Tlscapital

Stock of Blood, Sweat & tears. Issued 5 December 1972 as a 7" so the first version that got issued. Makes sense to be a 'pop' thing fit first. Sophisticates on Janus entry on Billboard January 27 1973 so second in place for release. Same group as on Mutt, Sonny, Underground Sounds... Them girls are great ! My favorite version too. Extra 'edge' no others have. Discovered while crate digging before I ever heard it. One of those musical find moments so it had that extra flavor to it...

Looks kinda 'smart'. Crowning 'chic' bourgeois young (or wannabe) hipster interior thingy. Begging the question 'is this most 'elegant' slim wall-mount structure base for the turntable really sturdy enough to be efficient in regard to its 'decoupling' purpose ? My guess is ; not that good. But maybe it's more about a 'decor' object than a phono system. Because with such 'pitiful' wall-mount light speakers thin box (back against the wall 😞 ) such a light wall-mount structure should still prove problematic somehow picking-up the speaker's 'bass' vibrations transmitted directly into the wall and into the wall-mount fixings and so on... Any real audio designers would avoid such design fault. Not flaw but fault.

Short, simplistic yet factual Tribute for one and all into Chi-Sound. Dig !

Active on few Audio Forums for a decade now while beginning to venture into how to get the most out of my old 7" USA 'rare soul' record's collection (a thing most who have amazing records collection don't bother with) with what I have gathered through the years made of good to fair new and old audio gear. Broke once I had to begin to DIY tweak what I had in order to improve. Following the "golden rule" doing 'em one by one to evaluate and unwind or keep on. Beginning to acquire notions and confidence (just like I did with music and records) I began to understand that one 'man's heaven is another's man hell'. Had to discover by ear which one was mine. The myth of the 'best' universal phono gear is a myth. This for many technical reasons first. Then because like in every technology development to achieve certain specifications achievements it means compromise at another end. One specification is never all. Finding out that some beliefs (mines that were too) out there (especially in platter drive design and method (very sensitive subject) - cables are also 'fire starters' but funnier - some go for themselves and others impose theirs onto others) are so deeply anchored and have achieved 'dogma' like status when I try to tackle these superstitions and hegemonic beliefs with an empirical approach I unexpectedly trigger a violent out of proportion defense reactions. Letting me know that I 'hit the spot' (devil jumped out of the box - like an exorcist). Bad mouthing plain insults and caricatures instead of any argumentation in difference is proof. Proving typical of those who believe (like a secure vital stronghold as if their miserable life would depend on it - as if their 'castle made of matches' would be shaken) but also finding out that many audiophiles are over sensitive introverts whose sense of humor and spirit is just not existing. So it is with great 'caution' that I will try to make few statements here. If Jony Ive's design to a point was a worthwhile addition by bringing some common sense into the design (in the best term : combining function, practicality & pleasure) of what were sad offices 'furnitures' then household's devices, the following Apple's commercial strategy turned it all into gadgetism with a Cult following. Obscenity. What was a fair alternative became a 'consumerism orgy'. The Apple 'flag' in the days of prime tarnished to become its own worse self. Although I still use a MacBook Pro to this day. Like a fool. So I don't condemn it all nor think all they do is bad. It's more the company and their now "wayz". Wish it was simpler but it's not. As for Linn turntables they're good reputed ones (especially well crafted) but the 'romanced' story of the company is rather 'horrific' in real I find. But am not English so no patriotic pride factor for me prevailing. My old 'now' Leak 'Sandwich' (15 Ohms) speakers are English though. And so is my beloved SME3009 tonearm. Both heavily DIY'ed tweaked though. Anyway these Linn LP12 turntables originally for what they are were 'copy cats' or 'carbon copy' of the Thorens TD150 first and TD160 after. Those pro-Linn who can admit to that (not all do) still claim that the Linn craft is superior. That's true. My DIY'ed tweaked most cheap and humble Thorens TD160 is still my pride. Modern technology. Well all that is 'new' on this very market is in fact no real competitor. In regard of performance alone it's not. Unless one digs into inaudible to the human ear specifications... On the 'Bang for your Buck' ratio there's no comparison here. On these two companies 'joint venture' I'll stick to my words here above. But I understand the fact that others feel and prefer the opposite of my ideas and tastes and would go for it. Digging the 'diff'rent strokes 4...' Only it's now taking those two Cult 'brands' into 'bourgeois' (deep pocket) commercialism objects of 'prestige' (bling-bling "prestige"). That which both companies were not originally. They were aiming at intellectual middle-class liberals whose nowadays salaries shan't be able to purchase them such high-end priced turntable like this one. What I see when I see those new 'Garrard', 'Thorens' and 'SME' is that far from musical enjoyment ; a fetishist bad trip nausea... Zanetti's perfect example shows those world's appart with Braun's products and Dieter Ram's approach into marketing design for the mass with a popular German brand. There's a 'gap' between Jony Ive's Apple design who aimed to pro-elitists with Dieter's design for the mass. The same goes for the Linn's copy of the Thorens. Linn's TT were a social statement where the Thorens not. More than a criticism, something to bear in mind where ever one's preference lies.

