Tlscapital

Right, thanks Sebastian but still what would be interesting IMHO would be to have initial higher resolution imaging for less 'blurry' secondary imaging from screen captures of the 'real deal' copy next to the 'counterfeit' vinyl bootleg label like here but even better...

When young arrogant folks want to show they know it all even though they don't tend to talk too much... Crap. Middle aged after years of drugs abuse backlash induces stuttering on words then ideas making them unbearable. Old "demented" (medical terminology for the "revenge of the weak" LOL) they keep repeating themselves to bore. In French there's the pro-formula sentence reply to them saying ; ton disque est griffé ; = your record is scratched...

Last I remember seing an "old" post of his on here his account was 'closed' and credited to as 'guest', so yes I believe he's out of here and not back since.

No-no, here is ; https://www.youtube.com/@JohnManshipraresoulman/videos

Just John Manship

Am not used to check John's auction 'live' pages but what a shame it is that one can't enlarge the record's image directly from the site. Even if not totally at least partially for closer inspection... Like even the eVilBay's offering for minuter details of the records condition and or certification and confidence for the buyer prior placing a bid if ever.

Keep on Keeping on with a Limited Special Edition of 20 Wigan Coffin Classics memorabilia...

A real near Mint promo copy. Faint ring wear. Played once by me to test audio-fidelity. All is perfect. Flip side has a faint felt pen XOL. Comes in its birth sleeve to keep it all as was. Free registered shipping. Will be shipped from Belgium Customs hassle free very well packed slid in a book within a mailer for protection. PM me to inquire.

The Atco presses and distributed copies for national promotion were licensed directly after the first local copies were made. So prior their Motown deal and breakthrough. But the Dynamo press dates from 1971 and likely aimed to cash on their then growing success.

On a humerons tone but for real IMO 'A SACRILEGE' Play the Implements version if you want a more sustained mid-tempo danceable version. Honestly if I was hearing that out pitched I would diss the dee-jay and curse him/her

Yes and then it catches on others helping then to sustain the price 'boost' for even higher-end pricing generic genre sellers. Few copies offered as 'buy it now' on the evilBay for higher price tags than this auction... Sign of the times.

Jimmey 'Soul' Clark love it but £244 ? Not even a white promo ? If ever a completist collector was after a minty promo copy I would have got it. But here not. Is it hammered that bad again that the very few who missed on it all those decades are now throwing money at it in despair to 'own' one ? Or am I so 'out' with the 'in' crowd ?

As a late comer on the UK Northern Soul scene in the nineties at the 100 Club I was dipped into what was likely the 'golden' era there. With a musical policy of classy like sixties orientated sounds with dee-jays competing and establishing their own trade marks. That then felt most refreshing in what seemed like a "healthy" environment. Although being from Belgium I got to know about the serious 'pitching' of Pop-Corn dreadful habits (that I looked upon with mockery and despair - depending on the record they would 'distort') and understanding where the Northern Soul scene at it's commercial height in the seventies was coming from I thought that this could be IT incarnated. Until one nighter (my last there) where a younger 'mod' like dee-jay started some sounds I recognized both from the Pop-Corn field or the New Breed "R'n'B"... understanding that this bad sounds as bad news to me was a 'game changer' that would take over the best of what I did find at the 100 Club. My 'musical' incarnated haven was no more. My naive or idealistic image of what was that the then 'underground' scene would come out to be an 'overground' scene all over again for the worst. Later I would not be surprised but only upset to hear big dee-jays playing rare records that I couldn't recognize from the first notes so bad these were pitched up ! In my book a fatal disgrace. The pitch introduction on turntables participated first on speed stability functionality. Later it was used by dee-jays to match tempos and even later to mix/blend in tunes. The Pop-Corn pitched 'instrumentals' at first (what they were playing at first) to match the dancers tempo allowed them to play more records regardless of the record's tempos. They achieved to do that on cheap Lenco L70 turntables and the likes that were fit with a sliding speed bar with halts marked at 33, 45, 78 rpm but would pass through all the in-between speeds too. They would add their own markings on that turntable's speed bar and write what they thought would be the "right" speed on their records... In discotheques they had SL-1200's and there the use of pitch was often used few rpm's above '0' as with 'louder volume' the bass overwhelms the high frequencies which in return kills the dynamic in the playback'. Which is true to a point. With better gear in an optimal location that is not true anymore but so hard to achieve when possible. Adding speed to compensate such "muffled" like playback of low frequencies overflowing high frequencies is bleak. Because dynamic is given through high frequencies band. But such speed increment to compensate that is never good to my ears and merely a bad fixture impairing else where on top... Troubling the listening experience if any. On a good revealing phono set-up such speed trafficking is either an overkill or pure bad treatment. Guessing we are all raised differently, have different ear ability and sensitivity, preferences if ever but distortions will appear many a times where it's not improving anything actually but on the contrary adds up interferences in the playback IMO. Used to be into Jamaican sounds before the soul thing and there the same practices existed but they were all the same to me never looked-upon as an 'improvement' actually. On the contrary as a kid home experiments made me realize that this practice is actually more of a 'vanity' issue than a 'discovery' for A "better"... How I still see and hear that.

