Robbk

So, Popcorn named the label after only one daughter, named "Pameline"? Did he have 3, 2 or, just 1 daughter?

The first name must be Pam. I can't imagine what the other two are. It looks more like made up from only 2 names. I'll be curious what the answer is. Does anyone here know the names of his 3 daughters?

Laurie(Laurie Sussel), Jamie(Jamie Sussel) both daughters of Alan Sussel (co-owner of both labels. Ranwood (Randy Wood), Amy (Amy Shimkin) (Daughter of Bell owner, Arthur Shimkin)

Brent-Brenton Wood is just a coincidence. Brent was owned and founded by Bob Shad.

Burt (Ernest Burt), Philles (Phil Spector/Lester Sill), Phi-Dan (Phil Spector/Danny Davis), Lucky (Doc "Lucky" Oliver), Dynamite(James "Mr. Dynamite" Brown), Todd(owner Paul Cohen's son?), Wasn't "Carrie" James Hendrix's daughter?, Can-Jo (Candy Johnson), Despenza and Dispo (Barry Despenza), Dat Richfield Kat, JOB, Johnson, Frank, Mercer (Mercer Ellington), Ja-Dan (Jack Daniels), Daniels (Tony Daniels), Barry. Keen (Bob Keane),

If it was named after a Horace, 6 people with names starting with HORACE (or a horse's ass)!

Also, Big D and Diamond Jim for Diamond Jim Riley. Thelma Gordy Coleman was daughter of Thelma owners Hazel and Robert Coleman. There are literally THOUSANDS of label names based on the names of label owners and their family members. I can't name them all on this thread. I need to work to earn a living. Washpan(Gino Washington), Ernstrat(Ernie Stratton), JVB (Joe Von Battle), HPC(Hardye (for Harvey Fuqua), MRC(Mike Hanks and 2 others), Brownie (Gary Brown), Davis(Joe Davis), SAR(Sam Cooke/JW Alexander), JW (Joanne/Wingate), Ermine (Bill Ehrman), Ron's (Ron Murphy), Bunny/Big Bunny (Bunny Jones), Katron (Bob Catron), Rich (John Richbourg), GeneBro, Dotty's, Stepp (Mickey Stevenson), Phillips (Sam Phillips), Philips (Anton Philips), Thomas (Eddie Thomas) ..... on and on... ad infinitum...

Palmer was NOT named after Palmer James. I had thought so, but was corrected. I guess Palmer was the name of the main financier of Palmer records, but he wasn't the A&R man in daily operations of the label.

"I don't care if she waddles like a duck, or talks with a lisp, I just think I'd be better off if her Dollar Bills are crisp!" My OH my.... 'Cause first I look at the purse!" They don't write them like THAT anymore! Doggone Politically Correct lobbyists!

"She can be covered with a rash...." "Long as she's got some cash!" The Contours 1965 "Just Like Pagliacci did, I'll keep my sadness hid" Smokey Robinson "My smile is just a frown, turned upside down" - Carolyn Crawford

That's a 1969 Monk Higgins production for Wally Roker's group. But Tony Diamond was a Chicago guy. So, I assume it was recorded in Chicago, rather than L.A. Does anyone know if it was on a Wally Roker label first (Canyon, Soul Clock,etc.) and picked up by Capitol? Listening to it, he still sounds different from Jimmy Holland and Jimmy Hart.

I've never seen nor heard of a Tony Diamond release on Capitol. If anyone has it, please post scans of the two sides, and upload a snippet, if it's not too much trouble. Then, we could match that voice to Jimmy Holland's, as well.

The Chi-Lites sounds wrong. Are you confusing Tony Diamond with Tony Daniels? He was a prolific Chicago songwriter, who was mostly a single artist, but WAS a member of a couple of Chicago Soul groups (I forget which right now, but, if I remember correctly, they were known locally, but not known all that much nationally - certainly nowhere near as well known as The Chi-Lites. Tony Gideon was a member of The Daylighters.

