The Crop Vol. 2 [1975, Warner Bros. PRO 605]
Notes:
      "Immediately after we cut Charlie's [Whitehead] version, Travis went across the street to Rick Hall and played it for him and he cut it either that night or the next. All of us who did Charlie's session was at Travis' session [Fame Studios, Muscle Shoals, Alabama]." --Swamp Dogg, The Southern Soul List (Yahoo), 4/16/08


GENO WASHINGTON AND THE RAM JAM BAND - She's All I've Got
- My Bombers My Dexy's My Highs: The Sixties Studio Sessions [1999, Sequel 973; 2000, Castle Communications 659]
Notes:
      Recorded @1972


THE WHISPERS - Seems Like I Gotta Do Wrong
- 7" single [1970, Soul Clock 1004]
- 30th Anniversary Anthology [1994, Griffin ??]
- Anthology [2003, Solar/The Right Stuff 38903]
- "Best Of" 1964-1974: 21 Soul Harmony Gems [2003, Implant 103]
- Best Of The Whispers [2002, BMG International ??]
- Greatest Hits [1975, Janus JXS 7013]
- Greatest Slow Jams Volume Two [1996, The Right Stuff RS 28572]
- Planets Of Life: The Soul Clock Recordings [1973, Castle ??; 2002, Sanctuary CMRCD 424]
- Shhhhh [19??, P-Vine DCD 338 {Japan}]
- Vintage [1988, Solar 72587; 1988, Epic 75306]
- Various Artists - 120% Soul [2004, Weton-Wesgram Kbox601]
- Various Artists - Brothers & Sisters Of Soul [2001, Newsound 2000 Limited ???]
- Various Artists - Come On Feel The Seventies [2001, Newsound 2000 Limited ???]
- Various Artists - Eighties Essentials [2007, Dynamic DYN 2706 {UK}]
- Various Artists - Heaven Must Be Missing An Angel [2007, Dynamic DYN 2358 {UK}]
- Various Artists - Legends Of Soul [200?, Smola Tomas ??? {Czechoslovakia}]
- Various Artists - Love In the 1980's [2007, Horizon HZTV323]
- Various Artists - Soul Classics: Riding For A Fall [2006, Charly ???]
- Various Artists - Soul Hits [2002, Hallmark Music ???]
- Various Artists - Soul Train Volume 2: 36 Sweet Soul Classics [2007, Prestige ???]


CHARLIE WHITEHEAD - The B.B. King [Lucille And Her Man]
- Charlie Whitehead & The Swamp Dogg Band [1973, Fungus 25145]
- Songs To Sing: The Charlie Whitehead Anthology 1970-76 [2006, Ace/Kent CDKEND 261]


CHARLIE WHITEHEAD (a.k.a. RAW SPITT) - Call Me Nigger
- Raw Spitt [1970, Canyon 7710]
- Songs To Sing: The Charlie Whitehead Anthology 1970-76 [2006, Ace/Kent CDKEND 261]


CHARLIE WHITEHEAD - Gazelle
- Charlie Whitehead & The Swamp Dogg Band [1973, Fungus 25145]
- Songs To Sing: The Charlie Whitehead Anthology 1970-76 [2006, Ace/Kent CDKEND 261]


CHARLIE WHITEHEAD (a.k.a. RAW SPITT) - Raw Spitt
- Raw Spitt [1970, Canyon 7710]
- Songs To Sing: The Charlie Whitehead Anthology 1970-76 [2006, Ace/Kent CDKEND 261]


CHARLIE WHITEHEAD (a.k.a. RAW SPITT) - That Ain't My Wife
- 7" single [1971, United Artists 50813]
- Songs To Sing: The Charlie Whitehead Anthology 1970-76 [2006, Ace/Kent CDKEND 261]


ANDRE WILLIAMS - Swamp Dogg's Hot Spot
- Hoods And Shades [2012, Bloodshot Records BS 185]
Notes:
      A song written by Andre Williams which is supposedly a tribute to Swamp Dogg; Williams commented in an interview:
      "In that song "Swamp Dogg's Hot Spot" you tell a story from way down south. How do you pull those images together?
      "If you've ever been down to Louisiana, it has this mystique that no other state has. It's swampy, wet and mysterious. It's that voodooism. I don't know if that's a word, but that's Louisiana. That was my concept. I thought about a bunch of swampy people going to a funky blues house. Can you imagine that? Maybe 20 guys, getting into their old 1957 station wagon, going into the woods to a real swampy night club, just one microphone, one loud speaker, maybe 14 tables and big buckets of beer. I just added a little sugar to the story, to make it palatable."
http://blogs.riverfronttimes.com/rftmusic/2012/05/andre_williams_proto_rapping_interview.php


OBREY WILSON - Laid Back And Easy
- 7" single [1972, Mercury 73266]


=============
MISCELLANEOUS:
=============

      This section contains selections by artists noted on Swamp Dogg's "resume". These artists may have recorded covers of a Swamp Dogg song, had input from Swamp Dogg as producer, co-producer or executive producer, a guest appearance from Swamp Dogg on vocals and/or keyboards, or some other form of involvement by Swamp Dogg. I am trying to track down specifics on all of these. If you can help out, please let me know. Thanks! dchance@wustl.edu
      Also included here are selections from other artists that do not have any Swamp Dogg involvement whatsoever, although frequently noted as such on the internet.
      Miscellaneous items are also included here which are difficult to place in other sections of the discography.


50 CENT
Notes:
      Swamp Dogg involvement unknown, though possibly a sample from one of his songs. http://www.discogs.com/artist/50+Cent


ANGEL SOUTH
Notes:
      This item occasionally shows up as part of Swamp Dogg's discography on various websites. The item in question is actually referring to an album by contemporary blues musician Angel South, a CD titled "Swamp Doggy Dog"; see: http://thebluescollective.blogspot.com/2010/09/angel-south-swamp-doggy-dog.html
      In Swamp Dogg's own words (private email), "I don't have any knowledge of this project."


BABY T. & DEVIOUS D - Miss Priscilla // Street Life (dance remix) / Street Life (instrumental) (1992, Brutal Records DJ 1003, 12" single)
Notes:
      From the album Down With The Program (1992, Brutal 8001). Produced by Issac Bolden, Walter Morehead & Marshall Sehorn for Gumbo International through special arrangements with Swamp Dogg.


BEATYMANE
Notes:
      Swamp Dogg involvement unknown. He released a CD called Eargasm in 2008, which included tracks "Look At That Gurl", "Neck Work", "Powerful Drawz", "Check My Swagger", "Soakin'", and "The Things You Do".


BOBBY BLAND
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Bobby+Bland


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
Notes:
      Produced by Silky Slim & Joker Pete for S.D.E.G. Executive producers: Swamp Dogg, M.C. World & Yvonne Williams.


ELLA BROWN - unreleased
Notes:
      "I had the pleasure of producing a couple of tracks on Jimmy [Hall], Ella [Brown] and Wet Willie when they were hot. The sides were never released." - Swamp Dogg, Yahoo Southern Soul discussion list, 1/29/09


CANCERIAN [S.D.E.G. Compilation, unreleased]
1. Street Dancing
2. Club Mix
3. Chicago Jack
4. Break Downtown
5. Gimme The Cream
6. Brain Damage
7. Slut
8. Your Sister Will
Notes:
      This previously unknown compilation contains songs that are credited to Jerry Williams, Jr. in the BMI database. The compilation was likely never released and only exists in copyright records.


CELEBRITY AND STARR - I'll Give You Love / The Stuff (1988, D&D 5246-12B, 12" single)
Notes:
      Produced by Bishop Reed, Guy Broady, and Michael Lockett.
D&D Enterprises was the record label Swamp Dogg set up specifically for rap music artists. Note the difference in group name spelling on this single and the "Move That Body" single.


CELEBERTY AND STAR - Move That Body / Move That Body (Radio-Dance-Club Mix) (1988, D&D 5250, 12" single)
Notes:
      Produced by "Johnny J" & L.A. Posse. Executive producer: David Moses. Engineer: Larry Owens. Special thanks to Stacie & Tina. Distributed by D&D Enterprises (213) 232-8803. Published by David Jr. BMI. D&D Enterprises was the record label Swamp Dogg set up specifically for rap music artists. The group name is spelled on the label as noted, Celeberty, instead of Celebrity.


LARRY CLINTON
Notes:
      Co-wrote "How You Did Destroy" with Swamp Dogg, recorded by Jimmy Wallace (1964, Alpha 002, 7" single). Any further involvement with Swamp Dogg unknown.


GREGORY COOK - Love The Way / A Wrinkle In Time (1991, Super Power Records HAL 12226, 12" single)
Notes:
      Produced by Gregory Cook for Swamp Dogg. Published by Yvonne Williams Music / Cooksville / Nezztone / Urban Contempo (ASCAP). Executive Producer: Yvonne Williams. From the LP, Cassette & CD  Illusions. Marketed and distributed by Hot Productions, Inc. 7360 S.W. 48th St., Miami, FL 33155. The record label has the S.D.E.G. crab logo on it. Record executive and producer Henry Stone, an old business friend of Swamp Dogg, was involved with the Super Power Records label as an executive producer.


GREGORY COOK - ILLUSIONS (1991, Hot HTCD 3343; 2008, S.D.E.G. ??)
1. 1969
2. Person To Person
3. Why Me
4. Lover's Rainbow
5. New World
6. Love The Way
7. Wrinkle In Time
8. Everybody Is A Star
9. Good Friday
10. Blueside
Notes:
      Produced by Gregory Cook for Swamp Dogg. Published by Yvonne Williams Music / Cooksville / Nezztone / Urban Contempo (ASCAP). Executive Producer: Yvonne Williams. From the LP, Cassette & CD  Illusions. Marketed and distributed by Hot Productions, Inc. 7360 S.W. 48th St., Miami, FL 33155.
      Gregory Cook has been involved in Swamp Dogg's CDs Surfin' In Harlem (1991, Volt VCD-3408-2), and 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). He has also co-written the song "Sexually Speaking" with Swamp Dogg.


HANK CRAWFORD
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Hank+Crawford


DA BUSH BABEES
Notes:
      Swamp Dogg involvement unknown, though possibly a sample from one of his songs. http://www.discogs.com/artist/Da+Bush+Babees


DADDY D - Mother Fussin / One Day (1989, Ichiban/S.D.E.G. SDEG 12-PO34, 12" single)
Notes:
      Publishers: Jerry Williams Music (BMI). Produced and arranged by Mark Murray & Daddy D for Olan Franklin Productions, through special arrangement with Swamp Dogg. Distributed by Ichiban Records Inc., P.O. Box 724677, Atlanta GA 30339. Tel.: (404) 926-3377.


DADDY D - DADDY D (1990, Volt V-1610, 12" EP)
Side One:
1. Coming Right At You
2. Motherfussin' (New Mix)
Side Two:
1. The Right Way
2. One Day (New Mix)
3. Bonus Beat #49
Notes:
      Executive Producer: Swamp Dogg. Produced by Daddy D.


DEADLY D Featuring DJ TINY T - Deadly Situation (1991, Super Power Records HAL 12222, 12" single EP)
Side 1:
1. Deadly Situation (Album Mix)
2. Deadly Situation (Remix)
3. Deadly Situation (Inst)
Side 2:
1. Work That Body
2. Work That Body (Inst)
3. Deadly D Dope Beat
Notes:
      Produced and arranged by Rodney Miller & Deadly D for Swamp Dogg. Published by Jerry Williams Music / Assain Music / Henstone / Musicworks (BMI). Executive producers: Yvonne Williams & Darin Gates. From the LP, Cassette & CD Deadly Situation (HAL 3341). Marketed and distributed by Hot Productions, Inc. 7360 S.W. 48th St., Miami, FL 33155.
      Record executive and producer Henry Stone, an old business friend of Swamp Dogg, was involved with the Super Power Records label as an executive producer.


DEADLY D Featuring DJ TINY T - "DEADLY SITUATION" (1991, Hot Productions HTCD 3341)
1. Deadly Situation
2. Work That Body
3. Step Back
4. If You Don't Like Rap (Take Your Ass Home)
5. Marked For Death
6. Deadly D Dope Beat
7. She's Got The Look
8. Killin' MC's
9. I.E.
10. Can You Feel It
11. Genicide
12. The New Style
Notes:
      Produced and arranged by Rodney Miller & Deadly D for Swamp Dogg. Published by Jerry Williams Music / Assain Music / Henstone / Musicworks (BMI). Executive producers: Yvonne Williams & Darin Gates. Copyright by Super Power Records. Barcode 5399-3341-2.
      Record executive and producer Henry Stone, an old business friend of Swamp Dogg, was involved with the Super Power Records label as an executive producer.


JOEY DEE
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Joey+Dee


DMX - We Go Hard (2003, Def Jam 440 063 369-2)
Notes:
      From the album Grand Champ. The song was co-written by Jerry Williams, Earl Simmons (DMX), and Giles Cameron.


