|By phillysoulman (188.8.131.52 - 184.108.40.206) on Tuesday, January 29, 2002 - 11:53 pm:|
DID THE LATE BARNEY PERKINS EVER WORK AT MOTOWN? I BELIEVE HE DID A LOT OF STUFF FOR H.D.H.
HE WENT ON TO L.A. AND DID ALL THE ANITA BAKER THINGS SWITH MICHAEL J. POWELL. IBELIEVE THAT HE DID THE HONEY CONE THINGS WITH H.D.H.
ALSO, WAS THERE REALLY A RON DUNBAR OR WAS THAT A PSEUDONYM FOR ON OF THE HOLLANDS. THOM BELL SWEARS THAT R. DUNBAR IS A REAL PERSON AND HE HAD GOTTEN SONGS FROM HIM WITH SOME BLABBERING EXCUSES FOR POOR QUALITY TAPE AND SOME OF HIS RELIGIOUS CONVICTIONS AS WELL!!
I THINK THAT IT IS A LOAD OF CRAP AND R. DUNBAR AND E. WAYNE ARE PSEUDONYMS FOR H.D.H. AND CARL CONCURS.
|By david, glasgow, scotland (220.127.116.11 - 18.104.22.168) on Wednesday, January 30, 2002 - 08:45 am:|
speaking off the top, i think that ronnie love was also known as ronald dunbar.
ronnie love had release(s) on mike hanks d.town records. 'detroit, michigan' springs to mind.
|By Ritchie Hardin (22.214.171.124 - 126.96.36.199) on Wednesday, January 30, 2002 - 09:52 am:|
According to Lamont Dozier:
"Brian and I came up with Band of Gold and Give Me Just a Little More Time, but we didn't put our names on 'em because we were in a lawsuit and couldn't use our names. So we used Ronnie Dunbar, who was an employee of ours and Edith Wayne, who was a friend of the Holland family....
After that we brought in Greg Perry and Genearl Johnson... Ronnie Dunbar too."
Sounds like there was a Ronnie Dunbar after all. I'll have to check up on Ronnie Love.
|By Rich (188.8.131.52 - 184.108.40.206) on Wednesday, January 30, 2002 - 01:56 pm:|
Ron Dunbar was a pretty close associate of George Clinton's as well. He co-wrote, produced & arranged a lot of the material recorded by Parlet & the Brides of Funkenstein from 1978-1980 at United Sounds. Ron Dunbar & Ronnie Love are one in the same. His "Chills and Fever" (as Johnny Love) was picked up on the Dot label in 1960 as Ronnie Love & his Orchestra.
|By phillysoulman (220.127.116.11 - 18.104.22.168) on Wednesday, January 30, 2002 - 03:40 pm:|
THANKS FOR THE CLARIFICATION
|By Carl Dixon London (22.214.171.124 - 126.96.36.199) on Wednesday, January 30, 2002 - 04:29 pm:|
I am still confused. Does that mean they did write the songs, but for convenience, used other staff employees names, or shall I go back to sleep?
ps - I am still convinced that my 'hospital' and 'university' story I thought was right...........is right!!
|By John Lester (188.8.131.52 - 184.108.40.206) on Wednesday, January 30, 2002 - 05:13 pm:|
Barney Perkins's name can be found on Hot Wax, Invictus albums and also the same artists when they went to ABC...eg Freda Payne..often with Reggie Dozier
|By Ritchie Hardin (220.127.116.11 - 18.104.22.168) on Wednesday, January 30, 2002 - 06:28 pm:|
Lamont D was trying to say, yes, they did write those songs. At that time, they were involved in litigation with BG over Motown royalties - which meant that technically, they weren't supposed to publish any original new material. So, they got round it by crediting the new songs to other folks they could trust. It struck me at the time that it seemed strange that HDH weren't writing the songs for their new label, and also as the new material was so fantastic, why on earth hadn't we heard of Dunbar & Wayne before?!
|By phillysoulman (22.214.171.124 - 126.96.36.199) on Wednesday, January 30, 2002 - 07:32 pm:|
I ACTUALLY DID THAT TOO ON OCCASION WHEN DEEMED NECESSARY TO AVOID CONFUSION ON QUESTIONABLE SONGS, OR WRITING WITH ANOTHER PERFORMING RIGHTS ORGANIZATION I.E. ASCAP/ VS. BMI. YOU COULD ONLY BE IN ONE OR THE OTHER SO I BECAME SOMEONE ELSE WHEN CO-WRITING WITH AN ASCAP WRITER.
|By John Lester (188.8.131.52 - 184.108.40.206) on Wednesday, January 30, 2002 - 10:35 pm:|
So Bobby ..can are now able to tell us who else you became or do you still need to keep it quiet!
|By Bob Olhsson (220.127.116.11 - 18.104.22.168) on Saturday, February 09, 2002 - 05:01 pm:|
Their contract with Motown assigned the ownership of anything they produced or wrote during the term of the contract to Motown in exchange for substantial royalties and other compensation.
This was a pretty conventional producer/writer arrangement and they had been the most highly paid BMI songwriters in history for a number of years before leaving Motown. Their lawsuit was undoubtedly intended to get them released from their remaining obligations to Motown.