Saturday, May 28, 2011
How are you? As you will probably recall, I worked for Marty Machat and then managed Leonard Cohen and interned with Phil Spector. Cohen and I parted ways in 2004. He committed very serious criminal tax fraud and used me horrendously. I came across some papers relating to Stranger Music, Inc. and copyrights. One was a letter Marty Machat sent to Irving Trust transmitting a $30,000 check in payment for his (Machat & Machat) and your 15% interest in Cohen's publishing. I also own 15% although Cohen has since retaliated against me. He has also stolen from Steven and Marty Machat, Phil Spector, and me. I've enclosed some links to information you might find of interest. I'm writing a book on various matters - including being dragged into Phil Spector's set up and the fact that it appears that Cohen may have perjured himself in Phillip's grand jury and shows up in the prosecutors motions. Of course, he told the detectives from LAPD that his stories about Phillip were good rock 'n roll comments. That would, I assume, include stories Cohen likes to tell about biting into revolvers in hamburgers on the Spector sessions. He couldn't stand being sidelined as a mere singer. Take it easy, Bob.
I reread your 2002 article. I was his manager at that time (and in 1988) when you interviewed him and we met. I see that you are friends with Steven Machat on Facebook. I worked with Steven Machat and his father, Marty Machat, until Marty's death in 1988. That is how I came to work as Leonard Cohen's personal manager and began interning with Phil Spector. Phillip and I have remained friends and, as most people in reality have noted, he was set up. Lana Clarkson, according to Phillip, was high on vicodin and booze, and was dancing around in his foyer while waving a gun, prior to shooting herself. She was clearly down and out and the fact that Baby Doll Gibson (her madam) said she was a prostitute who played kinky games with guns is relevant although the court concealed this from the jurors. See article below on Phillip's sham set ups.
Mick Brown/UK Telegraph wrote me that Cohen testified against Phillip in his grand jury. That is an outrage since Cohen told me, for 20 years, that Phillip never held a gun on him. He told the LAPD detectives I met at his house that his comments about Phillip over the years were "good rock 'n roll comments" so what caused him to change his story and testify against Phillip?" The prosecution also used Cohen in their motions as an example of "prior bad acts." Here's my theory: Cohen committed serious criminal tax fraud (with penalties & interest in the amount of $30 million) and thought perhaps the District Attorney could help him and visa versa. Leonard Cohen then retaliated against me. He owes me millions. I own 15% of all intellectual property. Oddly enough - so does Steven Machat. See transcript of Steven and my recent conversation (link below). Cohen is a thief. He has also stolen from Phil Spector.
Your article is naive but Cohen's a great liar; fraud; and con artist. The tactics he has used on me are brutal and vicious but pure Cohen. I've also enclosed a link for an article Ann Diamond wrote for Rolling Stone. It is factual. Cohen threatened her with legal action. He is an out of control lunatic and his history of mental illness, drug and alcohol abuse, etc. does not help.
Cohen didn't leave the world and go to Mt. Baldy. You can check him out on You Tube (Armelle Brusq documentary from 1996) working. You can also read his interview with Bob Hillburn re. the tribute album interview. I put that tribute album together. Cohen confirms for Hillburn that he is in town frequently visiting me at my office and his daughter. In any event, I am writing a book - River Deep, Mountain High - that will include an interview with Phil Spector on many issues: his musical career; working with the fraud Leonard Cohen; and his sham trials and set up. Steven Machat, who knows Phillip, has offered to testify for him. Marky Ramone confirmed that Phillip never held a gun on them. These stories are rock 'n roll stories meant to sell records, advance careers, and bore people to death but they are "de riguer."
I trust you're well.
P.S. I've asked Phillip to join me in a lawsuit against the District Attorney and others. When you read the article for Rolling Stone you'll probably have a good idea as to why.
Wednesday, May 25, 2011
What Happened When Phil Spector
Met Leonard Cohen?
By Harvey Kubernik
Leonard Cohen - singer, songwriter, guitarist, poet, novelist, and sometime straight faced spokesman of the hilarious ironies of the human condition - walks into the dimly-lit recording studio control booth. The place is called Gold Star, and it is a shining capital of musical energy in the midst of a dying neighborhood in a particularly faded part of Hollywood...