DONNIE ELBERT - Can't Get Over Losing You / I Got To Get Myself Together (1968?, Rare Bullet 101; distr. by Swamp Dogg Presents).
Notes:
      Swamp Dogg involvement unknown, other than acting as distributor on his record label. http://www.discogs.com/artist/Donnie+Elbert


ERIC J - Puttin It On Wax / Serious Stuff (1988, D&D DD-5249, 12" single)
Notes:
      D&D Enterprises was the record label Swamp Dogg set up specifically for rap music artists.


GIRLS TALKIN SHIT - Juice It / Skin Tight (1988, D&D DD 5248, 12" single)
Notes:
      Girls Talkin Shit is presumable comprised of "Gaye and Tawana", as noted on the Side B song credits. Side A is credited to GTS and Gregory D/DJ Mannie Fresh. Side A produced by Gregory D/DJ Mannie Fresh. Side B produced by Starr/Michael Lockett. Engineered by Larry Owens. Executive producer: David Moses. Published by David Jr. BMI. Distributed by D&D Enterprises (213) 232-8803.
      D&D Enterprises was the record label Swamp Dogg set up specifically for rap music artists.


GO GO'S
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Go-Go%27s


GOLDEN APPLE A.K.A. LITTLE BIG MAN (1998, S.D.E.G. compilation, unreleased)
1. Red Light Lady
2. Turn Out The Light
3. Time And Tide
4. What Am I Supposed To Do
5. Round And Round
6. Parasite Bite
7. I Want You
8. Time Is A Healer
9. You Are Everything
10. Boozie Queen
Notes:
      This previously unknown compilation contains songs that are credited to David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard in the BMI database. The compilation was likely never released and only exists in copyright records.
      Terry Woolard has made several records including: (2001) What's Up Little Man; (2006) It's All About Love; (2008) Black President; (2009) The Beautiful Testimonies of Brother Walter Sherod Woolard; (2012) I Know It Feels Good; (2013) It Is What It Is. http://www.cdbaby.com/Artist/TerryWoolard


GREGORY D and D.J. MANNIE FRESH - Freddie's Back / Throw Down (1987, D&D DD 5245-15B, 12" single)
Notes:
      Produced by Gregory D & Mannie Fresh. Executive producer: David Moses. Scratcher: D.J. Mannie Fresh. Engineer: Larry Owens. Special thanks to Bishop Reed. Distributed by D&D Enterprises, Inc. (213) 232-8803.
      There are 2 label variations of this 12" single. One variation, a promotional copy has black lettering on red labels. The other variation, the retail copy, has red lettering on black labels, with a red "pie-slice" section on the right of the label.
      D&D Enterprises was the record label Swamp Dogg set up specifically for rap music artists.


GREGORY D and DJ MANNIE FRESH - THROW DOWN (1987, D&D DD 5252)
Side A:
1. Freddies Back
2. Monster Boogie
3. Rock Rap
4. Bust Down (Ya'll)
Side B:
1. Throw Down
2. One Monday Morning
3. Never 4-Get Were I Come From
4. Club Style
5. Women Ain't Stupid
Notes:
      Executive Producer: David Moses. Producer: Gregory Duvernay. Co-producer: D.J. Mannie Fresh. Arranged by Gregory Duvernay. Written by Gregory Duvernay. Engineer: Larry Owens/Bernie. Special thanks to everybody at D&D. Distributed by D&D Enterprises, Inc. (213) 232-8803.
      Tracks A1 and B3 are spelled as given on the label. There are 2 label variations of this 12" single. One variation, a promotional copy has black lettering on red labels. The other variation, the retail copy, has red lettering on black labels, with a red "pie-slice" section on the right of the label.
      D&D Enterprises was the record label Swamp Dogg set up specifically for rap music artists.


JIMMY HALL - unreleased
Notes:
      "I had the pleasure of producing a couple of tracks on Jimmy [Hall], Ella [Brown] and Wet Willie when they were hot. The sides were never released." - Swamp Dogg, Yahoo Southern Soul discussion list, 1/29/09


NICKY HOPKINS - TIN MAN WAS A DREAMER
Notes:
      Various websites around the internet include Jerry "Swamp Dogg" Williams in the musician & songwriting credits for British keyboardist Nicky Hopkins' The Tin Man Was A Dreamer album (1973, CBS 32074 [US]; CBS 65416 [UK]). In fact, Swamp Dogg had no involvement in this album whatsoever. When I asked him about this in an email his response was, "I'm not familiar with any of this."


THE JACKSON 5 AND JOHNNY FEATURING MICHAEL JACKSON - BEGINNING YEARS 1967-1968 (1989, S.D.E.G. SDE 4018)
1. Monologue
2. We Don't Have To Be Over 21
3. You've Changed
4. Big Boy
5. Michael The Lover
6. Jam Session
7. My Girl
8. Soul Jerk
9. Under The Boardwalk
10. Saturday Night At The Movies
11. Tracks Of My Tears
12. Lonely Heart
13. Stormy Monday
Notes:
      Executive Producer: Swamp Dogg.


DAVID JANEWAY TRIO - I Should Care
- Excursion [2004, New Direction Music 193294]
Notes:
      Although credited in the liner notes to Nat Cross & Jerry Williams, Jr., after comparison I am nearly certain that this is actually the jazz standard from 1944 written by Alex Stordahl, Paul Weston, and Sammy Cahn. There does exist a song by this title credited to Nat Cross & Jerry Williams, Jr. though whether or not it has ever been recorded by anyone is unknown.


OBIE JESSIE & THE SEEDS OF FREEDOM - Who's The Blame / Beautiful Day My Brother (1972, Stone Dogg 801)
Notes:
      "Who's The Blame" showed up on Blame It On The Dogg: The Swamp Dogg Anthology 1968-1978 [2008, Ace/Kent CDKEND 293]. Obie Jessie, whose real name is Obediah Donnell "Obie" Jessie, a.k.a Young Jessie, has co-written a couple songs with Swamp Dogg: "Its Just A Little Time Left", and "Straight From My Heart". He also provided background vocals on the Swamp Dogg produced Z.Z. Hill record The Brand New Z.Z. Hill.
      "...Swamp started Stone Dogg with Henry Stone. The first release, "Who's The Blame", was not a Swamp Dogg production or song...Obie Jessie 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."
      --Tony Rounce, liner notes to Blame It On The Dogg.


BOB JONES
Notes:
      Specific Swamp Dogg involvement unknown, though he has been a frequent collaborator in songwriting.


JERRY JONES
Notes:
      Swamp Dogg involvement unknown.


CHUCK LANGLEY
Notes:
      Swamp Dogg involvement unknown.
Known recordings:
      T'ain't Me Buddy / Greatest Hurt (Checker 1115)
      Since My Girl Left Me / Love Letters In The Sand (Mala 570)


LITTLE MILTON
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Little+Milton


LITTLE OSCAR
Notes:
      Swamp Dogg involvement unknown. "I Tried" appears on the compilation E. Rodney Jones: The World's Greatest Disc Jockey Presents...The World Series Of Blues & Soul Vol. 1 (2001, S.D.E.G. 1947); the rights are assigned to Jerry Williams Music/Pop Music (BMI).
Known recordings:
      I Tried / The Message (Supreme Blues JR-1022)
      Empty Bottles / Suicide Blues (Palos 1201)
      Gotta Make A Change / Two Foot Drag (Toddlin Town 109)


DINAH MACK
Notes:
      Swamp Dogg involvement unknown.


ART MADISON
Notes:
      Swamp Dogg involvement unknown. http://www.discogs.com/artist/Art+Madison
Known recordings:
      LET IT FLOW (1990, Atlantic 82004)
      INTO THE A.M. (1993, JVK 9002)


MANNIE FRESH
Notes:
      Swamp Dogg involvement unknown, though possibly a song sample. He recorded Throw Down, an album for D&D Enterprises (DD 5252), the record label Swamp Dogg set up specifically for rap music artists. http://www.discogs.com/artist/Mannie+Fresh


M.C. BREED & DFC - Ain't No Future In Yo' Frontin' (As T'was Mix) / Ain't No Future In Yo' Frontin' (Future Mix) (1991, S.D.E.G./Power Artist CD PO77, CD single)
Notes:
      CD face indicates Mastered By Nimbus. Track 1 time = 4:04. Track 2 time = 4:19. "Ain't No Future In Yo' Frontin' (Future Mix)" is completely different than the track with the same title on the Just Kickin' It CD single (1991, S.D.E.G./Power Artist CD-087). This version has a sample of "More Bounce" by Zapp.


M.C. BREED & D.F.C. - Ain't No Future In Yo' Frontin' (Future Mix) / Ain't No Future In Yo' Frontin' (As T'was Mix) (1991, S.D.E.G./Power Artist 12-PO77, 12" maxi single)
Notes:
      "Ain't No Future In Yo' Frontin' (Future Mix)" written by Eric Breed, Herman Lang and S. Harris. Produced and arranged by M.C. Breed, Herman Lang & S. Harris. Remixed by Bernard Terry & Herman Lang. Published by Power Artists Music (BMI). Distributed by Ichiban Records Inc., P.O. Box 724677, Atlanta GA 30339. Tel.: (404) 926-3377. Barcode: 0 19011-0077-1 7. Track time = 4:23.
      "Ain't No Future In Yo' Frontin' (As T'was Mix))" written by Eric Breed, Herman Lang and S. Harris. Produced and arranged by M.C. Breed, Herman Lang & S. Harris. From the album: "M.C. Breed & DFC" (SDE 4103). Published by Power Artists Music (BMI). Track time = 3:58.
      DJ/promotional copies also exist on the Power Artist label with the same label number but no indication of S.D.E.G. on the label. Track timings are the same as on the non-DJ copies. D.F.C. on the label omits the periods, i.e. DFC instead of D.F.C.


M.C. BREED & DFC - Ain't No Future In Yo' Frontin' / Just Kickin' It (1991, S.D.E.G./Power Artist 12-PO62, 12" single)
Notes:
      "Ain't No Future In Yo' Frontin'" written by Eric Breed, Herman Lang, and S. Harris. Published by Jerry Williams Music/Power Artists Music (BMI). Side A track time = 3:58. Side B track time = 3:50. DJ/promotional copies also exist.


M.C. BREED & DFC - Just Kickin' It (1991, S.D.E.G./Power Artist CD-087, CD single)
1. Just Kickin' It (Kickin' Mix) (3:45)
2. Just Kickin' It (Album Mix) (3:50)
3. Ain't No Future In Yo' Frontin' (Future Mix) (4:15)
Notes:
      "Ain't No Future In Yo' Frontin' (Future Mix)" is completely different than the track with the same title on the Ain't No Future In Yo' Frontin' CD single (1991, S.D.E.G./Power Artist CD PO77). This version has a sample of "Bounce, Rock, Skate, Roll" by Vaughan Mason and Crew.


M.C. BREED & DFC - Just Kickin' It (1991, S.D.E.G./Power Artist 12-PO87, 12" single EP)
Side A:
1. Just Kickin' It (Kickin' Mix) (3:45)
2. Just Kickin' It (Album Mix) (3:50)
Side B:
1. Just Kickin' It (Flint-Stone Mix) (4:37)
2. Just Kickin' It (Instrumental Mix) (3:42)
Notes:
      Produced by Eric Breed & Herman Lang. Published by Jerry Williams Music (BMI); Power Artists Music (BMI). "Just Kickin' It (Kickin' Mix)" remixed by Bernard Terry. Distributed by Ichiban Records Inc., P.O. Box 724677, Atlanta GA 30339. Tel.: (404) 926-3377.


M.C. BREED & DFC - M.C. BREED & DFC. (1991, S.D.E.G./Power Artist SDE 4103)
1. Underground Slang (2:47)
2. Job Corp (3:22)
3. That's Life (4:45)
4. Ain't No Future In Yo' Frontin' (4:04)
5. Just Kickin' It (3:53)
6. Better Terms (3:17)
7. I Will Excell (3:35)
8. Get Loose (2:09)
9. Black For Black (2:42)
10. Guanja (6:23)
11. More Power (3:20)
Notes:
      All songs written by Eric Breed & Herman Lang except "Ain't No Future In Yo' Frontin'" written by Eric Breed, Herman Lang & S. Harris. All tracks produced by Eric Breed & Herman Lang except "Ain't No Future In Yo' Frontin'" produced by Eric Breed, Herman Lang & S. Harris. Executive producers: Leroy McMath & Tim Brown for Jerry Williams Music & Power Artists Music. Album Coordinator: Yvonne Williams. Distributed by Ichiban Records Inc., P.O. Box 724677, Atlanta GA 30339. Tel.: (404) 926-3377. Released on LP, CD, cassette and DJ/promotional LP.


M.C. NERO-BABY - WHERE U FROM FOOL? DAT ROUGE! (1992, We Be Jammin Records WAR-133DJ)
Side A:
1. Radio Edit (5:38)
2. Extended Mix (8:28)
Side B:
1. Where U From Fool? Dat Rouge! (De Baton Rouge Remix) (5:42)
2. De Baton Rouge Mack (5:49)
3. I've Fallen And I Can't Get Up (Go-Go Version) (5:29)
Notes:
      Produced, written and arranged by M.C. Nero-Baby for Swamp Dogg & S.D.E.G. Co-producer: Sharantii Baheth. Executive Producer: M.C. World. Published by Jerry Williams Music/Slim Pickett Music/Tonk Music/BMI. A Yvonne Williams Project. Copyright 1992 S.D.E.G. Records/Warlock Records, Inc. Manufactured and distributed by Warlock Records, Inc. 19 West 21st Street, New York, NY 10010.


