Robbk

So then Lanrod was owned by someone else than Hendrix. Do you know who owned it? Did you ask Hamilton who Cllifford Binns was? Did you ask him if Cornelius Grant was their manager, and was moonlighting with them while he was working at Motown with The Temptations?

I can't read clearly the writing on the right hand side of the A side of the acetate. But, it looks lik "....anrod" from Lanrod. Is THAT why you thought that the acetate was for Lanrod 1605? Please let me know. I see no evidence that this was for Lanrod, as it has the Carrie issue backside rather than "I Love You So". Apparently, Hendrix's masters, made previous to his partnership with Beatty, were also housed at Beatty's office, along with those of the projects they worked on together. When Hendrix ended the partnership and finally got back his masters, he re-released many of them on Carrie and Lanrod. Hendrix indicated that Beatty released some of Hendrix's recordings without telling him and without permission. I assume that that and keeping money to himself that should have been split may have been the main reasons for Hendrix leaving.

Carrie 038, by Gearlene Duckett, out virtually the same time as The Arabians' Carrie 039 was out in 1964, as we can clearly tell from the writing style of the song, and the instrumentation, and sound quality of the recording. I saw those yellow Carrie records years before I saw a Lanrod release. James Hendrix stated in an interview referred to in "Detroit City Limits" in 1988, that he and and Lou Beatty (who had partnered up for many release projects on Beatty's LaBeat and Mary Jane labels) had a falling out in late 1966, and when Hendrix had finally recovered his original masters, he left Detroit to return to Nashille. He operated Carrie records out of Nashville again, starting then, and also issued and re-issued records on Lanrod Records. So, apparently, the Lanrod 1605 re-issue of "Now You Have To Cry Alone" was released in 1967. He operated Lanrod before returning to Nashville, as there were other releases produced by him before 1967, and also on the related Arnold, and Staff Records.

"Now You Have to Cry Alone" was released both on James Hendrix's Carrie Records (1964) and on Lanrod Records (1966? or 1967?). So, it is not surprising that Carrie Records was listed on the acetate. The flip of the Lanrod release was "I Love You So", while "Temptation of Love" was on Carrie 039. Therefore, we must conclude that this acetate was made for the Carrie release in 1964.

Sorry to hear this. She was a very nice person. She came onto Soulful Detroit Forum, and became a regular poster for some years. She graciously answered all of our questions.

It's of interest to me. I'd like to see scans of both sides, and I'm sure the OP would, as well as others here.

I doubt that there was ever any link between Stomper Time records and Stomp Town Records. I never would have even thought of that just because the word "stomp" is in the company name. Jay-Gee Records was The jubilee/Josie Record co. group's distributor. Yes, Jerry Blaine owned both. the individual labels were NOT owned by blaine,, just as Jamie/Guyden didn't own all the labels they distributed. Blaine DID own Port Records, along with Jubilee and Josie. I'm sure that Blaine did not own Stomp Town records.

Interesting that THIS Tamboo Records is an East Coast label, having nothing whatsoever to do with the Chicago label that was related to Mel London.

From a North American perspective (a mixture of people I've heard of, who helped make The Scene, and people I've dealt with in USA, Canada and England): (no particular order) Kev Roberts Richard Searling Ian Levine Ady Croasdell Tony Rounce John Anderson John Manship Martin Koppel Rod Shard Dave Withers I also knew Nev Wherry (may he rest in peace), and had some dealings with Tim Ashibende.

The original bass player of the group, John Ricks, can be contacted at : writersworkswarehouse@gmail.com I suggest someone contact him with questions about the group's history.

I would guess that the Tamboo issue is a second issue, and was released in 1968 or '69. Maybe Nico was released in 1967? Both copies can probably be dated from their pressing plant pressing number. I don't have either. But, if someone here has, please tell us what's etched or engraved in the trail.

There are probably at least another 50 or so in the collections of US and Canadian Soul and Detroit collectors. I know at least a handful of Detroit collectors had it, and, I'm sure that more existed than a handful plus Anderson's box. There must have been at least 500 pressed originally.

