In your CREDITS you have Larry Ross listed as the sole arranger for track:B,It should read Arranged by-Bill Jacocks and Larry Ross ( even the label for the B side says Larry Ross AND Bill Jacocks). How do I know? I am the writer, producer, arranger, copyright owner, etc. of this record, the second and last on my Fly-By-Nite label. Larry Ross,whom I consider a musical genius, had nothing to do with the writing of this music, but was, indeed, contributive to the arranging.

Hi, this is Dr. Larry Ross. Here is why Bill put listed me as co-arranger on Questions 2 (the B side of the 45). When you hear the classical guitar come in, that is the 'hook' that I added on the session, because Bill needed to 'stretch' the tune, to finish side B. I just happened to bring my classical guitar with me, because I was 'into that' at the time. Thus, I came up with a new lick, and brought in the brass and woodwinds to support it (Bill did not do brass and woodwinds). The players on this session were Pierre DeMudd (trumpet), Rasool Carey (woodwinds), Ulysses Young (Trombone), Tracy Pruitt (bass), James Ensley (drums), and I played a Les Paul Custom Black Beauty electric guitar, classical guitar, and piano. You will not hear the lick played on classical guitar on Questions 1, because it had not been invented yet. It sounded good to Bill, and Arnie who was a legendary recording engineer, and that's how it got in. We did the session at Agency Recording which was located above The Agora nightclub on the Cleveland State University campus. The band, known as Mother Braintree, had been playing for Motown artist Edwin Starr at The Apollo Theater, The Copacabana, and other venues since June, 1971, before Edwin left for Europe. Importantly, the band did recording sessions in Detroit in the late 1970s - early 1980s produced by the famous E. Rodney King (Chicago radio personality) and his friend Al Perkins (producer of One Way, and others). Al Perkins was killed in Detroit, and the tracks were never released: however, they were awesome because we had keyboardist Carl Slaughter (a George Duke expert) and his friend Roger (awesome soprano and tenor saxophone soloist). The song that I wrote along with keyboardist Ameer Akram "Are You Coming Back To Stay" had an arrangement that was off the charts, and if anyone ever finds those track that Mother Braintree recorded in Detroit, it might be a hidden treasure? The band never really recovered after the Al Perkins's murder (we were in Cleveland when it happened, so we were just told about it); Sun-Ray Productions signed The Dazz Band, and they wanted to sign Mother Braintree, but we objected to the terms of the contract. Pierre DeMudd and Wayne Preston went with The Dazz Band, and they won a Grammy, while the rest of us formed other groups (I formed a fusion jazz group called Eclipse with bassist Tracy Pruitt, keyboardist/flutist Terry Quisenberry, and drummer Clarence Coster). So that's what happened: you had to be there, and playing, to know what was going on.