NASHVILLE CATS
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Nashville+Cats%2C+The


P-LIVE - "Doin' My Thang"
Notes:
      The credits on P-Live's Coming To You Live release states that Swamp Dogg is featured on this song. Swamp Dogg has no knowledge of this. If he is sampled in the song, it's difficult to tell.
      http://www.rhapsody.com/p-live/coming-to-you-live--explicit
      http://www.rhapsody.com/goto?rcid=tra.28978052


THE PLATTERS
Notes:
      Swamp Dogg involvement unknown, though possibly selections produced by him while at Musicor circa 1967-1968. http://www.discogs.com/artist/Platters%2C+The


POOH-MAN
Notes:
      Swamp Dogg involvement unknown, though possibly a song sample. http://www.discogs.com/artist/Pooh-Man


POONANNY
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover.
Known recordings include:
      POONANNY BE STILL! (1993, Waldoxy ??)
      THE GRINDIN' MAN (1994, Waldoxy ??)
      PONY RIDER (1996, Waldoxy ??)
      BRAND NEW CADILLAC (1998, Waldoxy WCD 2823)
      THAT BABY AIN'T BLACK ENOUGH (2001, Waldoxy 2831)
      SIGNIFYING MONKEY (2006, Shit Talking Records ??)


Q-TIP
Notes:
      Swamp Dogg involvement unknown, though possibly a song sample. http://www.discogs.com/artist/Q-Tip
Known recordings:
      AMPLIFIED (1999, Arista)
      THE RENAISSANCE (2008, Arista/Universal Motown)
      KAMAAL/THE ABSTRACT (2009, Arista/BMG Records)


REALITY - THUGS NATIONAL ANTHEM...I GOT YO' BACK (2000, S.D.E.G. 1941)
1. I Got Yo' Back
2. Big Ballin'
3. That's Who I Am
4. Just A Thug
5. My Block
6. Your Yesterday
7. Strickly For My Enemies
8. Pucker Up
9. Ready Or Not
10. Sacrifice
11. Evil Thoughts
12. Hoe Shit
13. Wild Boyz
14. Warfare
Notes:
      Produced & arranged by Reality for Yvonne Williams Associates and Swamp Dogg Entertainment Group. Executive producer & album coordinator: Yvonne Williams. All songs published by Jerry Williams Music & Reality Music (BMI). Manufactured by S.D.E.G. Records/Films.


RESIDENT ALIEN
Notes:
      Swamp Dogg involvement unknown.


SONNY RHODES
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Sonny+Rhodes


RHYTHM 'N' BLUES CLASSICAL FUNK BAND - Monster Walk Pt. 1 / Monster Walk Pt. 2 (1971, Mankind 12001, 7" single)
Notes:
      Produced by George Semper for Jerry Williams Productions Inc. "Monster Walk" written by George Semper. Details about Swamp Dogg's recordings for the Mankind label can be read here: http://www.deepsoulheaven.com/articles/quinvy_9/quinvy_9.html


THE SHAKERS
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover.


JERRY SMITH
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover.


WILLIAM D. SMITH (WILLIAM "SMITTY" SMITH)
Notes:
      Swamp Dogg involvement unknown. http://www.discogs.com/artist/William+Smith+%282%29
Known recordings:
      A GOOD FEELIN' (1976, Warner Bros BS 2911)
      SMITTY (1978, A&M SP 4693)


SOUL BROTHERS SIX
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Soul+Brothers+Six


RAY STEVENS
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Ray+Stevens


T.M.F.C. - I Need Money / I Can Do That (1987, D&D DD 1988, L 29121, 12" single)
Notes:
      Produced by Michael Lockett and Spider Harrison. Engineer: Larry Owens. D&D Enterprises was the record label Swamp Dogg set up specifically for rap music artists.


RON TOWNSON
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. Ron Townson was a member of The 5th Dimension.


THE TOYS
Notes:
      Swamp Dogg involvement unknown, though possibly selections produced by him while at Musicor circa 1967-1968. http://www.discogs.com/artist/Toys%2C+The


STANLEY TURRENTINE
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. He did have an album on Canyon Records, Flipped/Flipped Out (1970, Canyon LP-7701), the label associated with Swamp Dogg's early years. http://www.discogs.com/artist/Stanley+Turrentine


MCCOY TYNER - I Should Care
- Solo: Live From San Francisco [2009, Half Note HN 4541]
Notes:
      Although credited in the liner notes to Nat Cross & Jerry Williams, Jr., this is most likely the jazz standard from 1944 written by Alex Stordahl, Paul Weston, and Sammy Cahn. There does exist a song by this title credited to Nat Cross & Jerry Williams, Jr. though whether or not it has ever been recorded by anyone is unknown.


WEATHERSPOON
Notes:
      Swamp Dogg involvement unknown.


WET WILLIE
Notes:
      "I had the pleasure of producing a couple of tracks on Jimmy [Hall], Ella [Brown] and Wet Willie when they were hot. The sides were never released." - Swamp Dogg, Yahoo Southern Soul discussion list, 1/29/09
http://www.discogs.com/artist/Wet+Willie


ARTIE WHITE
Notes:
      Swamp Dogg involvement unknown. He released several albums on Ichiban Records, a label closely associated with Swamp Dogg in the late 1980s/early 1990s. http://www.discogs.com/artist/Artie+White


ANDRE WILLIAMS - Night Before Xmas / Signifying Monkey (1988, S.D.E.G. 12-P057, 12" single)
Notes:
      Side A track time = 4:15. Side B track time = 7:36.


ANDRE WILLIAMS - DIRECTLY FROM THE STREETS (1990, Ichiban/S.D.E.G. SDE 4020)
Side 1:
1. Chicago (4:27)
2. Signifying Monkey (7:36)
3. Dark Gable (Son Of Cadillac Jack) (10:25)
Side 2:
1. Sinderella (4:55)
2. Slick Bitch (Left Hand, Right Hand) (4:52)
3. Night Before Xmas (4:15)
4. What Would You Do (5:37)
Notes:
      Cover concept by Swamp Dogg and Bob Jones. All songs written by Andre Williams.
      Comments by Swamp Dogg on The Southern Soul List (Yahoo) 3/22/99: "I didn't produce the album, I put up the money and supervised along the way and the credits reads produced by Andre Williams for Swamp Dogg and Yvonne Williams, etc., .... It's a damn good album even though Andre slipped a couple of old tracks in on me; but at least he remixed them to try to disguise same. The definitive statement after working with Andre is........everyone who thinks Swamp Dogg is crazy should meet Andre."


WILLIE WILLIAMS
Notes:
      Swamp Dogg involvement unknown. "My Baby Gone" appears on the compilation E. Rodney Jones: The World's Greatest Disc Jockey Presents...The World Series Of Blues & Soul Vol. 1 (2001, S.D.E.G. 1947); the rights are assigned to Jerry Williams Music/Pip Music (BMI).
"In The Valley" appears on the compilation Soul, R&B And The Blues (@2006, Helene Blue Musique), which has heavy involvement from Swamp Dogg. http://www.discogs.com/artist/Willie+Williams
http://www.sirshambling.com/artists/willie_williams/willie_williams.html


BETTY WRIGHT
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Betty+Wright


TAMMY WYNETTE
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Tammy+Wynette


LONNIE YOUNGBLOOD
Notes:
      Swamp Dogg involvement unknown, though possibly a song cover. http://www.discogs.com/artist/Lonnie+Youngblood


===================
MOVIES & TELEVISION:
===================

      These films and TV shows include songs owned by Jerry Williams Music (BMI). This listing was compiled and supplied by Jerry Williams in December 2008. There have likely been many more items added since then. If you can assist with additions, details or corrections please contact me: dchance@wustl.edu


ACCESS HOLLYWOOD
      http://www.imdb.com/title/tt0167515/


AMERICAN EATS (HISTORY CHANNEL)
      http://www.imdb.com/title/tt0965701/


AVERAGE JOE
      http://www.imdb.com/title/tt0380850/


BEYOND THE GLORY
      http://www.imdb.com/title/tt0260599/


BLIND DATE
      http://www.imdb.com/title/tt0218748/


BURN HOLLYWOOD BURN (1998)
      http://www.imdb.com/title/tt0118577/


CAN'T U HEAR ME SINGIN' (1997)
      http://www.facebook.com/video/video.php?v=1140684936488&ref=mf
      A documentary film by Walter Stokman broadcast on television in The Netherlands on October 1, 1997 as part of the Dutch Film Festival. Contains biographical interviews with four different African-American musicians representing different styles of music: Rosie Ledet (zydeco), Ike Turner (r&b), Swamp Dogg (soul), and Tragedy (hip-hop). The segment on Swamp Dogg was filmed circa 1996, is 11 minutes long, and contains interviews with him, soul singer Tommy Hunt (who was in Los Angeles working with Swamp Dogg on his "Until My Arms Fall Off" CD and guitarist/producer Derwood Andrews. Swamp Dogg's wife, Yvonne Williams, is also present in the film. Swamp Dogg performs solo at the piano in his home, excerpts of a slow tempo version of "We Need A Revolution". Tommy Hunt speaks briefly while standing in a room containing Swamp Dogg's legendary juke box (containing 160 singles by other artists that he's had a hand in producing) and framed album cover artwork from all of his records. A visit is paid to Derwood Andrews who is in the middle of working on his project with Swamp Dogg, a re-recording of "Synthetic World" for the Generations I project.
      Production: Leontine Petit and Joost de Vries (Lemming Film)
      Director: Walter Stokman
      Camera: Stijn van Santen
      Sound: Eddy de Cloe and Rik Meier
      Assembly: Menno Boerema
      Distribution: NFM Distributie
      Running time: 71 minutes
      Swamp Dogg segment: @43:18 - 53:39
      http://www.imdb.com/title/tt0179703/
      http://www.filmkrant.nl/av/org/filmkran/archief/fk182/stokman.html
      http://www.nrc.nl/W2/Nieuws/1997/10/01/Kun/04.html
      http://www.nrc.nl/W2/Lab/Profiel/IDFA1998/informatie.html
      http://www.filmkrant.nl/av/org/filmkran/archief/fk140/letme.html


CLUB DANCE (TNN: THE NASHVILLE NETWORK)
      http://www.texndixie.com/clubdance.htm


CRIBS (MTV)
      http://www.imdb.com/title/tt0276656/


DAVE CHAPPELLE'S BLOCK PARTY (2006)
      http://www.imdb.com/title/tt0425598/


DESTINATION USA
      http://www.imdb.com/title/tt0498426/


DOG WHISPERER
      http://www.imdb.com/title/tt0423642/


E-FORCE
      http://www.imdb.com/title/tt0454339/


EUKANUBA TOURNAMENT OF CHAMPIONS (ANIMAL PLANET)
      http://www.inbaseline.com/project.aspx?project_id=4673267


FAR AND AWAY
      http://www.tv.com/the-second-half/far-and-away/episode/48633/summary.html


GOOD MORNING AMERICA
      http://www.imdb.com/title/tt0072506/


THE GUIDING LIGHT
      http://www.imdb.com/title/tt0044265/


HARSH TIMES (2006)
      http://www.imdb.com/title/tt0433387/


THE INCURABLE COLLECTOR
      http://www.imdb.com/title/tt0309166/


KMBC NEWS AT SIX O'CLOCK (KANSAS CITY)
      http://www.kmbc.com/kmbcnewsteam/index.html

LAURA


THE LIFE AND TIMES OF... (TNN: THE NASHVILLE NETWORK)


LIVE WITH REGIS AND KATHY LEE
      http://www.imdb.com/title/tt0096636/


MURPHY BROWN
      http://www.imdb.com/title/tt0094514/


NBA BASKETBALL


NEW ATTITUDES
      http://www.imdb.com/title/tt0207265/


OZ
      http://www.imdb.com/title/tt0118421/


PIMP MY RIDE
      http://www.imdb.com/title/tt0395891/


PRIME TIME COUNTRY
      http://www.imdb.com/title/tt0145629/


RACIN' AND ROCKIN': NEAL MCCOY AND TRACY BYRD CELEBRATE 50 YEARS OF NASCAR
      http://tv.nytimes.com/show/58852/Racin-and-Rockin-Neal-McCoy-and-Tracy-Byrd-Celebrate-50-Years-of-NASCAR/overview?scp=2&sq=neal%20mccoy&st=cse


RAP CITY
      http://www.imdb.com/title/tt0244923/


REAL TIME WITH BILL MAHER
      http://www.imdb.com/title/tt0350448/


SHASTA MCNASTY
      http://www.imdb.com/title/tt0206508/


THE STATLER BROTHERS SHOW
      http://www.imdb.com/title/tt0433316/


TED AND VENUS (1991)
      Jerry Williams (Swamp Dogg) was Music Supervisor for the film.  http://www.imdb.com/title/tt0103057/