Nausea is what it gives me 😕

Two different catalog releases for two different mixes for the released cut. Some go for the smoother better balanced later release on Calla C-152. Where I prefer the punchier rougher first released mix on Calla C-143. Difference in price shan't be big if ever. If not for the rarer blue promo C-143.

Marva Holiday 'It's Written All Over My Face' on GNP Crescendo ?

Superposing the Young Folk / Miss Madeleine entries next to the Admirations discography in their time frame with their now established and dated Paree split 45 shows that the Young Folk had a Mar-V-Lus release prior to this 'heaven in your arms' tune under the Admirations credit. Knowing that the Young Folk already had an unissued Ma-V-Lus recording dating from 1965 as The Baby Miracles with the dreadful 'feel good all over' it is possible that this later recording 'heaven in your arms' also got rejected or put aside for a later release then forgotten about... As the Secret-Stash Mar-V-Lus album liner notes states Larry Blasingaine remembered Arthur McThune 'heaven in your arms' as a promising Mar-V-Lus future release... But could the bad "vibes" of the oncoming shut down of Mar-V-Lus have pressed that Paree outsider release ? Used as a 'B' side filler and credited to the Admirations for the release of the actual Admirations first single 'my admiration for you'. A "common" practice then when artists had no other gear under the hand to release a single with a proper 'B' side. Here likely a Hayes & Jones initiative. - MAY 1967 - The Young Folk (Miss Madeleine) 'Joey' on Mar-V-Lus (featuring Otis Hayes & JimmyJones) - JUNE 1967- The Admirations 'my admiration for you' B / W the Young Folk (in real with singer Arthur McThune on lead) 'heaven in your arms' on Paree (featuring Otis Hayes & Jimmy Jones recorded for the One-Derful group) - JULY (?) 1967 - The Aspirations 'you left me' on Peaches (with the PEACHES logo to the RIGHT first then repress with the logo to the LEFT) (featuring Eddie Silvers recordeed for One-Derful group + same fonts typos as for the One-Derful presses) - AUGUST 1967 - Miss Madeleine 'lonely girl' on Mar-V-Lus (featuring Otis Hayes & JimmyJones + same fonts typos as for the One-Derful presses) - SEPTEMBER 1967 - The Admirations 'wait till I get to know you' on Onder-Full (featuring Eddie Silvers for One-Derful group + same fonts typos as for the Peaches presses) - JANUARY 1968 - The Admirations 'all for you' on One-Derful (NO MORE EDDIE SILVERS !!! + same fonts typos for the Peaches presses) - FEBRUARY (?) 1968 - The Admirations 'you left me' on Peaches (featuring still Eddie Silvers with his cash-on in revenge record done alone + re-release under their corrected name of ADMIRATIONS (mismatching typo) to cash on it after being cast aside + similar typos for the credits using different fonts in places than for both the Aspirations releases)

There's two different mixes and the difference can be told appart from the right or the wrong spelling in the title 'you're' or 'your'. That regardless of the old or new labels designs. FWIW the wrongly spelt title is the first and more like saturated mix. My preference as it gives it that 'energy' edge that suits best the song and Jesse's tense singing IMHO. Others go for the "quieter" mix with separation of Jesse's singing from the music ; the rarer corrected title.

