Robbk

Was this a Mexican-American label? Or just a typo, which should have been spelt: "Jamie"? I didn't know that Jamie Records was still in operation in 2002. or, had it been shut down previously, and revived?

I know of J & W 1001-Sue Perrin - "Can't Let Go" (1964) and Stewart Ames-"Oh Angelina"-(1965?). What other releases did this Golden World subsidiary have? Can we piece together a discography?

The Detroit Stars label was also one of Ron's labels.

1991 is correct. That was Ron Murphy's label. Yes, they were from unreleased masters of Detroit Gold Soul (Metros, Nelson Sanders and Doni Burdick), from 1970 recordings.

In USA??? Kind of hard to believe!

I far prefer the actual release to the unreleased version. I got mine when the record was out in 1964. The Charmers were not appreciated during their time (except, perhaps regionally-in The Northeast. They were virtually unknown in The Midwest.

I looked it up. It was a schoolboy (public school?) phrase originated from "a pile of (e.g. smelly/unwashed) pants". Interesting!

Does anyone here know the origin (derivation) of that idiom?

Or (very often) your lily-White parents didn't ALLOW you to bring a record made by a Black artist into the house.

What a quaint idiomatic phrase! is the phrase "is pants" an update of "the cat's pajamas"? Or does it mean "in the toilet"? Which hovercraft is full of eels? Do you really own one? I'm Hungarian on my father's side.

Then those people singing versions of the song Jackie sang, are doing remakes of his version (as opposed to "covering" that song. The choice of the word "cover" to be used as a term for releasing another version of the same songg at the time the original is out, was to imply that that second version's release replaced the original as the big seller (effectively covering up its recognition by the public-and changing that recognition to the newer version). Naturally, that wasn't always the intention of covering a record, but it was used first mainly as a "negative" term. It didn't always hurt the original artist. It often gave the Black artist recognition in the Pop market, which he or she hadn't had before. That led to more work and bigger fees for appearances. But, it DID often hurt sales of the original record.

Were those versions out at the same time as Jackie's? If so, then they were covers. If not, they weren't.

A "cover" of a song is a release that comes out during the original run of a released record, to take advantage of its recognition by the public, and get more sales from that recognition (e.g. "steal sales"). That was done much in the early to mid 1950s by producers of Caucasian artists to sell songs performed by Black artists to the Pop market (White audiences). It was also done by artists of other music genres using a song from a different genre. I don't remember any covers of "(Your Love Keeps Lifting Me) Higher and Higher" (e.g. no other versions out at the same time). The same song sung by another artist after the original has finished its run is NOT a "cover" (except in the sense that "I COULD care less" now means "I COULDN'T care less"). I'm not against languages changing over time, EXCEPT in the case of a change in meaning being totally illogical AND also erasing the meaning of a word and leaving the language with no replacement word for that word. If "cover" now means what we used to call "remake", then there is no longer a word to represent the original meaning of that particular meaning of "cover".

There were no "covers" of Jackie Wilson's "(You're Love Keeps Lifting Me) Higher and Higher". I suppose, one might term Wilson's version a "cover" of The Dells' version. There were some re-makes of it. I remember a female single artist having a hit with it in 1974 or 1975. I can't remember her name. I didn't pay any attention to music made after 1970, other than what we did at Airwave Records (and I didn't pay nearly enough attention to THAT).

I like Monster Masters- Quick Quiz name the Van McCoy cut released on that label-and the artist.

That is an extremely common nose shape among Africans from The Guinea Coast and The Ivory Coast (where more than 90% of the slaves destined for North America originated). Furthermore, that hair-do, with the high pompadour was what just about every Black man in USA wore in 1965. They look like two different people to me, looking at the eyes, cheekbones, mouth and other features. I've also seen another photo of Hamilton and another of Binns, which look more different than these two.

Here's a scan of REM 102: Here's a link to the ballad side("Hey little Girl"): It's a Caucasian group singing a poor attempt at a Doo Wop ballad. "The Fern" is likely a very silly dance step. I'd be afraid to even listen to that side. Its ZTSC # 90,000 shows that it was pressed at Columbia Terre Haute and likely mastered at Columbia Chicago in spring of 1964.

Carrie Records started before 1961. After releasing two Cornell Blakely 45s on Charles Fulton's Fulton Records in 1958 and 1959, Hendrix started his own Carrie Records. Carrie 211(yellow-green), "Cindy"/"Listen To My Heart" by Cornelius Grant and The Blenders was released in late 1959 or early 1960. There was also an early Gospel release by The Corder Family (382)(1960?), before Cornell Blakely's 1503 in 1961.

Too bad they don't have dates on them.

I've seen other photos where they are clearly discernable as two different people.

Regarding those who think that Clifford Binns may have just been Edward Hamilton under a pseudonym, - Ihave seen photographs of Clifford Binns and Edward Hamilton, and they are clearly two different people. James Hendrix mentioned both of them in at least one interview.

The Clifford Binns recordings seem to have been made in early 1965. There seems to be a gap in Carrie releases between 1962 and early 1965, with Hendrix's activities from mid 1962 through the end of 1964 dealing with other labels (Cornell Blakely working with Berry Gordy for John Richbourg's Rich Records, Arabians on Staff Records, Big Red and The Comancheros on Arnold, and recordings by The Arabians, Edward Hamilton, Gearline Duckett, The Jackson Singers, Mack Arnold and The Blenders) that weren't released until later, on Carrie (South Carolina or Tennessee address), or Lanrod Records or on LaBeat, Mary Jane or Cool School Records.

This makes more sense.

Yes, clearly I should have stated Eddie Davis and billy Cardenas' labels (including not just Rampart, but also Faro, Linda and Whittier.

I'mpretty sure it was always based in L.A.