THIS WEEK IN COUNTRY MUSIC
      http://www.imdb.com/title/tt0437756/


TNN RETRO


TRAVEL CAFÉ (KNBC, LOS ANGELES)


TRAVEL DAILY
      http://www.imdb.com/title/tt0305129/


TRUE LIFE
      http://www.imdb.com/title/tt0324924/


V-TWIN MOTORCYCLE TV
      http://tv.msn.com/tv/series/v-twin-motorcycle-tv/


VACATION HOME SEARCH
      http://www.imdb.com/title/tt0453442/


VIDEO MORNING


WHAT DOESN'T KILL YOU (2008)
      http://www.imdb.com/title/tt1133991/


WIFE SWAP
      http://www.imdb.com/title/tt0411040/


WILD HORSE SALOON


============
SONG CREDITS:
============

      Song List (BMI): http://repertoire.bmi.com/WriterSearch.asp?blnWriter=True&blnPublisher=True&blnArtist=True&blnAltTitles=True&queryType=WriterName&page=1&keyname=williams%20jerry%20jr&keyid=0&fromrow=1&torow=25

1-2-3-4-5-6-7 (Count The Days)
      [Yvonne Williams, Jerry Williams, Jr., Brooks O'Dell and Charlie Foxx]
1958
      [Jerry Williams, Jr.]
After All I Am Your Wife
      [Jerry Williams, Jr. and Gary Bonds]
Ain't A Nineteen Year Old Got Nothing On You
      [Jerry Williams, Jr.]
Ain't No Piece Of Cake  
      [Jerry Williams, Jr.]
Ain't Nothing In The News (But The Blues)
      [Jerry Williams, Jr.]
Ain't That Cold  
      [Ronald Samuels and Jerry Williams, Jr.]
Alice White And Me  
      [Stan McKenney and Jerry Williams, Jr.]
All Around Friend
      [Jerry Williams, Jr.]
All I Can Do  
      [Daveon Overton, Jerry Williams, Jr. and Ricardo Frederic Williams]
(All I Want For Christmas Is) A Soldier Coming Home
      [Jerry Williams, Jr. and Ned McElroy]
All Night Lover Man
      [Jerry Williams, Jr.]
All She Wants Is Reggae Music
      [Jerry Williams, Jr.]
America Is Bleeding
      [Jerry Williams and Troy Davis]
American Justice  
      [Arthur Terence Reed and Jerry Williams, Jr.]
And I Get Me Somebody Else
      [Jerry Williams, Jr. and Bob Jones]
Another Man Took My Husband's Place
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
Anyway You Want It Baby  
      [Charlie Foxx, Frank Spencer and Jerry Williams, Jr.]
Appelle-Moi Noir [Call Me Nigger]
      [Jerry Williams, Jr.]
Are You Cheating On Me  
      [Beverly Green and Jerry Williams, Jr.]
Are You Thinking Of Him (When You're Loving Me)
      [Stan McKenney and Jerry Williams, Jr.]
Artificial Insemination
      [Jerry Williams, Jr. and Troy Davis]
The Artist
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
As In Always
      [Jerry Williams, Jr.]
At Last I've Found My Love
      [Venton L. Caldwell and Jerry Williams, Jr.]
Augie Stay Home
      [Jerry Williams, Jr.]
Awful Christmas And A Lousy New Year
      [Jerry Williams, Jr.]
B Ballin'
      [Alfred Alston, Sr., Travis Lamar Burpee, Jerry Williams, Jr. and Aaron Williams]
Baby Baby
      [Jerry Williams, Jr., Rick Spain and Eugene Russell]
Baby, Bunny (Sugar, Honey)
      [Jerry Williams, Jr. and Rick Spain]
Baby Drop A Dime  
      [Jerry Williams, Jr.]
Baby I Call You Baby  
      [Jerry Williams, Jr.]
The Baby Is Mine
      [Jerry Williams, Jr.]
The Baby Is Yours  
      [Jerry Williams, Jr.]
Baby Please Come Back Home To Me
      [Jerry Williams, Jr.]
Baby This Is Forever
      [Jerry Williams, Jr.]
Baby You're My Everything
      [Jerry Williams, Jr. and Rick Spain]
Baby, You're My Kind Of Woman  
      [Charlie Foxx and Jerry Williams, Jr.]
Bad Boy
      [Jerry Williams, Billy Prince]
Bad Things Happen When You Leave Me
      [Gary Bonds and Jerry Williams, Jr.]
Barney's Beanery
      [Jerry Williams, Jr.]
The B.B. King
      [Jerry Williams, Jr.]
Beau Terral
      [Jerry Williams, Jr.]
The Bed She Sleeps In Tonight  
      [Stan McKenney and Jerry Williams, Jr.]
Believe In Me Baby
      [Jerry Williams, Jr.]
Big Time Mary  
      [Bob Jones and Jerry Williams, Jr.]
Bless You
      [Jerry Williams, Jr.]
Bless You No. 2  
      [Jerry Williams, Jr.]
Blues For Lucille  
      [Jerry Williams, Jr.]
Boo Hoo Hoo (Cra-Cra-Craya)
      [Jerry Williams, Jr.]
Boogie Down Down Down
      [Jerry Williams, Jr. and David Clowney]
Boogie Truck
      [Jerry Williams, Jr. and Nat Cross]
Boogie Woogie Country Queen  
      [Ned McElroy and Jerry Williams, Jr.]
Boozie Queen
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
Brain Damage  
      [Jerry Williams, Jr.]
Break Downtown  
      [Jerry Williams, Jr.]
Bring Back My Dog
      [Jerry Williams, Jr.]
Broke Down Piece Of Man  
      [Jerry Williams, Jr.]
Brown Skin Girl  
      [Jerry Williams, Jr.]
Brown Sugar
      [Jerry Williams, Jr.]
B.S. I Love You  
      [Jerry Williams, Jr.]
Bump The Donkey  
      [Jerry Williams, Jr.]
Buzzard Luck
      [Jerry Williams, Jr.]
By The River  
      [Jerry Williams, Jr. and Yvonne Williams]
California Is Drowning And I Live Down By The River
      [Jerry Williams, Jr. and Yvonne Williams]
Call Me Nigger
      [Jerry Williams, Jr.]
Call On Me  
      [Jerry Williams, Jr.]
Can We Make A Change
[Beverly Green, Rachel Madison, Olivia Wayne and Jerry Williams]
Can't Get Enough  
      [Jerry Williams, Jr.]
Can't Win For Losing  
      [Charles Whitehead and Jerry Williams, Jr.]
Captain Of Your Ship
      [Jerry Williams, Jr. and Don Hollinger]
Cheating In The Day Light
      [Jerry Williams and Bob Jones]
Chewed Up Grass
      [Jerry Williams, Jr.]
Chicago Jack  
      [Jerry Williams, Jr.]
Choking To Death (From The Ties That Bind)
      [Jerry Williams, Jr. and Stan McKenney]
Cloak Of Many Colors
      [Jerry Williams, Jr., Gary Bonds, Maurice Gimbel and R. Calilli]
Club Mix  
      [Jerry Williams, Jr.]
Color Blue  
      [Jerry Williams, Jr.]
Color Is A Crime
      [Charles Whitehead and Jerry Williams, Jr.]
Come A Little Closer Baby
      [Jerry Williams, Jr.]
Come And Get It
      [Jerry Williams, Jr.]
Come Get It (Come Get My Love)
      [Jerry Williams, Jr.]
Come On And Dance With Me
      [Jerry Williams, Jr.]
Come To L.A.
      [Jerry Williams, Jr.]
Coming From Behind (monologue)
      [Jerry Williams, Jr.]
(Coming With) Love On My Mind
      [Jerry Williams, Jr.]
Communication No. 1
      [Jerry Williams, Jr.]
Communication No. 2
      [Jerry Williams, Jr.]
Complication #4
      [Jerry Williams, Jr.]
Complication #5
      [Jerry Williams, Jr. and Troy Davis]
Conclusion No. 1 To Sleep With ...
        [Jerry Williams, Jr.]
Congratulations Baby
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
Couldn't Live With You
      [Jerry Williams, Jr.]
Crack Crack (When Are You Coming Back)
      [Jerry Williams, Jr.]
Creeping Away
      [Jerry Williams, Jr. and Gary Bonds]
Cuban Senorita  
      [Beverly Green and Jerry Williams, Jr.]
Cupid Cupid  
      [Jerry Williams, Jr.]
Cuss The Wind
      [Jerry Williams, Jr. and Stan McKenney]
Cyberspace Love Affair
      [Jerry Williams, Beverly Green]
Dance Dance Gotta Get Down  
      [Glenn Dixon and Jerry Williams, Jr.]
Dance Dance Gotta Get On Down  
      [Jerry Williams, Jr.]
Dance 'Till The Morning Come
      [Jerry Williams, Jr.]
Darlin' Tell Me Why  
      [Charlie Foxx and Jerry Williams, Jr.]
Darling Don't Cry
      [Delsey McKay and Jerry Williams, Jr.]
Darling Let's Move Back To The ...
        [Stan McKenney and Jerry Williams, Jr.]
Dear Sir  
      [Jerry Williams, Jr., Wilson Williams and Yvonne Williams]
Deception In The Name Of Love
      [Jerry Williams, Beverly Green, Larry Clemon, Bob Jones]
Destination USA
      [Jerry Williams, Jr.]
Dick Dickson  
      [Jerry Williams, Jr.]
Did I Come Back Too Soon (Or Stay Away Too Long)
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
Did I Lose You  
      [Jerry Williams, Jr.]
Didn't Know I Was In Heaven  
      [Stan McKenney and Jerry Williams, Jr.]
Disco Queen
      [Jerry Williams, Jr.]
Divorce Decree
      [Jerry Williams, Jr. and Maurice Gimbel]
Do Do Do Doop (Please Come Back)
      [Jerry Williams, Jr.]
Do It Shake Your Booty
      [Jerry Williams, Jr.]
Do It Some More Now
      [Jerry Williams, Jr. and Michelle Williams]
Do Our Thing Together
      [Jerry Williams, Jr. and Troy Davis]
Do We Need A Change
      [Jerry Williams, Jr. and Robert Carswell]
Do Wrong  
      [Jerry Williams, Jr.]
Do You Believe
      [Jerry Williams, Jr. and Troy Davis]
Don't Change  
      [Daveon Overton, Jerry Williams, Jr. and Ricardo Frederic Williams]
Don't Ever Say Goodbye  
      [Jerry Williams, Jr.]
Don't Give Up
      [Jerry Williams, Jr.]
Don't Let My Foolish Words Keep ...
        [Jerry Williams, Jr.]
Don't Put Out The Fire  
      [Ned McElroy and Jerry Williams, Jr.]
Don't Stop Now
      [? Houston, Jerry Williams, Jr. and Matt Parsons]
Don't Stop The Boogie
      [Jerry Williams, Jr.]
Don't Trust A Woman
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
Don't Want To Hear It Anymore  
      [Jerry Williams, Jr.]
Don't You Remember Me  
      [Ken Shelton and Jerry Williams, Jr.]
Don't You Try To Be My Man
      [Jerry Williams, Jr.]
Dope Sick Girl  
      [Timothy Armstrong and Jerry Williams, Jr.]
Dr. M.L.G. (J.A.) [Dr. Martin L. Goldfarb (Jive Ass)]
      [Jerry Williams, Jr.]
Dreaming Of You  
      [Jerry Williams, Jr.]
Dust Your Head Color Red
      [Jerry Williams, Jr. and Gary Bonds]
Dyn-o-mite
      [Jerry Williams, Jr. and Charles Whitehead]
Eat The Goose (Before The Goose Eats You)
      [Jerry Williams, Jr.]
Eating Ain't Cheating
      [Jerry Williams, Jr., Wilson Williams and Marie Washington]
Ebony And Jet
      [Jerry Williams, Jr.]
Eenie Meenie  
      [Jerry Williams, Jr.]
Eight Habits Of My Heart
      [Jerry Williams, Beverley Green]
Elysium  
      [Nat Cross and Jerry Williams, Jr.]
Embryo S.O.S.
        [Jerry Williams, Jr.]
Everybody Gonna Give Their Thing Away To Somebody (Sometime)
      [Jerry Williams, Jr., Maurice Ward and Lee Fields]
Everybody Has A Crazy Day  
      [Stan McKenney, Charles Whitehead and Jerry Williams, Jr.]
Everybody's Friend Nobody's Lover
      [Jerry Williams, Jr.]
Everything You'll Ever Need
      [Jerry Williams, Jr. and Gary Bonds]
Excuses
      [Jerry Williams, Jr. and Troy Davis]
Face  
      [Jerry Williams, Jr.]
Family Pain  
      [Bob Jones and Jerry Williams, Jr.]
Fantasy Baby Fantasy Love
      [Jerry Williams, Jr., Beverly Green and Wayne Boyer]
Fast Freight
      [Joe Reagan, Red Seal {Jerry Williams, Jr.} and W.S. Stevenson]
A Feeling For Someone Else Has Grown
      [Jerry Williams, Jr. and Bette Williams]
The Feeling Is Gone  
      [Jerry Williams, Jr.]
Feet Start Walking
      [Jerry Williams, Jr. and Gary Bonds]
Finders Keepers Losers Weepers no. 152
      [Beverly Williams and Jerry Williams, Jr.]
The Fool Song  
      [Jerry Williams, Jr.]
Four Walls Of Gloom  
      [Jerry Williams, Jr.]
Foxy Foxy Rapp
      [Jerry Williams, Jr.]
Frankly I Don't Really Give A Damn
      [James Kenneth Shelton and Jerry Williams, Jr.]
The Freedom Under Certain Konditions Marching Band
      [Jerry Williams, Jr. and Troy Davis]
From Here Through Eternity  
      [William L. Coley, Larry Harrison and Jerry Williams, Jr.]
From The Other Side Of The Tracks
      [Maurice Gimbel, Larry Harrison and Jerry Williams, Jr.]
From The Slave Ship To The Slave ...
        [Troy Davis and Jerry Williams, Jr.]
Fuck The Bomb...Stop The Drugs
      [Jerry Williams, Jr. and Troy Davis]
Funktastic Galactickle Rock
      [Jerry Williams, Jr.]
Funky Lies
      [Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
Galactic Zoo
      [Jerry Williams, Jr. and Troy Davis]
Gazelle
      [Jerry Williams, Jr.]
Ghost Of Myself
      [Jerry Williams, Jr.]
Gimme The Cream  
      [Jerry Williams, Jr.]
Gimmie A Job  
      [Jerry Williams, Jr.]
Give It To Jesus  
      [Jerry Williams, Jr.]
Give Me A Chance  
      [Jerry Williams, Jr.]
Give Me A Shove  
      [Jerry Williams, Jr. and P.D. White]
Give Me Back My Love  
      [Jerry Williams, Jr.]
Give Me Some Satisfaction
      [Jerry Williams, Jr.]
Give The Disc Jockey Some
      [Jerry Williams, Jr.]
God Ain't Blessing America
      [Jerry Williams, Jr.]
God Bless
      [Jerry Williams, Jr.]
God Bless America For What
      [Jerry Williams, Jr. and Troy Davis]
God In You  
      [Charles Whitehead and Jerry Williams, Jr.]
Good Morning Heartaches
      [Jerry Williams, Jr. and Don Hollinger]
Good People
      [Venton L. and Jerry Williams, Jr.]
Got The No Money Can't Find A ...
        [Ned McElroy and Jerry Williams, Jr.]
Got To Travel On
      [Jerry Williams, Jr. and Troy Davis]