Cohen lets a hint of a smile cross his face, but nothing more. He is not one to demonstrate elaborate emotional feeling in a personal situation. He sports a finely tailored dark blue blazer and well-cut grey slacks, and he radiates a poise uncommon to the environment at hand. His charm is substantial, and it isn't hard to fathom why at least some people find themselves so wholly taken with his art. It's not so much what he is about that is important, but what he seems to be about - not so much what he says, but what he implies.
As Cohen sits down in the booth, a voice screams out of the dark silence: "This isn't punk rock! This is ROCK PUNK!" Then the first notes of a rhythm track drive through the monitors.
The voice belongs to Phil Spector. Imposing, like a king bethroned, he sits behind the mixing board, incessantly fondling an empty bottle which once contained 32 ounces of pure Manischewitz Concord Grape Wine. He wears a sharp, severe black suit, a green shirt, and a very expensive pair of shiny black leather boots - boots which are presumably made for rockin'.
In a year of unlikely artist/producer combinations - Reddy/Fowler, Flack/Ezrin, Grand Funk/Zappa, etc. - this is perhaps the most unlikely: Phil Spector, demon genius of the rock-and-roll production number, producing Leonard Cohen, ascetic prophet of acoustic disaffectedness, with the final product to be known as Death of a Ladies' Man.
"We've made some great fu-in' music on this album," Spector says, his voice assuming a high-pitched urgency, a blend of Arnold Stand and Jerry Mathers. With that, he leaps from his chair and hugs everyone in the room. He is very happy with his work, and he wants everyone to know it.
The '70s have been a strange decade for Spector. At the beginning of the period, he made two splendid albums with John Lennon. Then came interesting but generally disappointing projects with Harry Nilsson and Cher. When Spector produced a Dion LP for Warners at great cost last year, the company decided not even to release it in the U.S.
The worst blow came, in a sense, though, when Warners agreed to release a definitive Phil Spector anthology, an attractive, well-researched package (with notes by Ken Barnes), made with Spector's full co-operation. It was an incredible collection of music, and a beautifully presented one - but Phil Spector's Greatest Hits didn't even make Billboard's Top 2000 album list.
Insiders could probably explain away the LP's low sales: Warners probably didn't ship more than 30,000 units at release, thereby marking the album as a sort of "labor-of-love" LP intended only for hard-core Spector fans or Spector supporters within the music industry. The record company didn't even allocate a complete disc-jockey service nationally. It certainly wasn't intended to be a major commercial release effort.
Nevertheless, there have been three albums since it was released - "Then I Kissed Her," "Da Doo Ron Ron," and "Be My Baby." Michael Lloyd and Jimmy Innear will no doubt continue to find it an insatiable source of future cover tunes for their boppers well into the '80s. Thus, while the album was hardly a money-maker in terms of actual units sold, it has proven and will continue to prove to be a veritable gold mine of publishing royalties.
But that is hardly enough for Phil Spector - whose brilliance only starts with the songs he writes, but really gets to shining when he gets those songs into a studio. And so it is obvious that the Leonard Cohen sessions have been important to him - almost therapeutic. He certainly seems to be taking his work extremely seriously: He has been decidedly less theatrical in the studio of late; the usual Spector circus atmosphere seems to have been replaced at least in part by a rediscovered, or new interest in the music itself. And that seems to be very good medicine, both for Spector and for Cohen.
Spector and Cohen, despite their obvious surface differences both in personal style and in musical direction, share one, all-powerful element of musical taste - a love for rock-and-roll. It is deeply rooted in them, and it pervades the work they do together. It is their shared medium, their common ground. A mutual affection for rock's basic greatness has bound the two men together, and made their collaboration work.
"Working with Phil," says Cohen nonetheless, "I've found that some of his musical treatments are very...er...foreign to me. I mean, I've rarely worked in a live room that contains 25 musicians - including two drummers, three bassists, and six guitars."
The track Cohen and Spector are particularly interested in listening to right now is "Don't Go Home with Your Hard-On," the album's all-out stomper, with hosts of loud horns and pulsating beat that's hammered all the way home by dual drummers playing in perfect synch. Above it all, comes Cohen's menacing, gritty vocal work, which holds center stage in a most unexpected but effective way. "I can really belt 'em out, you know," says the singer, as he takes a swig of Jose Cuervo from the bottle.