Right OK thanks for this vocal backing group "maturer" line-up on 'behave yourself'. Now if ever you could find something about the Eddie Silvers involvement with the Peaches release in the Secret-Stash liner notes or about the last Admirations release not featuring Eddie Silvers for that 'all for you' release that could tell a story please don't hesitate to drop it on here. Thanks a bunch in advance. This role swapping makes sense in this line-up for 3 singles with 4 songs 'joint-venture' group that the were the Young Folk. With 'Joey' B / W 'lonely girl' featuring Madeleine Strickland on lead released in May 1967, then for the split Paree single 'heaven in your arms' featuring Arthur McThune on lead released in June 1967 and Miss Madeleine's final release of 'lonely girl' B / W 'behave yourself' in August 1967. The Young Folk productions also taking place in a very short time window frame only predating by 2 or 3 weeks the first Admirations 45 on One-Derful. As for the Arthur McThune version preferring his own kin fidelity not to join the Admirations (also made of 3 brothers) stating from his old memory doing the harmonies in 'heaven in your arms' but not specifying the lead says a little about his memory in testimony accuracy.

Settling this Admirations discography (leaving only the Peaches releases with a speculated guess for date of releases) at this stage with these clarifications in regard of the Paree single thanks to all (the Yank mostly) we can put a date of release on all others and once and for all know who is actually singing 'heaven in your arms' that is not the Admirations. - JUNE 1967- The Admirations 'my admiration for you' B / W the Young Folk (in real with singer Arthur McThune on lead) 'heaven in your arms' on Paree (featuring Otis Hayes & JimmyJones recorded at the One-Derful group) - JULY* (?) 1967 - The Aspirations 'you left me' on Peaches (with the PEACHES logo to the RIGHT first then repress with the logo to the LEFT) (featuring Eddie Silvers recordeed at One-Derful group + same fonts typos as for the One-Derful presses) - SEPTEMBER* 1967 - The Admirations 'wait till I get to know you' on Onder-Full (featuring Eddie Silvers for One-Derful group + same fonts typos as for the Peaches presses) - JANUARY 1968 - The Admirations 'all for you' on One-Derful (NO MORE EDDIE SILVERS !!! + same fonts typos for the Peaches presses) - FEBRUARY (?) 1968 - The Admirations 'you left me' on Peaches (featuring still Eddie Silvers with his cash-on in revenge record done alone + re-release under their corrected name of ADMIRATIONS (mismatching typo) to cash on it after being cast aside + similar typos for the credits using different fonts in places than for both the Aspirations releases)

That settles this quest once and for all. OK so 'heaven in your arms' is a Young Folk Mar-V-Lus recording that by some quirk of faith with little help of Otis Hayes and Jimmy Jones got issued credited to the Admirations on the flip of an actual Admirations 45 released on Paree. Likely 'my admiration for you' was also recorded at Mar-V-Lus just before the Admirations got signed to One-Derful. The story told by Arthur McThune to join the Admiration to take the lead somehow sounds partial or off some (old time long ago memories intertwined...) to me. But the link's between all those people in time and place exists that's for sure. And how he explains all about the 'heaven in your arms' makes it so clear to me now. Only missing the story for the Paree split groups sides on the single. As there must be a story there too... Great stuffs. My MICHAEL JACKSON theory as a potential singer contender on 'heaven in your arms' is most likely totally ruled out by now. Relying on vague memories of both Larry B. and Arthur Mc. on the matter makes it most plausible for it to be him here. Their words on it corroborate that enough.

Drawing my brakes... Skreeetch ! That's great info. Thanks for that. As I wanted to ask at one time if anybody had those LP's in order to see if the liner notes would give us clues there. But I did not yet. Nor dared to bother folks on here about this now very 'anoraky' indeep 'wonder who' quest... Is that a word by word extract from the Secret-Stash LP ? As reading it (not knowing the source either) they imply that Arthur McThune was the lead singer of the young Folk's although Miss Madeleine (Strickland) seem to be the the leader as shown in the paper photo snippet and as heard on both Mar-V-Lus 45's. As their 1965 unreleased 'I feel good all over' credited to the Baby Miracle's whose weak young boy lead singer should be Arthur McThune would have have to have practice enough 2 years before recording 'heaven in your arms' if ever it's him. And I still hear no similitude in the voice nor in the respective singing of 'heaven' and 'feel good'. But for a few backing vocal group sessions with them for sure this makes good sense indeed as it could be them there. While the Miss Madeleine and Young Folk's 'behave myself' have maturer young man for backing vocals. Where the Young Folk's backing group could very well be featured in full formation both on 'Joey' and 'heaven in your arms'. Yep !

I've had many successful rescued warps with every and any kinds of techniques over the decades and few total disasters too. That 'as is' or even after 'fix' will play on a phono system and not on another. No definite rule about it.

If Yann V. couldn't do much about it there's little hope in trying to make it better at this point IMU. And it could even be a win-all or loose-all in the worse case so caution here... Now unless the record went under intense heat to make it worse lately I would guess that nothing changed about the record. Likely more a stylus, cartridge or tonearm/turntable change at play here IMO. If you're patient you could have a pair of thick glass cut to size with a central circle cut to size for the label thickness not to mess up with the process and have the record in between those two sheet of glas layers pilled with some weight on top (plant pot) or what ever and forget about it at room temperature for 1 to 3 months and see if that gently improved the troubling some warp. On the side the stylus, cartridge and tonearm equation is crucial to deal better or not with such 'problematic' records. There's no 'golden rule' about it. One warp is never another. Generally high compliant cartridge and fine line styluses will track better wide warps on lighter effective mass tonearms too. Then out of the ordinary geometry (tangentials and or linears tonearms) aim to cope much better with these issues too. But these are not our dee-jay turntables. Short straight tonearms for scratchers aim to be played with low compliant cartridges with conical stylus (avoiding 'cue burn') with heavy VTF for strong tracking under 'Rock'N'Roll' conditions and sometimes these can deal better with some warps. Other times not. So against all misconceptions of the idealistic phono gear, the 'universal' better phono gear just doesn't exist. To each it's strong and weak points.

Not that I would know for fact nor tell you something you don't know yet but my 2 cents ; once deep into the Jamaican sounds for 15 years I can tell you that I quickly realized that I shan't bother with Jimmy's career after 1964 and his UK materials (even more so as a soul fan) for the "souled-out' opportunist he was or became. This cover of Bobby Bland was likely due IMHO (either at his initiative or more likely as an advised cover interpretation order) for release to please the UK 'soul boys & girls' appetite for this popular tune then. A UK only LP on Island at first then (?) released as a 7" on Fontana and your classical "un" official Jamaican 45...

The vocal mp3's trial from up there says the same. Unanimously all I've 'blind' tested in comparison come to the very same conclusion. Just as it did for me instantly once I've listened to it actively to it and not just in disregard of that 'heaven in your arms' tune. That which honestly I never did before. As I thought it was only an Admirations side that didn't suit my ear buds or my expectation from them. Paying no more attention to it. But thanks to your comment reporting what Ralph Childs told you in person is now an evidence. Ever so grateful to you both I am for having shed that 'new light' on that very matter so evidently. To know who is singing is a side matter that remains non the less relevant. Even though it might just remain a mystery for ever. History is made of unsolved issues too.

Yes and enough 'odd' examples (something some collectors have come to understand for a while now) have been given to this point. Showing that 'the exception confirms the rule' just as what was happening there at the Columbia pressing plant in regard of the variations of 'scratched in' and 'machined stamp' with and without 'promo prefixes' run out matrixes of original pressing runs. Ruling out this single sided press on that basis only does not 'hold water' IMHO.

You beat me to it with the pic. Yeah while the unreleased Baby Miracles 'I Feel Good All Over' gives Miss Madeleine again for lead... Leaving no chance to hear the others if ever they could 'sing' a whole song instead of only backing up.

Ooh yes. OK. But from memory the lead of 'Joey' was not "rocky" enough and upon replay really not a match. BUT and the but is important here as the Young Folk were a pack with more to them than the delightful Miss Madeleine ('behave myself' fame) and the leader on 'Joey'. Leaving room for other contenders of the pack if ever. Even though we don't know each individually's distinctive voice. But what a great alternative lead this is indeed too. Thanks a lot ! Excerpt from Robert Pruter's book "Chicago Soul" about the Young Folk; The group was formed in 1964 while the members were still in grade school and performed Miracles songs under the name "Baby Miracles". The group was Madeline Strickland (lead), her brother Glenn Strickland, Patrice Scaggs, Jerry Starks and brothers Johnny and Arthur McThune. They broke up within a year of the release of "Joey" which was written by Otis Hayes and Jimmy Jones (who also produced it).

Yes I do get the A.I. 'voice recognition' examination and I've asked friend into that field if ever. But from what I can understand of it it's that as with everything "electro spectro analytic" it has its flaws and limitations. So it's used in combination with a human 'ear' specialist for cross examination too to elaborate the conclusions in meaningful terms. A bit like statistics if you ask the A.I. to interpret one reading of a statistic chart, it is certainly capable to draw easy enough conclusions rather well. But not necessary much further nor in other ways to see through or by cross readings for other unexpected phenomenon in there. I wouldn't diminish the human factor of the better - authistic kind so easily. In a way I'm also certain that a 'medical' vocal cord specialist or some specialist alike could shed some interesting lights here too. A bit like C.S.I. relying on both technology and specialists in general science to come to a conclusion and solve the case. Our 'heaven in your arms' case. Ha !

Yes but then comparing the One-Deful 'big boy' mp3 voice to 'big boy' (Steeltown) mp3 voice with my musician friend from earlier on he pointed out that even Michael's voice there on both recordings done only 6 months appart (we believe) singing the same tune were totally appart. Not only in 'pace' with the tune but also in tone too. To his 'musician' trained ear in 'heaven in your arms' was where Michael (if ever) was singing best. Then and there I stressed that young boys vocal cords could be very well be less consistant than a bit later (before going 'cave man deep') at least. And during lengthy studio sessions between takes young vocal chords might alter too. He ended up stating that to his ears the 3 Jackson Five mp3 vocals had less in common than 'heaven in your arms' had with the Michael he knows. Taking into account his 'musician' ear approach criteria I must admit that I ended hearing all that too. Implying that very young Michael singing was not always so consistant in that regard. Worth point. In 'heaven in your arms' the singing is consistant and most reminiscing of Michael (if ever) as we'll know him later. Why is that happening more with 'heaven in your arms' than with the 3 other Michael's recordings ? Is it sometimes just like that ? Could 'heaven in your arms' have been precisely at the right conjunction of people, time and place ?

Can't dig out my copy at the moment but I believe it's featured one both sides...

On the vocals 'trial' today I had the visit of a musician friend whose ears are rather well trained. Occasionally I call on him with such musician "technical" queries. So I took the chance to submit him the 'blind' test of the 4 vocals mp3's. Telling him only at first 3 of the mp3's are definitely from a same singer and a 4th could be or not. He began first to 'imprint' the voice of 'Big Boy' (One-Derful 1967). Then right after I played him the 'heaven in your arms' vocal mp3. His first quotes were it could be the same singer but on 'heaven in your arms' the young singer is much more 'fluent' and 'paced' right where on 'big boy' (1967) not. Like 'big boy' (1967) seemed more amateurish and just 'off pace'. By the time I played him 'big boy' (1968) he pointed out then that the singing there was more 'reminiscent' of the singer of 'heaven in your arms'. FWIW by that time he had guessed that it was a young Michael Jackson at the mike. Playing him time and time again the vocal mp3 of 'heaven in your arms' he went on saying that to him the lead there could very well be Michael. Like he was convinced that this was actually Michael. Not a proof but still his ear opinion. These assumptions are again only that. No scientific or factual proof. Plus these impressions based on ear analysis don't answer the difference in singing maturity for what we would have deducted to be contemporary sessions. Elaborating his analysis finding more similarities in the singing "maturity" between 'heaven in your arms' (1967) and 'big boy' (1968) but not as much (or at all) with 'big boy (1967) where the singing is more "immature" or amateurish.

Yes so the original stocker is on a 'cream/white' mat paper with raised stamp under the label. Original promo on glossy label with similar raised stamp under the label. Both have been booted.