Granulated Sugar (Sweet Sweet Woman Of Mine)
      [Jerry Williams, Bob Jones, B. Thomas]
Grooving and Swinging
      [Jerry Williams, Jr.]
Ha Ha (Laughing Song)
      [Jerry Williams, Jr. and Gary Bonds]
Hallelujah And Congratulations
      [Jerry Williams, Jr.]
Hang On, I'll Save You
      [Jerry Williams, Jr.]
Happy Birthday You Dawg You
      [Jerry Williams, Jr.]
Happy Dog Day
      [Jerry Williams, Jr.]
Hate
      [Charlie Foxx, Jerry Williams, Jr., William L. Coley and Larry Harrison]
Have You Ever Seen A Bear Do The ...
        [Bob Jones and Jerry Williams, Jr.]
He Didn't Know (He Kept On Talking) [a.k.a. She Didn't Know (She Kept On Talking)]
      [Jerry Williams, Jr. and Gary Bonds]
He Don't Like Country Music (And He Hates Little Kids)
      [Jerry Williams, Jr. and Stan McKenney]
He Is Here  
      [Stan McKenney, Charles Whitehead and Jerry Williams, Jr.]
He Took My Hand
      [Jerry Williams, Jr.]
Heavenly Love
      [Jerry Williams, Jr. and Richard Rome]
Help (God Help America)
      [Jerry Williams, Jr.]
Helpless People  
      [Carlton P. Carter and Jerry Williams, Jr.]
He's All I Got [a.k.a. She's All I Got]
      [Jerry Williams, Jr. and Gary Bonds]
He's Gone
      [Jerry Williams, Jr. and Larry Harrison]
Here Comes The Bride  
      [Bill Massey and Jerry Williams, Jr.]
Hit And Run
      [Jerry Williams, Jr.]
Home Sweet Home  
      [Jerry Williams, Jr.]
The Homosexual Song (Trippin On The Downlow)
      [Jerry Williams, Beverly Green]
Hot Water  
      [Percy Donald White and Jerry Williams, Jr.]
How Did You Feel?
      [Jerry Williams, Bob Jones, B. Thomas]
How Does It Feel?
      [Jerry Williams, Jr.]
How Was I To Know You Cared
      [Jerry Williams, Jr. and Gary Bonds]
How You Did Destroy  
      [Larry Clinton and Jerry Williams, Jr.]
HTD Blues (Heartsick Troublesome Downout Blues)
      [Jerry Williams, Jr.]
Hum Baby
      [Jerry Williams, Jr.]
Humming In The Dark  
      [Jerry Williams, Jr.]
A Hundred And
      [Jerry Williams, Jr.]
I Ain't Coming Back No More  
      [Jerry Williams, Jr.]
I Ain't Nobody
      [Jerry Williams, Jr.]
I Believe In The Stars  
      [Jerry Williams, Jr.]
I Brought It Back
      [Jerry Williams, Jr.]
I Can Feel That You Love Me  
      [Jimmy Bishop, Kenny Hamber and Jerry Williams, Jr.]
I Can See A Light
      [Jerry Williams, Jr.]
I Can Stand The Lonely Days (But Can't Stand The Lonely Nights)
      [Jerry Williams, Jr.]
I Can't Be Losing You  
      [Charlie Foxx and Jerry Williams, Jr.]
I Can't Get Enough
      [Jerry Williams, Jr.]
I Can't Lose  
      [Don Hollinger and Jerry Williams, Jr.]
I Can't Stand To Hear Her Say Please
      [Jerry Williams, Jr. and Stan McKenney]
I Can't Stand Myself I'm Something ...
        [Richard Strahan and Jerry Williams, Jr.]
I Can't Stand Myself (When You Touch Me)
      [Jerry Williams, Jr.; un-credited - comments by Swamp Dogg on The Southern Soul List (Yahoo) 8/12/04: "I very seldom talk about songs that were stolen from me because I believe that life is too short, especially when you can't do anything about the problem at the time. I wrote and arranged it in 66' when I lived in Miami....Mona [Lisa] then ran off with the song and arrangement and recorded it for Henry Stone...who..........played it for James Brown...who..recorded same and the rest was history".]
I Can't Use You In My Business
      [Jerry Williams, Jr. and Gary Bonds]
I Couldn't Pay For What I Got Last Night
      [Jerry Williams, Jr.]
I Cried A Lifetime For You
      [Nat Cross and Jerry Williams, Jr.]
I Did It All
      [Jerry Williams, Jr. and Stan McKenney]
I Did The Woman Wrong
      [Jerry Williams, Jr. and Charles Whitehead]
I Dig Black Girls
      [Jerry Williams, Jr. and Troy Davis]
I Do What You Wish (But I Wish What You Do Wouldn't Hurt Me So)
      [Jerry Williams, Jr.]
I Don't Care Anymore
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
I Don't Know What To Do  
      [James Steward, Jr. and Jerry Williams, Jr.]
I Don't Need No Rockin' Chair  
      [Jerry Williams, Jr.]
I Don't Need You No More
      [Jerry Williams, Jr., C. White [Charles Whitehead] and Larry Harrison]
I Feel Much Better Now
      [Jerry Williams, Jr.]
I Feel Much Better Now #2
      [Jerry Williams, Jr.]
I Finally Found Myself Something To Sing About
      [Jerry Williams, Jr. and Yvonne Williams]
I Found Out Just In Time  
      [Don Hollinger and Jerry Williams, Jr.]
I Got One For Ya'
      [Kenneth John Olson III, Robert J. Ritchie {Kid Rock}, Matthew L. Shafer, John A. Travis and Jerry Williams, Jr.]
I Got What I Want At Home
      [Jerry Williams, Jr. and Bob Jones]
I Had A Ball (I Did It All)
      [Jerry Williams, Jr.]
I Hate Myself For Loving You  
      [Stan McKenney and Jerry Williams, Jr.]
I Have Touched The Sky
      [Jerry Williams, Jr. and Troy Davis]
I Kissed Your Face
      [Jerry Williams, Jr., Gary Bonds and Tobie Milit]
I Know, I Know, I Know  
      [Larry Clinton and Jerry Williams, Jr.]
I Know It's Your Party (I Just Came Here To Dance)
      [Jerry Williams, Jr.]
I Know That She's His Wife But ...
        [Jerry Williams, Jr.]
I Lay Awake
      [Jerry Williams, Jr.]
I Looked I Saw And I Knew  
      [Larry Harrison and Jerry Williams, Jr.]
I Love My Man
      [Jerry Williams, Jr.]
I Love You Don't Leave Me Oh B...
        [Jerry Williams, Jr.]
The I Love You Song  
      [Jerry Williams, Jr.]
I Love You Yvonne
      [Jerry Williams, Jr.]
I Loved You Last Night  
      [Stan McKenney and Jerry Williams, Jr.]
I Need  
      [Bob Elgin and Jerry Williams, Jr.]
I Need A Job
      [Jerry Williams, Jr.]
I Need A Woman Of My Own
      [Jerry Williams, Jr. and B. Elgin]
I Need Love  
      [William H. Smith and Jerry Williams, Jr.]
I Need Some Money I Want Some Money
      [Jerry Williams, Jr. and Beverly Green]
I Never Knew How Much I Loved ...
        [Susan Tobie Milit and Jerry Williams, Jr.]
I Should Care  
      [Nat Cross and Jerry Williams, Jr.]
I Should Never Have Written This Song
      [Jerry Williams, Jr.]
I Sure Love To Ball (And You Do Too)
      [Jerry Williams, Jr. and Charles Whitehead]
I Wanna Lifetime Of Loving You
      [Jerry Williams, Jr.]
I Want To Hear Some Rock 'N' Roll
      [Jerry Williams, Jr.]
I Want To Know Do You Want Me  
      [Jerry Williams, Jr.]
I Want To Report A Crime
      [Jerry Williams, Jr.]
I Want To Rock With You Baby No. 2
      [Jerry Williams, Jr.]
I Want To Set Things Right  
      [Delsey McKay and Jerry Williams, Jr.]
I Want To Sleep With You
      [Jerry Williams, Jr.]
I Want To Thank You Baby
      [Jerry Williams, Jr. and Jay Dee Bryant]
I Want You  
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
I Want Your Love
      [Jerry Williams, Jr.]
I Was Born Blue
      [Jerry Williams, Jr. and Dee Erwin]
I Was Dancing When I Fell In Love
      [Jerry Williams, Jr.]
I Wish I Could Sleep  
      [Jerry Williams, Jr.]
I Wish You Well
      [Jerry Williams, Billy Prince, Larry Clemon]
I Won't Be Run Over By The Same ...
        [Jerry Williams, Jr.]
I Wouldn't Leave Here To Go To Heaven
      [Jerry Williams, Jr. and Charles Whitehead]
I Write Another Love Song
      [Jerry Williams, Jr.]
I'd Do It All Over You
      [Jerry Williams, Jr.]
If All Else Fails (We'll Have Each Other)
      [Jerry Williams, Jr.]
If He Walked Today
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
If I Die Tomorrow (I've Lived Tonight)
      [Jerry Williams, Jr.]
If I Ever Kiss It (He Can Kiss It Goodbye)
      [Jerry Williams, Jr.]
If I Was An Angel
      [Jerry Williams, Jr., Ned McElroy and Pebe Serbert]
If It Hadn't Been For Sly
      [Jerry Williams, Jr.]
If Loving You Is A Crime (I'll Always Be Guilty)
      [Jerry Williams, Jr. and Yvonne Williams]
If She's Your Wife (Who Am I)
      [Jerry Williams, Jr. and Charles Whitehead]
If You Ain't Got It Forget It  
      [Jerry Williams, Jr.]
If You Ask Me (Because I Love You)
      [Jerry Williams, Jr. and Rick Spain]
If You Get Him (He Was Never Mine)
      [Jerry Williams, Jr.]
If You Gotta Do Wrong, Do It Right
      [Jerry Williams, Jr.]
If You Were Me And I Was You  
      [Jerry Williams, Jr.]
If You're Leaving (Take Me With You)
      [Jerry Williams, Jr.]
I'll Always Be Your Man
      [Jerry Williams, Jr. and Charles J. Hunt]
I'll Always Remember (Chapel On The Hill)
      [Jerry Williams, Jr.]
I'll Be Back  
      [Jerry Williams, Jr.]
I'll Be Waiting  
      [Jerry Williams, Jr.]
I'm Glad You're Back
      [Jerry Williams, Jr., Gary Anderson (Gary Bonds) and Larry Harrison]
I'm Going To Heaven  
      [Jerry Williams, Jr.]
I'm Gonna Keep On Loving You No. 9
      [Jerry Williams, Jr.]
I'm In Mississippi
      [Jerry Williams, Stoney Dixon]
I'm Not A Child Anymore
      [Jerry Williams, Jr.]
I'm Serving Your Time  
      [B. Drake and Jerry Williams, Jr.]
I'm So Mad
      [Jerry Williams, Jr. and Joe Kookoolis]
I'm So Mad No. 2  
      [Joe Kookoolis and Jerry Williams, Jr.]
I'm Standing Between A Rock And A Hard Place
      [Jerry Williams, Beverly Green, Larry Clemon]
I'm Still In Love With You
      [Jerry Williams, Jr.]
I'm The Freak Your Mama Warned You About
      [Jerry Williams, Jr.]
I'm The Lover Man
      [Jerry Williams, Jr.]
I'm The Other Man (Any Name You Call)
      [Jerry Williams, Jr. and Bob Jones]
In Between Tears
      [Jerry Williams, Jr. and Troy Davis]
In My Resume
      [Jerry Williams, Jr. and Troy Davis]
In The Chapel On The Hill No. 2  
      [Joe Kookoolis and Jerry Williams, Jr.]
In Time Of War Who Wins
      [Jerry Williams, Jr. and Bob Jones]
Indefinitely
      [Jerry Williams, Jr. and Rick Spain]
Indescribable Urge  
      [Jerry Williams, Jr.]
Introduction To Yvonne  
      [Jerry Williams, Jr.]
Is It Real
      [Jerry Williams, Jr. and Don Hollinger]
Is This A Woman's Way?
      [Jerry Williams, Jr.]
It Ain't No Use
      [Jerry Williams, Jr., Gary Bonds and Don Hollinger]
It Must Be Love
      [Jerry Williams, Jr. and Bob McDill]
It Sure Was Fun
      [Jerry Williams, Jr. and Gary Bonds]
It's A Bitch
      [Jerry Williams, Jr.]
It's Hard To Make A Shadow Turn ...
        [Ken Shelton, B. Williams and Jerry Williams, Jr.]
It's Just A Little Time Left
      [Jerry Williams, Jr., Yvonne Williams, Maurice McCormick and Obie Jessie]
It's Possible
      [Daveon Overton, Jerry Williams, Jr. and Ricardo Frederic Williams]
It's So Good  
      [Daveon Overton, Jerry Williams, Jr. and Ricardo Frederic Williams]
It's So Groovy Doing What You Want To Do (With Who You Want To Do It To)
      [Jerry Williams, Jr. and Charles Whitehead]
It's So Nice (When It's Somebody Else's Wife)
      [Jerry Williams, Jr. and Matt Parsons]
It's Still Good
      [Jerry Williams, Jr. and Gary Bonds]
It's Your Body That I Need  
      [Beverly Williams and Jerry Williams, Jr.]
It's Your Life  
      [Daveon Overton, Jerry Williams, Jr. and Ricardo Frederic Williams]
I've Been Down So Long
      [Jerry Williams, Jr. and Gary Bonds]
I've Fallen In Love
      [Yvonne Williams and Jerry Williams, Jr.]
I've Got A Reason To Dance
      [Jerry Williams, Jr.]
I've Never Been To Africa (And It's Your Fault)
      [Jerry Williams, Jr.]
Jazz For Jerry  
      [Jerry Williams, Jr.]
Jazz Jerk
      [Venton L. Caldwell and Jerry Williams, Jr.]
Je Suis Amoureux  
      [Albrecht Marcuse and Jerry Williams, Jr.]
Jeri
      [Jerry Williams, Jr.]
Jeri's Theme  
      [Jerry Williams, Jr.]
Jerry's Monkey [a.k.a. Jerry's Thing]
      [Jerry Williams, Jr.]
Jesus Is Alive In My Heart
      [Jerry Williams, Jr.]
Jesus Is My Personal Friend  
      [Jerry Williams, Jr.]
Jo  
      [Jerry Williams, Jr.]
Johnny Oh  
      [Jerry Williams, Jr.]
Just As I Am
      [Jerry Williams, Jr. and Yvonne Williams {a.k.a. Whippenstick and Red Seal}]
Just For You  
      [Don Bowman, Waylon Jennings and Jerry Williams, Jr.]
Just What Do You Plan To Do About It
      [Jerry Williams, Jr.]
Just What The Doctor Ordered  
      [Jerry Williams, Jr.]
Keep On Doin' Whatcha Doin', Whatcha Doin', Whatcha Doin'
      [Jerry Williams, Jr.]
Kick It
      [Jerry Williams, Jr.]
King Of Kings
      [Jerry Williams, Jr. and Ned McElroy]
Kiss Me
      [Jerry Williams, Jr. and Yvonne Williams]
Kiss Me Hit Me Touch Me
      [Jerry Williams, Jr.]
Kiss This
      [Jerry Williams, Jr.]
Knowing I'm Pleasing Me & You
      [Jerry Williams, Jr. and Charles Whitehead]
Laid Back And Easy