Cohen and Spector first met late in 1974, when Cohen was in Los Angeles for a rare club appearance - a two-night gig at the Troubadour. After the last show on the second night, Spector hosted an informal reception for Cohen at his home - a Spanish-style mansion in the grand, excessive Southern California tradition.
Cohen was brought to Spector's attention, and vice versa, by Martin Machat - who had independently become lawyer and business manager for both men. Machat took Spector to see Cohen perform. Throughout Cohen's 90-minute show, Spector sat quietly, very still, immediately impressed (he later said) by Cohen's mystery and his technique (or maybe the mystery of his technique...or the technique of his mystery...)
The two men got on well at the post-Troubadour reception, and kept in some sort of loose touch thereafter. Late in 1976, when Cohen visited Los Angeles again, Spector invited him to be his houseguest. The first night, the two worked out a new version of Patti Page's "I Went to Your Wedding"; by breakfast, they'd co-written two new songs - Cohen the lyrics, Spector the music (picked out on the piano). The seed was sown for what ultimately became Death of a Ladies' Man.
Cohen is said to have remarked of Spector that "Phil is not a great songwriter, but he's a bold one. He's bold enough to employ the most pedestrian melodies, and yet somehow make them absolutely successful. That is why his compositions are brilliant." Cohen is especially impressed by Spector's early work - "To Know Him Is To Love Him," "Lovin' Feeling," etc. "In those songs, the story line was as clear as clear could ever be. The images were very expressive - they spoke to us all. Spector's real greatness is his ability to induce those incredible little moments of poignant longing in us."
Cohen's own images are expressive, too, of course. On Death of a Ladies' Man, they seem particularly direct. "This is the most autobiographical album of my career," he says. "The words are in a tender, rather than a harsh setting, but there's still a lot of bitterness, negativity, and disappointment in them. I wish at times there was a little more space for the personality of the story-teller to emerge, but, in general, the tone of the album is very overt, totally open."
He goes on to say, "I was a little off-balance this year." Songs like "Iodine," "True Love Leaves No Traces," and the album's title track mirror his situation. All the usual Cohen concerns - lost love, personal chaos, doubt, romantic dilemma, alienation, lust, etc. - are present in strong force. "And don't forget humor," Cohen adds. He also says, "I worship women," and suspects that, with the release of this album, "Everybody will now know that within this serene Buddistic interior, there beats an adolescent heart."
By 6 A.M., Spector and Cohen are still listening to one rough mix after another. Bob Dylan appears somewhere in the midst of Spector's huge, complicated sounds. So do Hal Blaine, Jim Keltner, Nino Tempo, Jesse Ed Davis. Allen Ginsberg, Art Munson, Ray Pholman, and Dan and David Kessell - sons of jazz guitarist Barney Kessel. The music is hard and solid and soulful. There is, above all, nothing "El-lay" about it.
To this day, Spector meets people who can't believe that all his great hits were cut in Southern California. "They thought Gold Star was in New York," he says. "Of course, what I do is hardly typical California stuff. There are no four-part harmonies on my records... Maybe 32-part harmonies..." He looks around the room. "Anyone here who plays Asylum records, please leave. Anybody laid-back in this room, get the f-k out of here!"
Cohen likes Los Angeles. A native of Montreal, who has spent much of his time in recent years in the South of France and in other European hideaways, he has now moved to Southern California himself. "I like it," he says. "It's so desperate here that it's really not bad at all. And, besides, this is the only city in the world where I've ever written a song while sitting in a driveway in a parked car."
Later in the morning, back at Spector's mansion, as the jukebox plays the psalms of Elvis, Dylan, Waylon, Otis, and the Drifters, Spector muses about his own life. "It didn't take extraordinary strength for me to change the way I was," he claims. "What I was doing just had to stop. It isn't hard to see that, especially after you've gone through a couple of windshields at high speeds.
"I have to admit that I did enjoy it to a certain extent - being rich, a millionaire in his mansion, and dressing up like Batman...But now I can see beyond that, and see just how unhealthy and unproductive it became.
"I'm ready for anything now. Nothing frightens me. I feel I can do more now than I could ever do before. I feel extremely ready musically. I'm more comfortable, more relaxed, more together. I understand what I want to do, and I'm going to do it. It's time to get serious again."
