Amaret Records

Amaret Records was an independent American record label established in Hollywood, California, in 1968 by Kenny Myers. Myers had previously worked at Dot Records and its subsidiary Acta Records, leaving those companies in August 1968 to create a new label. Amaret was based on Highland Avenue in Hollywood and operated during a period when independent labels sought to compete with larger music companies through distinctive artist rosters, outside production arrangements, and regional and international distribution partnerships. The label's early staff included Ronnie Granger, a former Capitol Records executive who was brought in as sales and promotion director. Amaret developed a distribution network beyond the United States: London Records handled overseas distribution in the United Kingdom and other territories, Astor Records distributed the label's material in Australia, Gallo handled South Africa, and Hispavox handled Spain. By November 1968, Myers stated that Amaret had arranged approximately 30 domestic distributors. The label also assigned non-exclusive duplication rights for reel-to-reel tape, eight-track cartridges, and cassettes to Ampex, reflecting the importance of multiple recorded-music formats in the period. Amaret's roster covered several commercially distinct styles. Its releases included hard rock from the Minneapolis-based group Crow, country and middle-of-the-road pop associated with Judy Lynn, novelty and comedy-pop recordings by Mrs. Miller, bubblegum-oriented acts such as Ginny Tieu and Tom & Jerry, and releases by groups and singers including New Life, Raintree Minority, Lilith O'Leary, Triangle, Johnny Cymbal, Fresh Air, Randy Johnson, Dave Antrell, Nick Anthony, and Dian Hart. Crow became one of the label's most visible rock acts, with several albums issued during the early 1970s. Judy Lynn also demonstrated the label's interest in adapting established performers to changing pop markets: her 1972 single "Winterwood" moved away from her earlier country presentation toward a pop-oriented middle-of-the-road style. In 1970, Amaret described a strategy of expanding its use of outside production. Billboard coverage reported that the label wanted to increase the number of externally produced packages and proposed signing additional acts, including Gil Bernal under the production of Joe Porter and Jerry Styner, and the two-man rock act Honk. Nick Anthony's album High Voltage was promoted in a contemporary trade context that compared his vocal potential with that of Tom Jones. These activities show an attempt to broaden the label's output rather than rely solely on a small core roster. Kenny Myers articulated a lyrical, message-centered editorial direction in 1971. He argued that Amaret's releases would emphasize songs and understandable messages over particular instrumental approaches, using the film Love Story as an example of broadly accessible emotional communication. In practice, however, the catalogue remained stylistically varied, spanning rock, country-pop, novelty, bubblegum, and other popular formats. Amaret issued albums under a numbered ST series beginning with Mrs. Miller Does Her Thing and continuing through releases by Triangle, Crow, Randy Johnson, New Life, Fresh Air, Dave Antrell, Nick Anthony, Dian Hart, Judy Lynn, and others. Crow received several catalogue entries, including Crow Music, Crow By Crow, Mosaic By Crow, and later compilations or associated projects. The label remained active into the early 1970s but was bankrupt by 1973. No successor operation, current corporate owner, or active official website is identified in the supplied reference material.

Amaret Records emerged from the Los Angeles-area independent-label scene in 1968. Its founder, Kenny Myers, had experience at Dot Records and Acta Records and left those companies in August of that year to establish a new operation. The label was headquartered on Highland Avenue in Hollywood. Ronnie Granger, previously associated with Capitol Records, joined as sales and promotion director, giving the young company an executive with major-label experience in marketing and distribution. From its beginning, Amaret pursued a distribution structure that extended beyond California and the United States. London Records handled overseas distribution, while Astor Records served Australia. Gallo and Hispavox handled distribution in South Africa and Spain respectively. Myers reported that the label had lined up around 30 domestic distributors by November 1968. Amaret also arranged non-exclusive duplication rights with Ampex for reel-to-reel tapes, eight-track cartridges, and cassettes, allowing its recordings to reach listeners through the principal consumer formats of the era. The label's catalogue was deliberately diverse. Early and subsequent signings included the rock group Crow, country singer Judy Lynn, novelty performer Mrs. Miller, New Life, Ginny Tieu, Tom & Jerry, Raintree Minority, Lilith O'Leary, Triangle, Johnny Cymbal, Fresh Air, Randy Johnson, Dave Antrell, Nick Anthony, and Dian Hart. Crow was especially prominent in the album catalogue, while Judy Lynn represented a country and pop-oriented commercial strand. Mrs. Miller and the bubblegum-related acts added novelty and lightweight pop dimensions to the roster. Amaret's 1970 activity suggested an effort to increase scale. Billboard reporting described an emphasis on outside production and a plan to expand the number of externally produced releases. Proposed or reported activity included a possible Gil Bernal project produced by Joe Porter and Jerry Styner, as well as the signing of the two-man rock act Honk. Nick Anthony's High Voltage was presented in contemporary promotional language as a potential vehicle for a singer with Tom Jones-like appeal. The label's album numbering also became a visible organizing feature, with releases appearing in the ST-5000 series. By 1971, Myers described an editorial philosophy centered on lyrics and broadly understandable messages. He believed the market was returning to basic songwriting and that listeners were responding to songs with clear emotional or social meaning rather than records defined primarily by instrumental technique. Despite this stated direction, Amaret continued to issue music across several popular genres. In 1972, Judy Lynn's recording of Winterwood marked a move from her earlier country identity toward a pop middle-of-the-road sound, illustrating the label's willingness to reposition artists for changing audience tastes. The catalogue included albums such as Mrs. Miller Does Her Thing, Triangle's How Now Blue Cow, Crow Music, The Gift of Randy Johnson, The New Life Sings the Sidehackers, Fresh Air, Crow By Crow, Dave Antrell, High Voltage, Mosaic By Crow, Girl for All Reasons, Parts of Love, Best of Crow, David Wagner D/B/A Crow, and Naturally. Amaret remained a functioning label into the early 1970s, but its business ultimately failed. By 1973 it was bankrupt, ending the label's active period after roughly five years. The supplied sources do not identify a continuing successor company, current owner, or revived official imprint.