      [Jerry Williams, Jr. and K. Shelton]
Leave My Beat Alone  
      [Jerry Williams, Jr.]
Let Bygones Be Bygones  
      [Jerry Williams, Jr.]
Let Your Love Flow
      [Jerry Williams, Jr.]
Let's Bump The Donkey
      [Jerry Williams, Jr.]
Let's Do It Again Parts 3 & 4
      [Jerry Williams, Jr.]
Let's Do The Wobble
      [Jerry Williams, Jr.]
Let's Make A Video
      [Jerry Williams, Jr.]
Let's Swamp Dogg  
      [Alfred Alston, Sr., Travis Lamar Burpee, Jerry Williams, Jr. and Aaron Williams]
Let's Talk Lady  
      [Jerry Williams, Jr.]
Letter From My Daughter  
      [Jerry Williams, Jr.]
The Lie That Had To Be Told
      [Jerry Williams, Jr.]
Life Ain't No Piece Of Cake
      [Jerry Williams, Jr.]
A Little Black Child At Christmas
      [Jerry Williams, Jr.]
A Little Boy And A Little Girl
      [Delsey McKay and Jerry Williams, Jr.]
Long Way From Nevada  
      [Ken Shelton, Jerry Williams, Jr. and Yvonne Williams]
The Lord Is Watching You  
      [Gary Bonds and Jerry Williams, Jr.]
Lord Let Me Finish My Song [a.k.a. Old Man's Prayer]
      [Stan McKenney and Jerry Williams, Jr.]
Lost and Alone
      [Jerry Williams, Jr. and Troy Davis]
Love Being Your Fool [a.k.a. (Shu-Doo-Pa-Poo-PooP) Love Being Your Fool]
      [Jerry Williams, Jr. and Charles Whitehead]
Love Canoe  
      [Jerry Williams, Jr.]
Love Come Around  
      [Jerry Williams, Jr.]
Love Is  
      [Jerry Williams, Jr., Wilson Williams and Yvonne Williams]
Love Is Love Is  
      [Tommy Hunt, Jerry Williams, Jr. and Benjamin F. Wright, Jr.]
Love Plumber  
      [Beverly Green and Jerry Williams, Jr.]
Love Song 4 U
      [Jerry Williams, Jr. and Beverly Green]
Love Stinks #2
      [Jerry Williams, Jr.]
Love Toy  
      [Maurice Gimbel, Larry Harrison and Jerry Williams, Jr.]
The Love We Got Ain't Worth Two Dead Flies
      [Jerry Williams, Jr.]
Lovercise
      [Jerry Williams, Jr.]
Loving You No. 44
      [Jerry Williams, Jr.]
Loving You No. 47  
      [Jerry Williams, Jr.]
Low Friends In High Places
      [Jerry Williams, Jr. and Troy Davis]
Lucille And Her Man
      [Jerry Williams, Jr.]
Lucky
      [Jerry Williams, Jr.]
Mad Love
      [Jerry Williams, Jr.]
Mama Don't Take No S*** (Explicit Version)
      [Jerry Williams, Beverly Green]
Mama Don't Take No S*** (Radio Version)
      [Jerry Williams, Beverly Green, Larry Clemon]
Mama Mama  
      [Charlie Foxx, Brooks O'Dell and Jerry Williams, Jr.]
Mama Told Me So  
      [Don Hollinger and Jerry Williams, Jr.]
Mama Why Can't I Turn Him On  
      [Jerry Williams, Jr.]
Mama's Baby, Daddy's Maybe
      [Jerry Williams, Jr. and Gary Bonds]
A Man Needs A Woman (A Woman Needs A Man)
      [Jerry Williams, Jr. and Gary Bonds]
The Man Who Was Possessed By The Devil
      [Jerry Williams, Jr.]
Mary Had A Little Lamb
      [Jerry Williams, Jr. and Matt Parsons]
Matador Theme  
      [Nat Cross and Jerry Williams, Jr.]
May God Strike Me Dead  
      [Jerry Williams, Jr.]
Me And You Last Night
      [Jerry Williams, Jr.]
Melody No. 27  
      [Mike S. Good and Jerry Williams, Jr.]
Men Won't Have It Any Other Way
      [Delsey McKay and Jerry Williams, Jr.]
Miami Dreams [a.k.a. Matt's Groove]
      [Jerry Williams, Jr.]
Midnight Rider
      [Jerry Williams, Jr. and Troy Davis]
Mighty Mighty Dollar Bill
      [Jerry Williams, Jr. and Stan McKenney]
The Mind Does The Dancing While The Body Pulls The Strings
      [Jerry Williams, Jr.]
Mind Does The Dancing #2
      [Jerry Williams, Jr.]
Mind Over What's The Matter
      [Jerry Williams, Jr.]
Mine All Mine All Mine
      [Jerry Williams, Jr.]
Mister B  
      [Don Nix and Jerry Williams, Jr.]
Mixed Up Kind Of Thing  
      [Ned McElroy and Jerry Williams, Jr.]
Monkey On Your Back  
      [Jerry Williams, Jr.]
Moon Mixture
      [Jerry Williams, Jr.]
The More
      [Jerry Williams, Jr.]
More Sweet Soul Music
      [Jerry Williams, Jr. and Charles Whitehead]
A Mother's Love
      [Jerry Williams, Beverly Green]
Mouth Music
      [J. Williams, Jr. and M. Williams]
Move Somethin'
      [Tony Louis Cottrell, Talib Kweli Greene and Jerry Williams, Jr.]
Mr. Man  
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
Music  
      [Glenn Dixon, Gus Lewis and Jerry Williams, Jr.]
My Daddy Taught Me To Be
      [Jerry Williams, Beverley Green]
My Forever Came Today  
      [Jerry Williams, Jr.]
My God Is Able
      [Jerry Williams, Jr.]
My Hang-Ups Ain't Hung-Up No More
      [Jerry Williams, Jr.]
My Heart Just Can't Stop Dancing
      [Jerry Williams, Jr.]
My Heart Still Beats  
      [Daveon Overton, Jerry Williams, Jr. and Ricardo Frederic Williams]
My Kinda People
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
My Life Ain't Nothing But A Blues Song
      [Jerry Williams, Jr.]
My Man And Me
      [Jerry Williams, Jr.]
My Offer Of Support
      [Jerry Williams, Beverley Green, Steve Turner]
My Old Bed
      [Jerry Williams, Jr.]
My Rose  
      [Nat Cross, Jerry Williams, Jr. and Yvonne Williams]
My Wife Don't Understand Men A...
        [Jerry Williams, Jr.]
My Woman Got A Caseworker
      [Jerry Williams, Jr. and Bob Jones]
Myocardial Infarction (Heartbreak)
      [Jerry Williams, Jr.]
Need Your Love Need It Bad  
      [Jerry Williams, Jr.]
New Day  
      [Ned McElroy, Pebe Sebert and Jerry Williams, Jr.]
A New Day Never Comes
      [Jerry Williams, Jr. and Ken Shelton]
New Orleans My Home
      [Jerry Williams, Jr.]
New York City
      [Jerry Williams, Jr.]
No Deposit No Return
      [Jerry Williams, Jr. and Beverly Green]
No Hard Feelings
      [Venton L. Caldwell and Jerry Williams, Jr.]
No Matter How You Turn Or Twist It
      [Jerry Williams, Jr.]
No More Will I Cry You Took Th...
        [James Shaw and Jerry Williams, Jr.]
Nobody But Me
      [Jerry Williams, Jr. and Bob Jones]
Now That I Can Dance
      [Jerry Williams, Jr. and Charles Whitehead]
Now That I'm Gone (When Are You Leaving)
      [Jerry Williams, Jr. and Charles Whitehead]
Now That We Done Partyd' All Night (Let's Make Love)
      [Jerry Williams, Jr.]
Now That's Love  
      [Jerry Williams, Jr.]
Ode To A Blues Man  
      [Jerry Williams, Jr.]
Oh Freedom
      [Jerry Williams, Jr. and Beverly Green]
Old Fashion Country Christmas
      [Jerry Williams, Jr.]
Old Fashioned Good Time
      [Jerry Williams, Jr.]
On Your Way Home
      [Jerry Williams, Jr.]
One Broken Heart
      [Jerry Williams, Jr., Gary Bonds and Susan Tobie Milit]
One For The Book  
      [Jerry Williams, Jr.]
One Hour Ago
      [Jerry Williams, Jr.]
One Man's Freedom Is Another Man's Dream
      [Jerry Williams, Jr. and Beverly Green]
One Man's Leftovers Is Another Man's Feast
      [Jerry Williams, Jr.]
One Night Affair
      [Jerry Williams, Jr. and Charles Whitehead]
Or Forever Hold Your Peace
      [Jerry Williams, Jr. and Stan McKenney]
Our Love Is Getting Better
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
The Other Man
      [Jerry Williams, Jr.]
Paradoxical (No Bugles)
      [Jerry Williams, Jr.]
Parasite Bite  
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
Part Time Lover Full Time Fool  
      [Maurice Gimbel and Jerry Williams, Jr.]
Party Tonite
      [Jerry Williams, Jr.]
Pass The Sugar
      [Jerry Williams, Jr.]
The Pelican [a.k.a. U.S. Stomp]
      [Jerry Williams and Yvonne Williams]
People Who Dance  
      [Jerry Williams, Jr.]
Personne N'est Parfait  
      [Jerry Williams, Jr.]
Philly Duck
      [Jerry Williams, Jr. and Richard Rome]
Plastered To The Wall (Higher Than The Ceiling)
      [Jerry Williams, Jr. and Stan McKenney]
Plea No. 3 (Is It True)
      [Jerry Williams, Jr.]
Please Come Back Home To Me
      [Jerry Williams, Jr.]
Please Don't Put Me Out Of The Band
      [Jerry Williams, Jr.]
Please Don't Send Him Back To Me
      [Jerry Williams, Jr. and Gary Bonds]
Please Don't You Say Goodbye To Me
      [Jerry Williams, Jr.]
Please Let Me Go Round Again  
      [Ned McElroy and Jerry Williams, Jr.]
Please Let Me Kiss You Goodbye
      [Jerry Williams, Jr.]
Please Open Up The Door
      [Jerry Williams, Jr. and Larry Harrison]
Please Step Back
[Jerry Williams, Jr. ?]
Pleasing You  
      [Nat Cross and Jerry Williams, Jr.]
Pleasure And Pain  
      [Jerry Williams, Jr.]
Poly Unsaturated Highly Exaggerated
      [Jerry Williams, Jr.]
Pop The Whip  
      [James Shaw and Jerry Williams, Jr.]
The Porkchop Song
      [Jerry Williams, Jr.]
Predicament No. 1  
      [Jerry Williams, Jr.]
Predicament #2
      [Jerry Williams, Jr.]
Predicament No. 3  
      [Jerry Williams, Jr. and Charlie Whitehead]
Pride Of Is Real  
      [Nat Cross and Jerry Williams, Jr.]
Pride's No Match For Love
      [Jerry Williams, Jr. and Larry Harrison]
The Push Push Push
      [Jerry Williams, Jr.]
Que Pasa
      [Jerry Williams, Jr.]
Rather Be The Other Woman  
      [Stan McKenney and Jerry Williams, Jr.]
Raw Spitt
      [Jerry Williams, Jr. and Troy Davis]
Real Confessions #2
      [Jerry Williams, Jr.]
Red Light Lady  
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
Redneck Longlegged Sweet Loving ...
        [Ned McElroy and Jerry Williams, Jr.]
Reincarnation  
      [B. Drake and Jerry Williams, Jr.]
Remember I Said Tomorrow
      [Jerry Williams, Jr. and Troy Davis]
Reprise #69 [a.k.a. The Z.Z. Thrill]
      [Jerry Williams, Jr. and Yvonne Williams]
Rescue Song
      [Jerry Williams, Jr.]
Resurrection
      [Jerry Williams, Jr. and Beverly Green]
Return Of The Donkey (Reprise)
      [Jerry Williams, Jr.]
Rhythm 'N' Blues
      [Jerry Williams, Jr.]
Right Arm For Your Love
      [Jerry Williams, Jr.]
Right Here In The USA
      [Jerry Williams, Jr.]
Right Mood To Do Wrong
      [Jerry Williams, Jr. and Bob Jones]
Rise Up  
      [Jerry Williams, Jr.]
Rita
      [Jerry Williams, Jr. and Arthur Conley]
Robin Right On
      [Jerry Williams, Jr.]
Rocking Your Baby Now
      [Jerry Williams, Jr.]
Roll Over, Baby
      [Jerry Williams, Jr.]
Roll Over (Play Like Our Love Ain't Dead)
      [Jerry Williams, Jr. and Stan McKenney]
Room Raiders
      [Richard V. DiCicco {Richard Rome}, Eugene Russell {Cold Blue} and Jerry Williams, Jr.]
Roots 2079  
      [Jerry Williams, Jr.]
A Rope And A Tree
      [Charles Singleton and Jerry Williams, Jr.]
Round And Round  
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
Run Run Roadrunner
      [Jerry Williams, Jr.]
Sal-A-Faster
      [Jerry Williams, Jr.]
Salty Dog
      [Jerry Williams, Jr.]
Santa Claus Has Fallen In Love
      [Jerry Williams, Jr.]
Santa Claus Is Coming To Town
      [Jerry Williams, Jr.]
Santa's Just A Happy Fat Fart
      [Beverly Green and Jerry Williams, Jr.]
Santa's Mailbox
      [Jerry Williams, Jr., Ned McElroy and Robert Morris, Jr.]
Save The Pictures In Your Heart
      [Pamela Phillips Oland and Jerry Williams, Jr.]
Scratch It Some More Now
      [Jerry Williams, Jr. and Michelle Williams]
Searchin' For My Baby (Lookin' Everywhere)
      [Jerry Williams, Jr. and Yvonne Williams]
Second Chance
      [Jerry Williams, Jr., Gary Bonds and Don Hollinger]
See That Girl
      [Jerry Williams, Jr.]
Seems Like I Gotta Do Wrong
      [Jerry Williams, Jr. and Dee Ervin]
Send Me Back My Money
      [Jerry Williams, Jr.]
Sex With Your Ex  
      [Beverly Green and Jerry Williams, Jr.]
Sexually Speaking
      [Jerry Williams, Jr., Charles J. Hunt and Gregory Cook]
Sexy Sexy Sexy #3
      [Jerry Williams, Jr.]
Shaft's Mama
      [Jerry Williams, Jr.]
Shameful Indulgence In Scandalous Love
      [Jerry Williams, Beverley Green]
Shanty Town
      [Jerry Williams, Jr. and Carlton Carter]
She Didn't Know (She Kept On Talking)
      [Jerry Williams, Jr. and Gary Bonds]
She Left Me For Randolph
      [Jerry Williams, Jr., Ned McElroy and Robert Morris, Jr.]
She Makes Me Feel So Good  
      [Stan McKenney and Jerry Williams, Jr.]
She Took The Money, The Honey, And Run ...
        [Jerry Williams, Jr.]
She'll Never Be Your Wife
      [Jerry Williams, Jr.]
She's A Heartbreaker
      [Jerry Williams, Jr. and Charlie Foxx]
She's A Private Thing To Me  
      [Stan McKenney and Jerry Williams, Jr.]
She's All I Got
      [Jerry Williams, Jr. and Gary Bonds]
She's All I Got No. 2
      [Jerry Williams, Jr., Gary Bonds and Sheb Wooley]
She's Built To Kill
      [Jerry Williams, Jr.]
She's So Devine
      [Jerry Williams, Jr.]
Sherry Bring Back Your Love To Me
      [Gary Bonds, John Eddie Cole, Jr. and Jerry Williams, Jr.]