Then he says, "Come into the other room. I want to play you some more of the Leonard Cohen tracks."
And as he punches up "Don't Go Home with Your Hard-On" once again, the tight, string, perfectly conceived production fills the air, he says "Ain't none of us ready for the glue factory yet. I'll go one-on-one with any producer in the world, anytime." He smiles. "We can still kick ass!
Tuesday, May 24, 2011
Transcription of shorthand notes – Kelley Lynch’s phone conversation with Keisha Martin.
A woman calls and says she is calling about Hopeton Brown.
I ask if she is the court reporter. Keisha Martin tells me “I am Hopeton Brown’s friend.” I attempted to get a transcript of the hearing. I am having a difficult time understanding Hopeton’s English and explanation of what occurred at the hearing. I know the “witness” who testified (male Asian) was not present when Amara Wilson was asked to give the camera back. I know there was a recess and the judge did not ask this man to return and Hopeton Brown was unable to rebut his testimony. He is upset about this. This man was the process server and Hopeton Brown told me he is Amara Wilson’s lover, witness, process server and possibly someone she does some type of business with.
Addi Somekh called Keisha Martin and had her call me re. Amara Wilson and Hopeton Brown. Keisha Martin is a friend of Wilson’s. She is also a friend of Hopeton Brown’s.
I explain to Martin what has unfolded with respect to Amara Wilson and her accusations directed at Hopeton Brown. That included the TRO, camera, tapes, an email with a virus, and a “soft kidnapping.”
Keisha Martin tells me:
“They went to court on that.”
“She doesn’t tell us what happens.”
“She’s one of my friends.”
“I told Hopeton Brown I would be a character witness.”
“I don’t think he is violent and I don’t think he would do that.”
“She is aggravating him at this point.” Martin said this is because they stopped dating.
I brought up the video tutorial tape and/or tapes. “She told him she destroyed it.” I replied that she appears to be a liar.
Martin says: “About the kidnapping: I don’t think he would do it. I think she’s making it up. If someone kidnapped her she would have told her friends.” “I knew Hopeton before I knew her.”
Martin tells me Amara Wilson is a “drama queen.” She tells me flat out: “There’s no kidnapping.” We discuss the fact that Wilson has raised the disappearance of Hopeton Brown’s ex and child on the record (TRO hearing) and is attempting to paint a portrait of a violent and possibly dangerous man. Martin thinks that’s preposterous and tells me “he would have got caught if that if it was.” I advise her that his ex applied for child support so we have evidence that they are alive and possibly in Florida.
Keisha Martin tells me: “I know that she’s a drama queen.” “This was an immature action.” “Wanting to break up.” Martin would not go into details about this. She believes Hopeton Brown and Amara Wilson were dating. “She said they were dating.” I mention that Hopeton Brown does not believe they were in a relationship – at all. Martin tells me “They both said they were dating. They had a relationship. Technically they were dating. He had dinner at her house. “The kids.” I ask about Wilson’s child. Martin confirms Wilson has a boy. I ask if he’s a young boy. Martin’s defensive now and does not want to talk about personal details re. Wilson’s life. She confirms – he’s a “young boy.” I asked if Wilson allowed Hopeton Brown around her son and Martin said “she allowed it.”
Martin tells me: “Hopeton Brown is a nice man. Hopeton Brown has not kidnapped anyone.” “The only reason why I’m calling – I know Hopeton Brown’s a nice guy.”
At this point I ask Keisha Martin if she will sign a Declaration attesting to her statements. She tells me no. She is now aggressive and defensive. I ask Martin if she will take the witness stand. “I don’t want to be involved with her shit.” Martin tells me “My name she not be involved at all.” She says “I’m telling a truthful story. He is a nice man.” “I have known Hopeton Brown … I ask when she met Hopeton Brown. She tells me “Ten years ago.”
I ask if she knows Pay Harrison. She says “He told me that story.” I ask if she ever goes to Echo Park (where Hopeton Brown works): “I go there for certain shows.” She informs me that she doesn’t hang out at clubs. I told her I do not either. She informs me “I do music.” I ask what she does and she says she is a “vocalist.”