The Swingin' Tigers were Joe Hunter's Band, which had been taken into Motown as their main house band. We know for sure, that on that 1959 Y+Tamla release, at least James Jamerson was playing upright bass, Benny Benjamin was on drums, and Beans Bowles played sax. Not sure about the guitarists. So, Nick and The Jaguars were the first "Caucasian" recording artists that appeared on a Motown label. Wade jones was, indeed, an African American. Debby Dean seems to have been the first "Caucasian" artist who got a recording contract from a Motown label.

Nick & The Jaguars (AKA The Biscaynes on Ridge Records) were three local, Detroit high school kids in a garage band, with Nick Ferro on drums, his brother Mike and a friend on guitars. Nick and Mike's father had answered Berry and Raynoma Gordy's advert from Rayber Music Co. for services for recording artists, including: songwriting/recording/producong a demo record/shopping it and getting it placed with a record company to press and distribute their record. Gordy either made up a new label of his own (Ridge Records), or placed it with that label (owned by someone else), or co-owned that label with a financial backer. The only other release on the label was by Don mckenzie, who later recorded for Berry's and Motown's Miracle Records. I've tried for many years to trace the owner of Ridge Records, and any releases by non-Gordy-related artists, to no avail. So, I end up believing that odds are that Ridge Records was just another Gordy label arm of RayBer Music Co,. as was RayBer Recotds (for the most promising Wade Jones release), Penny records for Bryan Brent and the Cut-Outs, and Zelman Records for Mike Powers' cheesy Tin Pan alley type cuts. The Ferros returned to Berry Gordy for release of their 2nd record, after he had a going concern with his Tamla Records.

Thanks, Matt. So it was Jean Carter. I have a couple records by her on major labels. I'm referring to the New York Area singer, not the Detroit artist who recoded for Detroit's Sunflower Records. Didn't she record for Decca? I think I've heard one more acetate from Carol Moore while perusing The Motown Vaults in the 1970s. And Norma Jenkins sang a few demos for Kerr and Barnes at Jobete NY.

The scan image won't magnify when clicked upon. Maybe youcan re-load it so that it will expand? It's really to small too see much.

Good idea/ Also, ask him who Carol Moore was, and what other demo singers he and George Kerr used. And ask him about george Kerr's setup with Maltese Records. And ask him about Little Nicky Soul, if the songs he wrote for him had been songs he'd been starting to develop and was considering selling to Jobete music, but had gotten prevented when the NY Jobete office suddenly closed down. "I Wanted to Tell You" has Motown flair and class, and high quality.

I guess could post a small snippet. Can someone tell me the procedure I can use to record a snippet of my sound file and put it on a URL to post a link to it on this thread, or to post the snippet file onto this thread?

I have listened to "Forever And A Day" by Carol Moore, and the woman's voice from the cut (above) in question sounds more like her than any of the other stated candidates. But, I can't post the sound file of that cut on this thread, as it was given to me by someone else, only for my opinion on it. So, if any of you know of a cut by Ms. Moore on The internet or another public source, please post it or a link to it. I also remember hearing another song sung by her on a Jobete acetate, but don't remember the title, and don't have a file of it, and no other acetate is listed on "Don't Forget The Motor City". So, it may be one that was "lifted" from The Motown Vaults and auctioned off in the 1990s, after I had seen it in The Vaults in the 1970s. It may be lost to us because the new owner has not allowed others to hear it, so a file of it has not surfaced, and it hasn't gotten listed in the list of all Jobete songs (or. at least, we can't connect the listed Jobete song to any demo artist).

Here's "Absent Minded Lover" by Kim Weston:

Here's "I'll Come Running" by Carolyn Crawford: I'm sure that you'll all agree that THIS acetate can absolutely NOT be the listed Carolyn Crawford acetate for this song. This Jobete demo must have been recorded by a demo singer from The Jobete NY office (probably someone used exclusively by kerr and Barnes-rather than also by George Clinton and Gene Redd).

It seems that the singer on "Watch Yourself Boy" is not Norma Jenkins. But she definitely doesn't sound like Kim Weston or Carolyn Crawford. Does anyone have a link to the known Carol Moore Jobete acetate? If so, please post it, or a link to it.

Here's "Me, Myself and I" by Norma:

Here's "His Love is Amazing" by Norma Jenkins:

Here's "A Lover's Stand" by Norma Jenkins & Dolls: