Tlscapital

That New Yorkers Tac-Full 'teared down' label with a mere Radio City stamp on it might have a story of it's own but it's only that. Memory tells me that I've it before on the net... Not a real proper Radio City labeled that many have wondered the true existance of since the pre-internet days from papers collector's price guides. Post internet JM's price guide included. To say the least a rumored record deceptive on reveal once again. IMHO.

Unless your phono rig is not that true in "revealing" all that's in the groove that is impossible. I've that heard that difference on merely mi-fi phono gear. Like the example of Chuck Wood. What is possible though is that your cartrige/stylus is so much more or only appropriate for the stereo groove that it picks up all the noise and pollution from the MONO groove. Those seventies UK reissues there are stereo groove cuts playing in MONO...

These seventies London, Brunswick, Pye... sound thin and low in output compared to their next of kin. A very recent example ; I found the 1975 French Roulette of Chuck Wood 'seven days too long' and told a friend who had the UK Pye to maybe take the Roulette to replace his Pye (both contemporary) and he played them side by side. No hesitation from his behalf... He left me with a Pye copy to sell on. FWIW never these were direct cuts from the master tapes/reels. These remained in the American vaults. They are dubbed masterings. And in this sole case the British mastering on trial doesn't stand a chance. One might like a thin sound and a low output in playback but not me. It's an ear thing so open to be subjective. And also to evolution. Especially after understanding the 'what' and comparing in direct. None physilogicaly is equal. Our ear ability, capacity and sensivity are all different. The human ear is conditioned. The room for spontaneous or acquired taste is huge. And all or most have expectations in analog playback. With good analog playback the ear/brain can rest while listening as the image is "clear" an "complete" in fluidity. With digital playback the picture is "scambled" and in constant "construction". For those whose attention is not detoured by that the 'impression' of the image/picture is the same. For others, like me or you maybe not. Feeling unatural, cold or flat even the digital conversion from analog is never graceful. No matter what it can achieve in 'restoration' of damage tapes or records. To my ears it can never achieve the dynamic, life and depth combination of good quality phono analog playback.

Truly not my experience. Never was actually. On my "now" good real MONO (no fake MONO switch on the amp) phono system even less than in the past. The mastering job most reissues go through are only terrible. I can only count so few where it's almost perfect (only not because of the almost mandatory digital phase in the process, yes my ears are that sensitive). The good old Kent compilations are acceptable but only that in real. They were the best then in the UK but it's ultimately good for 'ambiance' home playback. If you want to party the thing won't work. Especialy next to real OVO 45rpm's. Trialed that on young ears and guess the vote... But they are wonderfully compiled by a most humble gentlemen with taste, knowledge and inteligence that educated my 'young' "northern" soul ears. Never liked nor had respect for other northern soul tagged labels. The fact of working from reels (or almost that) is only that. I've heard better dub takes than 'arty' mastering jobs from reels... Actually we all have heard dubbed on 6T's UK "original" or official releases (under licence) or not :0 Much prefering to play my original records home no matter what. It's not snobbery. It's reality. What I don't have I don't play. The unreleased stuffs is something else. Look-a-like are the worst. They're "tailor" made for "fans".

Sidra 9006 use to be the 'rare' collectable for the collector's for the 'each time' (pop) side I understood back then. But I wouldn't know any better since I never liked those sides. From memory Sidra 9011 was floating around evenly both as promo or stocker before the 'return of the ugly' or 'the uprise of the hypstyer'.Where Sidra 9006 was less or not. But now with the TOP 500 tourists big spenders in the game it's the 'as long as you love me' that counts... Meaning that maybe by now if a Sidra 9006 would be offered on auction it won't exceed the value of Sidra 9011 on auction where it use to be much more valued amongst collector's and price guides if ever. Time change as well.

First white label (promo or not ?) with the black label (issue !) & instant re-press promo & stock to supply the demand and expected extra promotion with the then 'new' lined label. The promo also came out with red imprint FWIW. As for value none is much more rarer than any other. Pay more if you think else wise. Not me. Hard to come by very clean though IMHE. Hence the inclusion of the 'Embee production' on the later lined presses. The first Volumes 45 has it as well the second not. The second issues have Harry Balk credited as producer not the promos...

First because I know my records (buying, swapping and selling) for long enough. On some labels with both variants pressings sometimes prefering the styrene, other times the vinyl mastering job in playback rendition. Tricks for the noob if you have the eye ; mat stuck on label for styrene. Vinyl records can have gloss label (or not) but they're always molded-in label. Then more faintly the thiner narrow styrene groove without much visual difference in groove modulation. Finally had the bootleg and it's not looking that good. The vinyl boot is dull. My copy is the same as this one. I know it by heart. Found memory of my crate digging finds that day in the back of a record store.