I explain that Sergeant Sanders told me, this morning, that based upon their investigation and Amara Wilson’s statements he and Detective Horning have concluded that Hopeton Brown is a liar, con artist, and a “soft kidnapping” was raised as an issue. I explain that there was an investigation and it is possible that they will learn of Keisha Martin and her statements. She tells me not to trust the Sheriff’s Department. And tells me something like “You know what they’re up to” or “You know what they’re doing.” I have no idea. From my perspective, Sergeant Sanders is honest, professional, and has spent a great deal of time on this matter. He did not seem to be up to anything.
Keisha Martin tells me “Hopeton Brown has been a genius.” “He did invent ‘the dub.’” “He is amazing.” She tells me he was “never violent towards” her. She had dinner with him 3-4 times. He never “displayed any violence.” I ask if he’s ever been mean. Martin tells me “He has never been mean.”
We discuss the “soft kidnapping” issue. Keisha Martin tells me “Amara brought that up.” I am unclear but she said, initially, that Amara Wilson raised this as an issue at the hearing. I inform her that I do not have a transcript of the hearing. She tells me if she is dragged into this “We will be stumped.” I ask who “we” is and she tells me “Our other friends.” She then tells me “This is my first time hearing this.” This conflicts with what she just told me. Martin tells me “She knows that to involve us.” Martin is outright hostile at this point. “She doesn’t want us to get involved in her drama.” “She’s smart.” “Why would she want us to know if she is doing something wrong to Hopeton Brown?”
I point out that Keisha Martin if aggressive and defensive with me. Martin tells me “I am defensive. Hopeton Brown is a nice guy.” I ask her why she’s defensive and remind her that she called me.
The conversation ends at this point.
Addi Somekh (Witness #2)then calls to see if Keisha Martin called. I explain what happens and he sounds puzzled. I explain that I’m on another call and will call him back. He’ll call me if I miss him.
Here's what Duck told me:
I'm an entertainer.
I have some problems with her [Pe Blackwell].
She is at my gigs. She came to my show in Santa Cruz. I was on-stage
performing. I saw her, while performing, sneaking backstage. That is where
we keep our personal belongings - such as luggage.
I got off my drums and asked her what she was doing. She was taking bottles
I asked her what she was doing.
She threw a drink on me and hit me with her purse. I had the Santa Cruz
Police Department and security of the club go back, get her, and remove her.
At 2 AM, she was in the parking lot with her road manager. I saw her.
I don't know if she was arrested earlier.
After she could not get her career going with Stokley she latched onto the
Eek-A-Mouse is the singer.
When she checked out of the hotel [morning after the incident at the
Catalyst Club the night before] she came out of a roadie's room.
We [band] were going to Eugene, Oregon.
She got into the car with her road manager.
Three weeks ago, my wife and I were at a club in Hollywood. She talked to
my wife and asked if I was there. My wife said yes. She told my wife that
I was mad at her. My wife mentioned that conversation to me later. I've
been married 16 years. Never dated Pe Blackwell.
Pe and Stockley broke up. He wanted to break ties.
NOTE: KL mentions to Duck that Pe Harrison threatened and tried to kill
herself at the Scientist's house and we discuss what happened to Phil
Spector. He understands what goes on with these women.
She pulled that with Fishbone. After I had her thrown out people started
telling me that she tried to commit suicide with someone in the band
Fishbone. She is an upcoming singer. They are desperate. Latch onto an
industry person. They do it in the wrong way.
Since she is not with Stokley I don't need her around my band. When I saw
her around the concert at the Catalyst Club [night of the assault; a few
weeks ago] I said "No access backstage. I don't want anyone backstage." We
had personal items back there. I don't know if she was trying to get
personal items from us. She threw a drink on me. The police were on the
side of the stage. Santa Cruz Police and security escorted her out.
NOTE: We discuss what has happened to the Scientist re. Amara Wilson (fraud
TRO, stolen camera, video tutorial, allegations, etc.)
If it's abuse where is the police report?
The Catalyst has a report of the Pe Blackwell incident on record. Go
through county records on her, AFDC, Crystal Stairs, Cty welfare. She's on
every scam. Run her name in the system. Check Facebook. Pe Blackwell's
activity might be farther than just the industry.
Pe was a stomach ache when Stokley started dating her. I said: why is she
on tour? It drove me bananas. It ran its course. I told Stokley: if you
keep bringing her around - either she will sleep with Mouse or he'll call
her a "bitch." He slept with her and called her a "bitch." Stokley broke
up with her after this happened. She got arrested plenty of times at
Stokley's. She stole from him. She lives near Lankersham. Check with
North Hollywood Police Department.