Ship Of Love  
      [Jerry Williams, Jr. and Yvonne Williams]
Shipwrecked
      [Jerry Williams, Jr. and Larry Harrison]
Shipwrecked #2
      [Eugene Russell and Jerry Williams, Jr.]
Shortnin' Bread Cookin'
      [Jerry Williams, Jr.]
Shut Your Mouth
      [Jerry Williams, Jr.]
Si Yo Fuese Un Angel
      [Jerry Williams, Jr., Ned McElroy and Pebe Serbert]
Sidewalks, Fences & Walls
      [Jerry Williams, Jr. and Maurice Gimbel]
Silly, Silly, Silly, Silly Me
      [Jerry Williams, Jr.]
Since I Met You
      [Jerry Williams, Jr.]
Sittin' On A Rainbow  
      [Jerry Williams, Jr.]
Sliding On Thin Ice
      [Jerry Williams, Jr.]
Slow, Slow Disco
      [Jerry Williams, Jr.]
Slut  
      [Jerry Williams, Jr.]
Sneaking And Cheating
      [Jerry Williams, Bob Jones]
Sock It To Yourself
      [Jerry Williams, Jr. and Gary Anderson {Gary Bonds}]
Soft Spoken Georgia Woman  
      [Stan McKenney, Charles Whitehead and Jerry Williams, Jr.]
Some Mother's Son
      [Jerry Williams, Jr. and Charles Whitehead]
Something Different  
      [Ned McElroy and Jerry Williams, Jr.]
Song #29 (I'm Your Man)
      [Jerry Williams, Jr. and Gary Bonds]
Songs To Sing
      [Jerry Williams, Jr. and Troy Davis]
Sorry Mister  
      [Stan McKenney and Jerry Williams, Jr.]
Soul  
      [Jerry Williams, Jr.]
Soul Brother Story  
      [Mark Wayne Rancy, B. Rupert, Jerry Williams, Jr. and Fred Wright]
Soul Is  
      [Jerry Williams, Jr.]
Soul To Blessed Soul
      [Jerry Williams, Jr. and Beverly Green]
Standing Ovation For Love
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
The Star
      [Jerry Williams, Jr. and Gary Bonds]
Stop Knocking
      [Jerry Williams, Jr., Vera Cross and Nat Cross]
Stop The Madness  
      [Aaron Williams and Jerry Williams, Jr.]
The Story Of Mr. Pitiful
      [Jerry Williams, Jr.]
Straight From My Heart
      [Jerry Williams, Jr. and Obie Jesse]
Straight From The Heart  
      [Patrick Joseph O'Donnell, Sype and Jerry Williams, Jr.]
Street Dancing  
      [Jerry Williams, Jr.]
Such A Thrill I Feel  
      [Jerry Williams, Jr. and Michelle Williams]
Sugar Babe
      [Jerry Williams, Jr.]
Summer Heat  
      [Jerry Williams, Jr.]
Sunshine Dries My Tears  
      [Mintz and Jerry Williams, Jr.]
Sure Ain't Gold  
      [Beverly Green and Jerry Williams, Jr.]
Surfin' In Harlem
      [Jerry Williams, Jr.]
Swamping Salutations
      [Jerry Williams, Jr.]
Swamprapp One
      [spoken by Jerry Williams, Jr.]
Swamprapp Two
      [spoken by Jerry Williams, Jr.]
Sweet Bird Of Success
      [Jerry Williams, Jr. and Troy Davis]
Sweet Breezes
      [Jerry Williams, Jr. and David Clowney]
Sweet Soul Sister  
      [Jerry Williams, Jr.]
Sweet Sweet Little Woman  
      [Jerry Williams, Jr.]
Sweeter Than Sweetness
      [Jerry Williams, Jr. and Charles Whitehead]
Sweetest Thing In California
      [Jerry Williams, Jr.]
Synthetic World
      [Jerry Williams, Jr.]
Taking A Chance
      [Jerry Williams, Jr. and Bob Jones]
The Taking Song  
      [Jerry Williams, Jr.]
Tap Dancing For A Blind Man
      [Jerry Williams, Jr.]
Tell That Nigga To Walk (Battered Womens Anthem)
      [Eugene Russell and Jerry Williams, Jr.]
Ten Minutes A Day  
      [Stan McKenney and Jerry Williams, Jr.]
Thank You, Honey Chile
      [Jerry Williams, Jr. and Charles Whitehead]
Thank You Lord
      [Jerry Williams, Jr. and Gary Anderson (Gary Bonds)]
That Ain't My Wife
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
That's All I Need  
      [Jerry Williams, Jr.]
That's My Wife
      [Jerry Williams, Jr.]
That's The Groove
      [Jerry Williams, Jr.]
That's What You Do When You're ...  
      [Jerry Williams, Jr.]
Theme For Sisters Greene (Build It Up)
      [Jerry Williams, Jr., Maurice Gimbel and Richard Rome]
Theme From A Yet To Be Filmed Movie [a.k.a. Theme For An Un-Made Movie]
      [Jerry Williams, Jr. and Nat Cross]
There Ain't Enough Love
      [Jerry Williams, Jr.]
There Are No Alternatives  
      [Troy Davis and Jerry Williams, Jr.]
There'll Be No Tears Today  
      [Gary Bonds, Larry Harrison and Jerry Williams, Jr.]
There's Nothing Between Us But ...
        [Larry Harrison and Jerry Williams, Jr.]
They Crowned An Idiot King
      [Jerry Williams, Jr. and Ned McElroy]
They're Dancing To My Song
      [Jerry Williams, Jr.]
This Feeling  
      [Kaspar and Jerry Williams, Jr.]
This Is All There Is  
      [Tommy Hunt and Jerry Williams, Jr.]
This Is It
      [Jerry Williams, Jr., E. Atkins and M. Wilson]
This Is My Destiny
      [Jerry Williams, Jr.]
This Is One For The Books  
      [Joe Kookoolis and Jerry Williams, Jr.]
This Magic Hour
      [Jerry Williams, Jr.]
This Thing Called Love
      [Venton L. Caldwell and Jerry Williams, Jr.]
This World Is In A Sad Sad Way  
      [Jerry Williams, Jr.]
Throw Some More Dirt On Me (The Shacking Song)
      [Jerry Williams, Jr.]
Thursday Morning  
      [Mike Rabon and Jerry Williams, Jr.]
Time And Tide  
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
Time Is A Healer  
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
To The Other Woman (I'm The Other Woman)
      [Jerry Williams, Jr. and Gary Bonds]
To The Palm Of His Mighty Hand  
      [Tommy Hunt and Jerry Williams, Jr.]
A Toast (May There Be No Last Time)
      [Jerry Williams, Jr., Charles Whitehead and Stan McKenney]
Today I Got Married
      [Jerry Williams, Jr.]
Today You Started Leaving Him (And Loving Me)
      [Jerry Williams, Jr.]
Too Many People In My Bed
      [Jerry Williams, Jr.]
Total Destruction To Your Mind
      [Jerry Williams, Jr.]
Total Destruction To Your Mind 2009
      [Jerry Williams, Jr.]
Total Destruction To Your Mind Once Again
      [Jerry Williams, Jr. and Troy Davis]
Trash
      [Jerry Williams, Jr.]
Treasures That I Found
      [Jerry Williams, Jr., Gary Bonds and Maurice Gimbel]
Trippin' On The Downlow  
      [Beverly Green and Jerry Williams, Jr.]
Troop Twelve Thirty One  
      [Jeri Y. Williams, Jerry Williams, Jr. and Wilson A. Williams]
Truck Driver 194  
      [Chuck Fredericks and Jerry Williams, Jr.]
Trying To Get To My Baby  
      [Chuck Fredericks and Jerry Williams, Jr.]
T.T.
        [Jerry Williams, Jr.]
Turn My World Around
      [Jerry Williams, Jr. and Charles Whitehead]
Turn Out The Light
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
Tutti
      [Nat Cross and Jerry Williams, Jr.]
Twistgo
      [Jerry Williams, Jr.]
Understanding California Women
      [Jerry Williams, Jr.]
Unemployment Line  
      [Jerry Williams, Jr.]
Unknown  
      [Jerry Williams, Jr.]
Until My Arms Fall Off
      [Jerry Williams, Jr. and Bob Jones]
Until The Fire Was Gone  
      [Jerry Williams, Jr.]
Unusual Love
      [Jerry Williams and Bobby Dukoff]
U.S. Stomp  [a.k.a. The Pelican]
      [Jerry Williams, Jr.]
VD
      [Jerry Williams, Jr.]
Video  
      [Daveon Overton, Jerry Williams, Jr. and Ricardo Frederic Williams]
Walk Beside Me  
      [Jerry Williams, Jr.]
Walk On Out  
      [Jerry Williams, Jr.]
Walk Slow And Easy  
      [Nat Cross and Jerry Williams, Jr.]
Walking On Eggs
      [Jerry Williams, Jr., Charles Whitehead and Don Hollinger]
Wam Bam (Thank You Mam)
      [Jerry Williams, Jr.]
Water And Gasoline  
      [Beverly Green and Jerry Williams, Jr.]
We Can't Stop Sneaking Around
      [Jerry Williams, Jr. and Bob Jones]
We Have A Chance To Do It Over Again
      [Jerry Williams, Beverley Green]
We Need A Change
      [Jerry Williams, Jr. and Robert Carswell]
We Need A Revolution
      [Jerry Williams, Jr.]
We Want The Music  
      [Michael Lockett, Aaron R. Williams and Jerry Williams, Jr.]
We Won't Be In Your Way Anymore
      [Jerry Williams, Jr. and Troy Davis]
We'll Never Say Goodbye
      [Jerry Williams, Jr.]
We're A Team  
      [Jerry Williams, Jr.]
We're More Than Strangers
      [Jerry Williams, Jr. and Gary Bonds]
What About The Children  
      [Jerry Williams, Jr.]
What Am I Supposed To Do  
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
What Christmas Means To Me
      [Jerry Williams, Jr.]
What Color Is Blue?
      [Jerry Williams, Jr.]
What Goes Up Has To Come Down  
      [Jerry Williams, Jr.]
What Good Is Life  
      [Beverly Green, David W. Kearney, Jerry Williams, Jr. and Wyzard]
What Is Heaven For
      [Jerry Williams, Jr. and Maurice Gimbel]
What Is Love (What Makes You Think You Deserve Some)
      [Jerry Williams, Jr.]
What My Woman Can't Do For Me
      [Jerry Williams, Jr.]
Whatcha Say Honey  
      [Cindy Davis, Joe Drew and Jerry Williams, Jr.]
What's Left For Y'awll To Do
      [Jerry Williams, Jr.]
What's So Wrong With You Loving Me
      [Jerry Williams, Jr. and Charles Whitehead]
What's The Matter With You Baby
      [Jerry Williams, Jr., Yvonne Williams and Matt Parsons {Nostrap}]
When Bobby Gets Back  
      [Jerry Williams, Jr.]
When Dreams Come True
[Jerry Williams and Beverly Green]
When He Was No One
      [Jerry Williams, Jr.]
When I Fell (Why Did I Fall In Love With You)
      [Jerry Williams, Jr.]
When I Get My Man  
      [Jerry Williams, Jr.]
When The Flavor's Gone
      [Jerry Williams, Jr.]
When You Move, You Lose
      [Jerry Williams, Jr.]
Where Can I Find Love?
      [Jerry Williams, Jr.]
The Whiskey Song
      [Jerry Williams, Jr.]
Who Can I Turn To (In The Wind)
      [Jerry Williams, Jr. and Rick Spain]
Who Do They Think They Are
      [Jerry Williams, Jr. and Troy Davis]
Who Needs It I'll Tell You I Do
      [Jerry Williams, Jr.]
Who Would've Thought  
      [Stan McKenney and Jerry Williams, Jr.]
Why Does This Song Have To Be So Sad?
      [Jerry Williams, Beverley Green, Jewel Horde]
Why Don't You Lead Me To Love  
      [Jerry Williams, Jr.]
Why James Brown?
      [Jerry Williams, Jr.]
Why Must We Fall (When We Fall In Love)
      [Jerry Williams, Jr. and Stan McKenney]
Wifebeater
      [Jerry Williams, Jr. and Stan McKenney]
Wife Sitter
      [Jerry Williams, Jr. and Stan McKenney]
Wife Swap  
      [Jerry Williams, Jr.]
Wine Women And Rock 'N' Roll
      [Jerry Williams, Jr.]
Winners Circle  
      [Jerry Williams, Jr.]
Without You  
      [Jerry Williams, Jr.]
A Woman's Scorn  
      [Jerry Williams, Jr.]
Wonder How I Got Here (Took His Name In Vain)
      [Jerry Williams, Jr.]
Wonderful Is The Word
      [Jerry Williams, Jr.]
Would You Believe  
      [Tommy Hunt and Jerry Williams, Jr.]
Yes I Do  
      [Ronald Samuels and Jerry Williams, Jr.]
Yes She Really Loves Me  
      [Joe Kookoolis and Jerry Williams, Jr.]
You  
      [Jerry Williams, Jr.]
You Ain't Never Too Old To Boogie
      [Jerry Williams, Jr.]
You And Me Together Forever
      [Jerry Williams, Jr.]
You Are Everything  
      [David Bower, Bryan Anthony Morrison, Jerry Williams, Jr. and Terry Woolard]
You Are The Circus
      [Jerry Williams, Jr.]
You, Babe  
      [Jerry Williams, Jr.]
You Call It Love
      [Jerry Williams, Jr.]
You Can Always Get It Where You Got It
      [Jerry Williams, Jr.]
You Can Do Anything In America  
      [Troy Davis and Jerry Williams, Jr.]
You Can't Turn The Page  
      [Stan McKenney and Jerry Williams, Jr.]
You Had Him (Finders Keepers)
      [Jerry Williams, Beverly Green]
You Need A Personal Manager
      [Jerry Williams, Jr.]
You Need Love More Than Love Now
      [Jerry Williams, Jr.]
You Say You Trust Your Mother
      [Jerry Williams, Jr. and Troy Davis]
Younger Man Blues
      [Jerry Williams, Jr.]
Your Best Friend
      [Jerry Williams, Jr. and Larry Harrison]
Your Last Dirty Trick
      [Jerry Williams, Jr. and Don Hollinger]
Your Man
      [Jerry Williams, Jr.]
Your Sister Will
      [Jerry Williams, Jr.]
Your Wonderful Love
      [Jerry Williams, Jr.]
You're At Your Crossroad (Bring The Wood Home)
      [Jerry Williams, Bob Jones]
You're Gonna See A Lot More Of Me Leaving
      [Jerry Williams, Jr.]
You're Never Around When I Need You
      [Jerry Williams, Jr.]
You're The Best (That Ever Did It)
      [Jerry Williams, Jr., Gary Bonds and Charles Walker {a.k.a. Little Charles}]
You're The Dog (But I Do The Barking Myself)
      [Jerry Williams, Jr., Gary Bonds and Charles Whitehead]
You're Young But You'll Soon Grow Old
      [Stan McKenney and Jerry Williams, Jr.]
Yvonne
      [Jerry Williams, Jr.]
Y-v-o-n-n-e
      [Jerry Williams, Jr.]
The Z.Z. Thrill [a.k.a. Reprise #69]
      [Jerry Williams, Jr. and Yvonne Williams {a.k.a. Whippenstick and Red Seal}]