That's actually a real one. The boot is vinyl. This is a styrene one. With the first white label (promo ?) run without lines like the later ones. Playing surface on this one looks very clean on top.

It's rare. That is certain. But not that rare IME. All Ric-Tic promos are not 'evenly' rare. Never worth £400+ IMO. A nice collector's piece all the same. But the nowadays "northern soul" prices are another subject or debate if you wlll. More than ever before I mean. FWIW I've seen more Edwin's Scotts than Rose Batiste promo for example. As for the music in it it's only a less punchier version of 'stop her on sight' with private joke lyrics. The collector's demand would be rather limited with Detroit completists (most must own it by now) and the few Edwin Starr's fans (?!). And few northern soul collectors evidently. But is it also a new "entry" in the TOP 500 to proudly splash one's money on ?

On the Sidra appearance kind of thing I had the green stocker first which seemed to me totally similar to the white demo 'upgrade' I got after. Have not got try to compare the matrix 😉 The Capitol release is not only different in regard of the strings (cut out), it's also altogether a plain an simple take. Now I can't say much better for another release out there. But there's an unreleased (seemingly) previous cut, demo or acetate variation out there on YT (like here). With "hum" throat rimming for intro... Taken from what source I can't say.

Had the pink copy for peanuts and turned down the 'pricier' white demo as I was happy enough with it. Not feeling the need to own a better playing copy (that which I wasn't aware of back then). The emergency of trivial choices with what records I must/could afford to bring home in priority left me unaware of that all that time. Until one day to close a trade deal I manage to get a white real deal copy. The pink copy instanytly went to a new home and I started to play it like never before. Both sides this time But I'm a demanding man when it comes to playback rendition. The Tom-Tom remix makes it totaly something else. Not my cup at all FWIW... 😉

I believe not. Am too young to know any better and was weary of most of them 'popcorn' people back then as their music was clearly out of any coherence to me back then to have all the differtent stories from the 7T's. It still is all too weird for my liking but I now have my wise knowledge to reassure me as to what my ears are witnessing and argue with them people in confidence. Finally. An have my few better 'popcorn' friend I believe. You had 'popcorn' stickers back then. Promoting the club. But no jackets or sport bags patches. The 'a way of life' thing makes me gringe some. Ever since. Even as a teen skinhead. Nothing can dictate my state of mind, nor what I eat or I don't know what. Even though like a 'community' who gathered free willingly with 'rites' in devotion or dedication, people got to meet the same faces over an over again with complicity in competition. Such a feeling of belonging to something special and/or peculiar should embrace most teens in rebelion without a cause. For a while if ever. But I know it's not always the case... Bless !

Just as much as northern soul was/is going from soul, pop, garage, funk, R'n'R... Popcorn music "genres" goes from 'groove' (instrumentals like 'hole in the wall') to soul, country, pop, latin, exotica, ska (instrumlentals only (WTF)) french 'yé-yé'... But it was/is a scene with venues, dee-jays, punters, collectors, dancers, drugs and thieves... No Sousan but Salamone. The popcorn is a dance for two. Not a 'music' genre as such. Like rock'N'roll but in slow-motion. Pitching the records to suit the dancers brought that specific two-time beat (like Ben E King 'stand by me') to be made that popcorn "genre". Belgium is small. England is big ! 😄 In proportion it was an 'important' underground scene here that was also commercially abused.

Going by the music publishing companies FWTW it seems that the Renee is first witn just the 'Lamaja' one where the Marc gets a 'Satterfield' as well...

But that's all talking about UK pressings only or the UK market thing if ever. The world is actually much wider. The OP LP pressing here is not a UK one. Nor necessarely pressed outside the UK for the UK market FWIW. If in the sixties UK presses were made for the export market (Commonwealth), the opposite is not necessarely true. What is very true is that the establishment of the Tamla Motown company in the UK first allowed the Berry Gordy's production sales, promotion and marketing outside of the USA under one banner. And that gave us a more coherent artistry direction in the packaging for the greater pleasure of collectors. With a lot of local colors. Bagged pressings in foreign or local sleeve that's actualy an old practice. Quote : Also the Hiatus at Hayes, caused by production issues... ...you get French DSOM's german made in Japan's, I even have an American ( yes an American !! ) Surpemes greatest hits on Tamla motown. All were pressed abroad and sold in UK in UK sleeves. There can be many resons for doing that. Not only shortage or pressing plants issues. Prince Buster's firsts UK Blue Beat LP's (compilation of 45's) re-pressed on Islam (with greater mastering) in Jamaica all in UK sleeves. First (Tamla) UK Orioles sold in Belgium w/pictures sleeves... Admittingly that OP on SH rekon it can be very tricky.