Brown was introduced to electronics by his father, who worked as a television and radio repair technician. He began building his own amplifiers and would buy transformers from Tubby's Dromilly Road studio, and while there would keep asking Tubby to give him a chance at mixing. He was taken on at Tubby's as an assistant, performing tasks such as winding transformer coils, and began working as a mixer in the mid-1970s, initially creating dubs of reworked Studio One rhythms for Don Mais' Roots Tradition label, given his chance when Prince Jammy cut short a mixing session for Mais because he was too tired to continue. The first hit record that he mixed was Barrington Levy's "Collie Weed".
He left King Tubby's studio at the end of the 1970s and became the principal engineer for Channel One Studio when hired by the Hoo Kim brothers, giving him the chance to work on a 16-track mixing desk rather than the four tracks at Tubby's.
He came to prominence in the early 1980s and produced many albums, his mixes featuring on many releases in the first part of the decade. In particular, he was the favourite engineer of Henry "Junjo" Lawes, for whom he mixed several albums featuring the Roots Radics, many based on tracks by Barrington Levy. He also did a lot of work for Linval Thompson and Jah Thomas. In 1982 he left Channel One to work at Tuff Gong studio as second engineer to Errol Brown. He then emigrated to the Washington, D.C. area in 1985, again to work in studios as a sound engineer.
He made a series of albums in the early 1980s, released on Greensleeves Records with titles themed around Scientist's fictional achievements in fighting Space Invaders, Pac-Men, and Vampires, and winning the World Cup. Scientist has alleged in court that Greensleeves sold these albums without his consent, according to his interview with United Reggae online magazine.
Five of his songs from the album Scientist Rids the World of the Evil Curse of the Vampires were used as the playlist songs on the K-Jah radio station in the 2001 video game Grand Theft Auto 3. Scientist has alleged in court that these songs were used without his consent.http://en.wikipedia.org/wiki/Scientist_%28musician%29
DECLARATION OF REZ KHAN
I, REZ KHAN, declare:
1. I am a citizen of the United States who resides in the State of California. I am a friend and business associate of Respondent Hopeton Brown’s. I have known Hopeton Brown for approximately 10 years. Except as to those matters stated on information and belief, I have personal knowledge of the facts set forth below and could and would testify competently thereto if asked to do so.
2. I am the owner of Seedless Clothing and promote special events. I have a degree in Psychology and International Security & Conflict Resolution.
3. Hopeton Brown is known professionally as “The Scientist” and is considered a living legend in the Reggae field of music. I was present for the Sister Carol performance at the Belly Up Tavern on April 20, 2009. I promoted this event. Hopeton Brown was the sound engineer and Amara Wilson was his guest for the evening. Sister Carol is one of Jamaica’s top entertainers. The Belly Up Tavern is a club in Solana Beach, California where live acts perform. Rolling Stone Magazine regards the Belly Up Tavern as a very important venue for live music and entertainment.
4. I met Amara Wilson that evening and she seemed pleasant. Everything seemed fine between Amara Wilson and Hopeton Brown. Amara Wilson reminded me of a groupie. She was excited to be part of the crew and backstage. I am becoming very frustrated with these types of women. I have heard the allegations about Hopeton Brown, a so-called “soft kidnapping” with respect to Amara Wilson, and know they are nothing other than malicious lies and slander. When I promote an event, I keep a close eye on everything. I am exposed to liability. If I see a gang member fly a sign, which is not permitted, I ask security to deal with the situation. When I see a drunk girl or woman, I put her in a cab. This event was a party. There was not a human being present who did not to be there. Amara Wilson was free to do whatever she wanted over the course of the evening. She was not there against her will. Hopeton Brown was working, engineering the show, and incredibly busy. At any moment, throughout the evening, she was free to leave of her own accord.
5. In the 10 or so years I have known Hopeton Brown, he has always conducted himself professionally. I have never seen him behave in a rude, abusive, or aggressive manner. That type
behavior is not part of his personality. He is the consummate professional and a gentleman.
I declare under penalty of perjury that the foregoing is true and correct.
Executed this 21 of April 2011 at Los Angeles, California.