No must be a rare misspress LOL Went down well at the 100Club in the nineties. But these where the days...

WJMO was a Cleveland; Ohio based radio so could be considered into the New-York North-East 'perimeter' for local promotion an distribution I'd have believe. But I could be wrong too. And if so this snippet about Porgy & the Monarchs 'that's my girl' on Sylves high on their chart could just be about the local NY press release more so than the Chess distributed one. Coincidence October 1969 knocks a second time around in this quest with the matching to the New-York local non Chess distributed Sylves of Mary Davis 45 on Conclave as a new release then... Still leaving the possibility to be either Sylves presses and then also still riding high in their play charts few months past either date of release too. As nothing there states 'new' as opposed to Peaches & Herb, Young Holt Trio... But I like the North-East bit and October 1969 factor for hints here dwelling into the theory that this local New-York Sylves release did achieve some success locally there and then. Going on late 1969 and not 1968 like often dated. And if just like the previous Chicagoans Sunday on Alteen and Denise Lasalle on Tarpon adventures with the Chess people taking a deal for further national promotion and distribution in hope for greater success faith did not obey. If it's a Chess practice (awaiting for a record to achieve first enough local success before considering to offer a national exposure with exclusivity for the initial local market) the Chess deal would second in line to the local press.

We want Bart Fader playlist to be made available to the 'public' on here like for every other dude. Enough of that filling under 'International Security Matter' classification as 'Top Secret File' Ze people have a right to know. Bring forth the force out of the Bart und unto da Blitz Licht !

Or don't let be told what or how to play, do or act like. Still, look-out, listen with your heart and learn from elders. Not just from one, two or even three elders that you look up to. But as many that are not necessary "recommended". Make up your own mind. Do your own do's. Maybe make it more "open". Only young is as bad as only old in my book.