======
LYRICS:
======


I FINALLY FOUND MYSELF SOMETHING TO SING ABOUT --Jerry Williams, Jr. [transcribed by ear]

I finally found myself something to sing about
And oh, that's all I'm gonna do
I finally found myself something to sing about
And all I'm gonna sing about is you

People sing about mountains, birds and trees
But none of these things seem to interest me
'Cause all I want to sing about is you

Heard songs about fire and rain and alcohol
How to mend a broken heart, I don't know what all
But all I want to sing about is you

You've given me a melody
That I'll sing until the day I die
And on that day as they carry me away
I'll have all the angels singin' it in the sky

(Spoken)
And if ya' listen carefully you'll hear them chantin')

I finally found myself something to sing about
(Aw, sing it pretty)
Oh, that's all I'm gonna do
I finally found myself something to sing about
All I'm gonna sing about is you

      [Instrumental Break]

Just wanna sing
About my baby
Sing, sing
Lord, she's wonderful
Let me sing
The girl is wonderful
I wanna sing
About my woman
About my woman [fade out]


SYNTHETIC WORLD --Jerry Williams, Jr. [transcribed by ear]

Hey you, I'm up from the bayou.
Where wild life runs free,
you could say that I'm country,
but let me tell you what I see.

Your world is plastic,
can see through to the other side.
Your cities are made of wood -
antiques are what you got inside.

Houses of paper but folks don't hear a word you say.
Friendship's like acid - it burns as it slides away.
So you see, my patience is growing thin
with the synthetic world we're living in.

The word "imitation" on labels across the nation -
what's real has become a freak.
Someone's trying to make me weak.
Strange initials to keep me blind.
Psychedelic music to blow my mind.
So you see, my patience is growing thin
with the synthetic world we're living in.

Spray to clear the air, air to clear the spray
making people die every day,
and now I find I'm out of place
if I only have one face.
All my friend have more than two -
no longer must you be you.
They found out how to transplant
maybe "has" replaced "can't".
So you see, my patience is growing thin
with the synthetic world we're living in.


THE WORLD BEYOND  --Bobby Goldsboro [transcribed by ear]

I dreamed that I was living in the world beyond
And I was born after they dropped the bomb
I dreamed that I was sitting on my father's knee
And he told me of the world that used to be

Tell me again how it used to be
Did grass really grow, and what was a tree
Did rain really fall from the sky
What a shame that it all had to die

Tell me about the automobile
How did it run, and what was a wheel
Did children stand up all alone
I think that you're puttin' me on

I dreamed that I was living in the world beyond
And I was born after they dropped the bomb
I dreamed that I was sitting on my father's knee
And he told me of the world that used to be

Tell me again how it used to be
Did birds really fly, what was TV
did concrete cover the land
And what was a rock 'n' roll band

Tell me again what kids used to do
What was a dog, and what was a shoe
Did children look different from me
That must have been something to see

I dreamed that I was living in the world beyond
And I was born after they dropped the bomb
I dreamed that I was sitting on my father's knee
And he told me of the world that used to be

Tell me again about sunshine and rain
What was a boat, and what was a train
Were people as lonely as me
And did they live in caves such as we