I think your riff in Hold It, Don't Drop It was sampled from my 100 Ton and a Feather version of It Only Takes A Minute - top ten in 1976. Could I have my 3 million dollars please?

Ah I see technically it came from the Tavares version and at least Lambert and Potter got a share of the writer royalties but I think it was MY MASTER!!!

Let's hope she reads this forum then eh?!

Sadly it was 2007 so I'm not holding my breath or keeping my fingers crossed.

Have you made it known to them (other than on here)?

No it doesn't bother me much K - I did very nicely from my original hit version, thank you. Like Hooked On A Feeling, the people who really deserve to profit from it are the writers.

Very noble of you to say, hope people like Spotify read this forum and take note!

Nothing noble about it K - I'm lucky enough to be a writer as well as a producer and singer; so I've done fine. I just reckon it's the writers who should be most rewarded.

You see K - I was the 5th member of 10cc; found them, named them, broke them into a huge success. As a result I reckon I deserve a small percentage reward in perpetuity. But not the lion's share - that they deserve, for writing and creating the music. Likewise, whilst I named, encouraged, taught and inspired Genesis, I failed to break them and therefore decided I didn't deserve a share of their reward when they succeeded (even though I helped them and, in return, own all their early work which I produced and paid for). I actually wrote and created such things as Everyone's Gone To The Moon, It's Good News Week, Johnny Reggae - and deserve the lion's share of money earned by them. I was artistically a huge part of the success of Hooked On A Feeling, It Only Takes A Minute and others so deserve a nice regular income in perpetuity but my involvement was less than that of the original writers. Someone like J Lo who simply sang along with the new version deserves little more than a session fee.