Like here/this ? And I find the OP typo pretty close of this Holland 1973 pressing here below. I believe to remember at one time that they went on to have one pressing for this first 'mini europe' of 3 countries (Benelux). I don't like them looks, mastering and pressings so I can't be certain as I don't own any of those post 1970 Belgium or Holland or Be-Ne-Lux pressings to attest that theory. But it's a memory thing like it was told to me by collectors or something.

Could it be a Benelux pressing or something close to that ?

Aside : the 'original' BlueBelles and Ex- Starlets (4 Chi girls : Liz Walker (Dynetta Boone), Maxine Edwards, Jane Hall, Mickie McKinney, Jeanette Miles) had first their name or image, depends how one sees it, stolen by the Epsilons. That with dear Patti Labelle in it. As it was them 4 Chi girls who recorded as the BlueBelles first record and 'HIT' 'I sold my heart to the junkman' on Newtown. Only it was Patti & her Epsilons who lipsynced on Amercan Bandstand and not our 4 Chi girls. Patti and her gang got sued and seetled for a deal. The 4 Chi girls got $5.000 each but as 'plea' deal never got to use the BlueBelles name anymore. They tried to force it with their fab overlooked 1964 'you're just fooling yourself' on Rainbow as the Original BlueBelles. But they got caught. Rereleased as the Bracelets on 20th Century.

The tune is fantastabulastic ! Eternal class-ic. That Correc-Tone copy look is the kill ! My copy is never far sitting next to Gino's and while I play them no sides get spared. The flip side although not 'northern' in basic or commercial terms is immense as well !

FWIW this is also true for me. And it still sounds 'as fresh' to me as it first did. You gave it more than a try. Bless you Carol +

EXACTLY. Will find the time to take another more dedicated "religious" listening to it. Another firm favorite true soul hero coming... WOW ! Waiting with great expectation !

Got my copy of 'no mad woman' early nineties on a trade deal. Picked it up 'blind' as it's Jock Mitchell RIGHT ! Can't be bad. Opened the mailer, put the record on the turntable's platter and loved it from first the first note. Before tintenet nothing was audible with a 'click' and was astonished to hear Stewart Ames 'King For A Day' on J&W for the first time at a friend's place using that very same Jock Mitchell's 'no mad woman' backing track. My friend just back from the usa with that record amongst many was implying that the american dealer told him that 'Angelina, Oh Angelina' was on Northern soul wants lists. Replied to know as I've heard it and that I hate it. But as he is into Pop-Corn (we're in Belgium ) he picked it up for the 'king for a day' side. Told him about that Jock Mitchell using that same backing track. That to this day I love. Stewart Ames singing still not for me.

Rarity of the sound is what brought us to seek our music outside of the "mainstream". As a crate digger excitement of the discovery record or the long wanted one is the drive. As a collector who listen to his records and don't keep those I don't like, no matter how rare, in vogue or 'in-demand', my ears and eyes is ALL that tells them appart being a 'keeper' or not. Had the LP of the Eight Minutes once but couldn't be bothered as I was happy enough the few 45's I have of the group. Gave it to a friend who will enjoy it much more than I could. But when I first heard the Cindy & the Playmates 'a portrait of god's love' I was instantly seduced. And I care not so much for the 'don't stop this train' side that is a good club sound regardless. The singing may be similar to you. Not to me. The backing track is the same. And although the mix is similar it is not the same. The Cindy & Playmates mix is much louder, punchier with 'Oomph' and "vibrant" than the Eight Minutes backing track. None is superior as they are not to compare. A bit like apple and pears. Compare 'take my love' on the 7" and on the LP if you want. Is this a 'different strokes for different folks' situation in regard of the mastering differences between the Cindy & the Playmates with the Eight Minutes ? Not only a good versus a bad mastering job at stake ? Maybe. And like the Maxell cassettes old advert with Desmond Decker's board subtitles of his 'Israelites' hit ; me ears are alight ! if ever someone wandered if I was not ear impaired 😉 In all honesty 7" singles always had a bigger place in my heart than 12" LP's. Although I always had both. And still do. But from a listening point of view, as in "audiophilia" if you will, those two very different format are not to be so simply compared. Both have their merits and flaws. Yet both require the adequate phono gear to benefit their merits and diminish their flaws.

Writing too fast just before bed time. Vigilance and critical state of mind is down due to the pillow appeal. Copying dully like a fool what seemed strange to me from discogs. OK, you're right and I'm evidently not. More likely some sort of deal in production/distribution between the Perception Ventures, Inc. and Jim Porter.

The Lovelites version presents the high frequencies upfront with the guitar tempo clear with shine through strings in place while the Pat & Pam mix pushes the low frequencies upfront with the drum for tempo. All the breaks remain pretty similar though. The Lovelites vocals are more relaxed and sultry while Pat & Pam are more crude.