• 1973

  Bankruptcy and closure

  [1]Amaret Recordsen.wikipedia.org

  Amaret Records was bankrupt by 1973 and no longer operated as an active label.

• 1972

  Judy Lynn moves toward pop middle-of-the-road material

  [1]Amaret Recordsen.wikipedia.org

  Judy Lynn recorded Winterwood, a stylistic departure from her earlier country-oriented sound.

• 1971

  Lyric-centered editorial direction publicized

  [1]Amaret Recordsen.wikipedia.org

  Kenny Myers described a plan for releases to focus on accessible lyrics, songwriting, and broadly understandable messages.

• 1970

  ST-series album program expands

  [1]Amaret Recordsen.wikipedia.org

  The label issued a growing run of numbered albums, including releases by Mrs. Miller, Triangle, Crow, New Life, Fresh Air, Nick Anthony, and other artists.

• 1968

  Label founded in Hollywood

  [1]Amaret Recordsen.wikipedia.org

  Kenny Myers established Amaret Records after departing Dot Records and Acta Records. The label began operations from Highland Avenue in Hollywood.

• 1968

  International and domestic distribution arranged

  [1]Amaret Recordsen.wikipedia.org

  Amaret used London Records for overseas distribution, Astor Records in Australia, Gallo in South Africa, and Hispavox in Spain, while building a sizable domestic distributor network.

A short-lived independent Hollywood label positioned around accessible, lyric-focused popular music while maintaining a broad roster spanning hard rock, country-pop, middle-of-the-road pop, novelty, bubblegum, and related styles.

• Hard rock recordings · 1970

  Crow catalogue

  Crow was one of Amaret's principal rock acts. The label issued several albums connected with the group, including Crow Music, Crow By Crow, Mosaic By Crow, and Best of Crow. The catalogue gave Amaret a harder-edged identity alongside its country, pop, and novelty releases.

• Country and pop recordings · 1971

  Judy Lynn recordings

  Judy Lynn's Amaret output included the albums Parts of Love and Naturally. Her 1972 single Winterwood represented a move from her established country presentation toward a more pop-oriented middle-of-the-road approach.

• Novelty pop · 1970

  Mrs. Miller releases

  Mrs. Miller Does Her Thing was among the earliest identified albums in Amaret's ST series. The release represented the label's willingness to handle novelty and personality-driven pop alongside conventional rock and country acts.

• Album catalogue · 1970

  Amaret ST album series

  Amaret organized much of its long-playing album output under the ST-5000 series. Documented entries included albums by Triangle, Randy Johnson, New Life, Fresh Air, Dave Antrell, Nick Anthony, Dian Hart, David Wagner, and other label artists.

• 1972

  Reposition Judy Lynn toward pop middle-of-the-road musicGeneration change

  Background

  Judy Lynn had been associated with a country-oriented sound, while Amaret was also active in broader pop markets.

  Action taken

  The label released Winterwood, a recording described as a departure toward a pop middle-of-the-road style.

  Aftermath

  The source confirms the stylistic shift but does not provide sales or chart results.

  Source

• 1971

  Adopt a lyric-focused release philosophyStrategy

  Background

  Kenny Myers believed listeners were responding to songs with clear messages and accessible emotional content rather than records built mainly around instrumental approaches.

  Action taken

  Myers stated that Amaret's releases would emphasize lyrics, songwriting, and understandable messages.

  Aftermath

  The label continued to issue a stylistically broad catalogue, so the stated philosophy coexisted with rock, country, novelty, and pop releases.

  Source

• 1970

  Increase outside productionStrategy

  Background

  Amaret sought to expand its release schedule and artist activity by relying more heavily on externally produced recordings and production partnerships.

  Action taken

  The label planned to increase the number of outside-produced packages and pursued projects involving Gil Bernal, Joe Porter, Jerry Styner, and the rock act Honk.

  Aftermath

  The available source material documents the strategy and proposed signings but does not establish the full commercial outcome of the expansion.

  Source

1. 1Amaret Recordsen.wikipedia.org