Résurrection time for this old 'discography chronological quest of mine on these releases for these 2 fab slabs of soul that still have the grace not to be swallowed in the TOP500 this record released 4 times in two pressing plants. All of Porgy & his Monarchs's previous releases on major labels are dateable but none of the 123 Sylves are that yet. Have gotten into comparison with other contemporary Chess releases trying to figure out a "window frame" time there. Mala 'stay' July 1963 Musicor 'that girl' May 1966 Musicor 'my heart cries' December 1966 Verve 'love chain' May 1968 Verve 'that's my girl' July 1968 Sylves 'that's my girl' Chess distr. possible 'window frame' time between June 1968 and November 1969 Sylves 'that's my girl' local NY deep green Sylves possibly dating anywhere from mid to late 1969... So the Sylves Chess distributed promo copies used that white & fade/shadow grey "promotional copy not for sale" patterned paper label on some but not all Chess promo releases between April and November 1966. The pressing plant using the double 'DJ COPY - Plug Side' imprint on promotional sky blue/white fade Chess label copies between between June 1968 to November 1969 was also used on the Sylves Chess distributed promo copies. Indicating that the the promo Sylves used some left over white & fade/shadow grey "promotional copy not for sale " patterned Chess label paper. Released most likely sometimes after the Verve withdrawn promo release. As these two share too many similarities on their respective labels made in the same pressing plant that could imply a bad twist in the contract between Verve and Porgy & Monarchs/Richard Tee. Such is my plausible theory at least. The 'love chain' Verve success not meeting the artists expectations could have put a last minute dispute 'HALT' to their forthcoming Verve 45 release just out of the pressing plant once a deal was instantly passed on with Chess for this release. Sparing Verve a law action maybe ? Hence that the Sylves releases were made without the Verve mix reels. Going by the numbers of NOS discounted Sylves Chess distributed stocker copies about the commercial success was amiss. Leaving the local New-York deeper green Sylves release date more so a mystery. Often "claimed" to be the first of the Sylves releases though I doubt that. But going by the fonts used on this label these are mostly seen on early/mid seventies... As opposed to the Chess distributed Sylves these are generally found in 'worn to the bone' condition. Meaning that locally it clearly received an enthusiastic public reaction and commercially it likely proved a rather good seller. But was it a public first, simultaneous or a later reaction ? Could it have been contemporary to the Chess distributed release like Chess used to agree on back then with Sunday on Chess/Alteen and Denise Lasalle on Chess/Tarpon ? Where the Chess/Sylves deal would be to take on the national promotion and commercial distribution and leave the local promotion and commercial distribution for the local Sylves release to the owner of it to make the most of it there. Checking Richard Tee's other involvement on similar New-York labels design and fonts indicating a same pressing plant, team and time I come up with this match of Mary Davis 'woe be unto you' single on Conclave dating from October 1969 ! From memories these fonts were only seen on late sixties and early to mid seventies NY labels. All these hints lead to make this local deeper green Sylves release most seemingly the last in line. As a last attempt to cash in on it. And just like the Sunday on Alteen or Denise Lasalle on Tarpon and this Porgy and the Monarchs all the Chess copies found were discount NOS indicating poor national sales as opposed to the worn out local copies found in numbers. Meaning that if both the local and Chess distributed Sylves releases were simultaneous or contemporary consecutive like releases the according date of release could, would or should be anywhere between July and December 1969 logically. ____________________________________________________________________________________________ P.S. Porgy Williams solo effort 'a lonely man's hum' on his following Sylves 123 (?) release was also pressed in the same pressing plant that Verve used shortly from December 1969 up to February 1970 adding fuel to this theory. Then it was also re-pressed in the same pressing plant but with fonts used by Verve whose number of releases pressed in that pressing plants pre and post-dates Porgy's 'lonely' so of no real 'hint' relevance to us here.

Not to me it's not necessary that Benji. Because it's never only one thing that brings individuals free willingly around a festive musical thematic party. Even though it could be that too for those that sees it as such. A point of view, a belief or an understanding it is then. Even if only partially true it's a biased diagnostic if used in the 'vindicative' affirmative form. Leaving no room for better finer judgement because of its generalization reduction in assumption. Not contemplating that there's more, other and not only 'trauma' factors at work necessary Blame is easy. Such recuperation in 'political' statement (not partisan though hopefully) for a niter is trendy (all over again) and supposedly gives those, who states that, the necessary credibility to be taken seriously enough. Not by me though. To claim that dancing all night is 'socio-economic escapism' trauma or stance is too simple if stated with humble intentions (as you) and puerile when with detoured intention (This is England). Such socio-politisation analysis of sub-cultural phenomenon like studied in 'sociology' (Human "Science") is tiring because it reduces individual singularities in primitive victimized behaviorist schemes with no room for better determination. Aware converts in such sub-cultures struggle from such "appropriation" in legitimacy from 'outside' or 'higher' views. Tim

Can't access mine at the mo' but here's what is given on 45cat.com a) 100,481 b) 66 XY 482

FWIW there's also the very first release without the Jamie/Guyden distribution badge if ever...

Not me one bit. Love it like so. Get a stocker then maybe... If you can that is if ever more likely...

Seems real from here unless such a fine 'fake' one was made without my knowledge...

Wunderbar ! Radio add from February 1973 with their LP in the albums 'section' and the instrumental of 'Let's Talk' in the instrumentas 'section. Indicating that the 'Let's Talk' single release is definitely 1972 as I first believed it to be. Even if late 1972. Leaving now only the two releases query that could likely only be foretold by people from 'then'.