Robbk

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:

She doesn't seem to have the range of either Kim Weston nor of Carolyn Crawford. Kerr and Barnes had a few female demo singers at N.Y. Jobete - Norma Jenkins and Carol Moore. I can't remember at all, what Carol Moore sounds like, but remember she had a soft voice and sung in a higher range than this song's. I'll need to listen to Norma Jenkins again. But, I don't think this artist is Jenkins, any more than I think she is Carolyn Crawford.

I would haveguessed Martha Carter. She's definitely NOT Carla Thomas, nor Robbie Montgomery. But the OP states that the photos are no one listed on the poster. I don't recognise the man. He ISN'T Dr. Feelgood.

The interesting thing about "Northern Soul" was that during the '70s, when they were playing ONLY "stompers". the Northern Soulies seemed to almost invariably play the "WRONG" side. They were almost alwats playing the "B" side, when the ballad oe mid-tempo side was the one played on the radio. was the "hit side", and the one I liked better. Of these, Phyllis Brown, The Moovers, Trutones, and Ultimations were the charted sides.

Ha!Ha! I bought so many thousand records when they were out in the '50s and '60s that I probably forgot to play many of their back sides. As I don't know which ones I didn't play. I may never play some of them. I may be in for some pleasant surprises, IF I ever retire (stop working). I'll never be able to afford to stop working, but if I go blind, or my hands shake too much to draw, then I might be forced to stop, or just write stories dictating them to Dragon, and having that programme write it in computer files.