Upon listening to all 3 videos posted above, I have come to the conclusion that all 3 are different singers, as they seem to each have a unique tone that is discernably different from the others.

No! I don't trust my 70-year old ears, or my memory of 5+ years ago over your ears, after currently listening to both. So, we need several of us listening to both, to form a consensus. One person's ears differentiating two very close voices are not enough. One person with good ears might choose wrong. but, I think we've proved that we have enough "good ears" on this forum, that a consensus of a lot of us is likely to be correct.

It would be VERY surprising to me if Mercury had recorded different backing tracks for 2 different artists singing the same song (Jimmy Holland, Jimmy Hart and/or Tony Diamond), ESPECIALLY given that Andre Williams produced them all. I guess that Williams, as Mercury's A & R man (taking advantage of being with a high-budget major label), was trying out his songs on a few different artists, to see which would be the better one to promote (just as Motown did regularly). Given Jimmy Holland's statement, I would guess that all three artists are different people. Although, it's been a long time since I've heard the Jimmy Hart cuts. I know, based on my memory of their voices, that Tony Diamond is not Jimmy Holland.

Interesting question, as Jimmy Holland was from Detroit and sang with The Holidays(Hollidays) (a Detroit group), and Andre Williams was a Detroit and Chicago producer, and Jimmy Holland also lived in Chicago, and worked also with Chicago labels. While Jimmy Hart worked with Williams, and sang a Jobete Music song used by Motown artists (Four Tops), and sung it for a Chicago label (Mercury), which placed a fair amount of Detroit productions on its Blue Rock label. And Jimmy Holland and Jimmy Hart have the same first name. I think there may well be a good chance that Jimmy Holland was also Jimmy Hart. Otherwise, why wouldn't Jimmy Hart have showed up on other labels in Detroit and Chicago, and been known for singing in any groups??? I doubt that Mercury would sign a one shot artist, who had no other professional experience. I do know that Andre Williams had been signed as Blue Rock's A&R man, and he also was supposed to oversee Mercury's Soul output at that time. But would he have taken the risk to have Mercury sign, on his recommendation, a completely green talent?

Roughly, But they are not all in the same continent, nor country within the 2 continents, nor city within the 5 or 6 individual countries.

I have a stock of about 500 music publishing company cardboard "outer sleeves" that I could use in my chosen "Top 500" show records. But, they cover about only the bottom 2/3 to 3/4 of the record, and 500 records forms an infinitesimal portion of my 40,000 collection 45s. So, I just use them for housing my Top 500 for sale or for swap duplicates. I keep my collection 45s in company sleeves, and hand-made "company logo sleeves" made by colour and black & white photocopying the label logos of companies which had no printed company sleeves (Old Town, Apollo, Prestige, SAR/Derby, Cortland/Witch/Ermine, etc.), I fill my labels which had no original company sleeves in related company sleeves (i.e. all Bobby and Danny Robinson involved labels (Red Robin, Vest, Everlast, Holiday, Whirlin' Disc) into Fire and Fury covers, (Phillips in Sun covers, and other companies in the same situation); and labels that didn't have their own company covers, into distributor covers of their appropriate distributors (e.g. Jay-Gee (Jubilee-Josie Group), Jamie/Guyden (J/G), Amy/Mala/Bell Group, ARDCO, CIRCA, NRC(National Recording Corp.), Atlantic/ATCO Group, Chess, Checker, Cadet, Cadet Concept Group, Jewel, Scepter-Wand Group, etc. I used colour photocopies for my hand-made more important or more intricately designed "company covers", and I have hand-coloured, using normal, blunt-tipped and finer tipped markers, those photocopies made in black and white of less important and less intricately designed company label logos. The handmade logos fit over roughly the area above the hole in the sleeve, or much of that area, and they are pasted onto white slick jackets or lightweight green, yellow, turquoise and red coloured covers that are thicker than the lightweight generic thin white or brown record sleeves, but yet still soft enough to not scratch the record as the harder cardboard sleeves might do. So, ALL my "collection" 45s have some form of company covers. My duplicates are just held in soft white generic sleeves, inside the large cardboard "publisher" categorical "outer sleeves" (record holders). Those records which are very important in my collections, Motown and Detroit labels, Chicago labels, yellow Atlantic 45s(1947-1956), early Chess, Checker and Argo, early Vee Jay and Falcon/Abner, early King, Federal and De Luxe, early Modern, RPM, Flair and Crown, early Chance/Sabre, and Parrot/Blue Lake , and the like are kept inside their printed, or hand-made company covers, also inside a clear plastic (polyethelene?) record jacket (originally used to house picture/photo 45 record jackets. The only exception to that use is my entire Specialty Records collection of a few (about 300?) hundred, which is sleeved in hard cardboard slightly large printed Specialty covers, which I bought directly from Specialty owner Art Rupe near the beginning of the 1970s, when he was selling his reprints in them.

Oh! That makes a HUGE difference! I then go back to my previous theory, that the 2 known Blue Rock store stock pressings are likely from the 6 press run test pressings, as none of us has ever seen one before. And that makes them likely to be DEAD RARE. So, good luck in getting as high a return as the market will bear (How much one person is willing to bid up the price).

That means that there was, at least, one regular pressing of the stock issue, in addition to the 6 press run test pressings, and that also means that 6 test pressings were made for the 2nd run. It COULD be possible that if the two regular stock issue press runs were scheduled for the same day, that only the 2 test runs of 6 each were made, and then, both regular runs were cancelled. But, the odds against that are probably hundreds to one. So, it seems that at least one stock issue run was made, and perhaps even 2 were made. Then, it is likely that they were called back from the pressing plant, or first receiving distributors, and destroyed. Given that 2 different press runs of the stockers occurred, and, at least 3 escaped destruction, we've got to assume that these are not as rare as we had previously surmised. Although, they still must be fairly rare, as most of us have never seen one in all our years of searching.

Yes! They went to the new design when they returned in 1968.

We had The Frank Wilson in our offices (both at Motown and Airwave) for a total of 4-5 years. So, it was probably sold to Soussan in '79. Yes, then there should be 3 copies out there. There also should have been another one at the pressing plant. That may have been sold by the "rescuer" to someone else (an American collector, perhaps?). And you should NOT assume that American Motown collectors would automatically sell it to a Brit just because The Northern Soul Scene values it more highly than an American collector would pay to get one. Tom owed me a lot of money. I had the choice of all his records to help pay his debt to me. I could have taken "Do I Love You". Had I done so, I would have kept it, rather than selling it for $30,000 or even $60,000 US. I believe there are several other North American Motown collectors who wouldn't sell it off just because it can be sold for a LOT of money. I'm sure there are a lot of rare Soul records, very valuable on The Northern scene, that are sitting in US Soul collectors' collections (many of whom don't buy on auctions - and those who DO, may change their buyer names periodically).

When the Frank Wilson "Do I Love You" was in our (Tom DePierro's) office, in late 1979 or early 1980, I checked BOTH The Motown Record Corp. Record File, and The Jobete Music Co. Record File (as that was the only place I had seen the record before), and not surprising, I saw that BOTH copies were missing. I assumed "Ours" (Tom's) was one of them. And didn't know what had happened to the other. I shouldn't speak ill of the dead, or someone who I had called a friend. But, Tom told me that he had "rescued" that record, along with 2 copies of The Andantes VIP, and several other ultra rare records in a box that had been "thrown into the trash". Somehow, I found that tough to believe. But, are you telling me that ONE of the 2 different file copies turned up at Motown after 1980? So, only the one copy (that presumably went to Simon Soussan, or someone else, who eventually delivered it to The UK) was removed from Motown's offices? Tom took "his" copy with us to our Airwave Records office, and it was "obtained" (probably by Soussan) from there, some time during 1980-82 (If I remember correctly).

I like the Tony Michaeles (Micale) song, and my life. much more than I did when I had a "real job".