Founded by visionary Miami Bass pioneer James McCauley aka Maggotron, Jamron Records; a sub-label of Jamarc Records (sub-label of Pandisc), had a somewhat short, but highly influential catalog of releases that in many ways shaped the direction that Electro Funk, and Miami Bass would take into the late ‘80s, as the the sounds of what many today call “Electro” began to fade away, eventually to resurface as Electro Bass (Techno Bass) music in the early 90's.
The first release on the label is one of the most classic purely Electro Funk releases of the time, called “Raiders Of The Lost Groove” by “The Empyre”. Comprised of many collaborators, but primarily the work of McCauley, The Empyre featured Ron Sansone on Keyboards, Jose Martin on Guitars, "Dimitrius" on drums, and Cool Ice, Mario T, and Mitch Cason on back-up vocals. This release is still highly sought after by many fans of the earlier years, and for good reason. This record, though it did not reflect the later sounds that would come out of McCauley’s studio, was still very innovative for its time, and gave a bit of spice to the early Electro Funk sounds of that era.
In 1985, the label returned with “The Maggotron E.P.”, the artist’s second release, after his debut on Bound Sound Records as Maggotron. The record, though many may believe to be only the work of James McCauley, was actually still the work of essentially all the members in The Empyre, including Ron Sansone, and Jose Martin; who is credited with having written part of the record, but this time featuring Palmerforce II, and E.J. Brown on vocals as well. 1985 would also see the return of the group as The Empyre, with “Strikin’ Back”, which was essentially a single, with two different versions of the title track ( instrumental and vocal ); but also including a remix of their hit “Raiders Of The Lost Groove”.
1986 would see a new project signed to the label, “The Third Degree”, which was also in part the work of James McCauley as DXJ. Bringing you “Bass It Baby”, the record featured 3 cuts of the title track, with a vocal dub mix, as well as another remix of the song, and began to take the label, as well as its artists in the direction of producing actual Miami Bass.
The label returned in 1987, which would be not only their most fruitful year, but also their last as Jamron, with a slowed-down Bass jam called “Super Bass”, by Smokey Dee, and Grandmaster Love. This single again featured 3 different versions of the title song, and was produced by DXJ, Mith Cason, and Sam Ferguson. DXJ would also record “Mommy, Wot’s a Bassonlian?”, which would have been the first complete DXJ sampler, as well as JR-007, but was unfortunately turned down by Pandisc for apparently being to “un-commercial”. The record was subsequently only released as a pre-release test pressing run, with only 5-10 copies thought to be in existence. 1987 would also see a remix release of The Third Degree’s “Bass It Baby”, as well as the release later that year of a split EP containing “Bass It Baby” on side A, and Smokey Dee, and Grandmaster Love’s “Super Bass” on side B; along with a “Bass Dub” version.
This would be Jamron’s last release, and would leave McCauley to run Pandisc’s sub-label, Jamarc, alone for the majority of his career during the late ‘80s, and ‘90s, becoming the platform for what would be some of the most influential Miami Bass albums of all time, as well as some of the most classic Maggotron releases. Though short lived for Jamron as mentioned before, the influence not only on the sounds of Electro Funk, but also Miami Bass by the releases that were published on the imprint, is something to always remember and admire for the innovation and dedication to furthering the sound, which can be credited in more ways than one for helping this type of music survive well into the 90's, 00's and into today.