Tlscapital

Evidently 1965 or post. Thanks for sharing this little story. Makes perfect sense. Lifestyle Hmm... Character, moods and habits you mean !

Lou Johnson less known and harder to find 45 on a promo doing a rather unique rendition of Dionne Warwick's classic tune. These were all press on Styrene and do sound a bit crackly even when Mint. This copy is Ex- by strict grading and the scan show some "rub" on the label that is much less visible in the flesh. Scans and soundclip from actual record for sale. £40 FREE SHIPPING ALL OVER THE WORLD. ADD £6 TO HAVE IT REGISTERED. Grading through M - EX - VG - G... PM me to inquire ___________________________________________________________________________________________________________________________________________ Caesars first single overshadowed by their second release and suffers the fact that this number is not rare enough to get more deck action. But also DO listen to the real 'A' side... If you're into the stuffs of that genre, this tune won't leave you indifferent either you know it or not YET ! Strict Ex- condition with drill hole. Scans and soundclip from actual record for sale. SOLD ! £40 FREE SHIPPING ALL OVER THE WORLD. ADD £6 TO HAVE IT REGISTERED. Grading through M - EX - VG - G... PM me to inquire _______________________________________________________________________________________________________________________________________ Evergreen modern soul classic... In real nice Ex or better condition. Scans and soundclip from actual record for sale. SOLD ! £40 FREE SHIPPING ALL OVER THE WORLD. ADD £6 TO HAVE IT REGISTERED. Grading through M - EX - VG - G... PM me to inquire

Only way to own this on 45 is this UK release. Dell hole and one scuff on 'flip' NAP. Complete in company sleeve so close to Mint... Scans from actual record for sale ! £85 FREE REGISTERED SHIPPING ALL OVER THE WORLD. Grading through M - EX - VG - G... PM me to inquire ____________________________________________________________________________________________________________________________ Excellent condition of this rarely offered Holland release (no Discogs entry) with it's original birth company sleeve. Scans from actual record for sale ! £15 FREE SHIPPING ALL OVER THE WORLD. ADD £6 TO HAVE IT REGISTERED. Grading through M - EX - VG - G... PM me to inquire _________________________________________________________________________________________________________________________ Seldom seen Belgium release in Ex+ condition (no Discogs sale history) of this feel good classic R'n'B dancer. Scans from actual record for sale ! £15 FREE SHIPPING ALL OVER THE WORLD. ADD £6 TO HAVE IT REGISTERED. Grading through M - EX - VG - G... PM me to inquire

His voice reminded me of Frankie Vance... But then he was located West Coast where he recored his 2 Revue 45's with Frank Wilson.

Flip is nice in another genre...

Always kept my copy for the flip 'it's a cryin' shame' that is evidently less of a "mod" dancer but that floats with a cool gritty Motown rythm'N'soul feel. More than worth your money for a clean Soul copy, for sure.

Different pressing plants only.

All look good to me but the Little Johnny Hamilton whose label color, texture and print don't look right as is it's "soft" rounded edge of the vinyl that should be "sharp" cut. This is the real deal. The Originals on Suspension booted ? I doubt and couldn't see when, why or for who ? The TAB scratch in the run out groove would be an addition done by someone to mark it's ownership I'd have believe. Okeh had few releases at that stage who get issued on vinyl as well. Nothing dodgy about them. As for your acetates why would they be booted ?

But no ! Long career on major USA companies preceding these Shout recordings and some European releases as well...

UP 🙈

The only good cover of this tune IMO. They give it another "kick" and "vibe". TOP !!! Kept the LP because of that track. Very nice find !

Am still missing some of his material, but I'd wish I had all of his releases. One day 😉 Don't think there's many artist whom I am found of all their releases... Ronnie sounds (sings) like he's one of the good guys indeed. Humble, whole and kind. And he is still for sure; up there. Only few can dare and cover Smokey & the Miracles to make it even bigger and better; Hats off !

Merely a nasty Spanish job from an initial nasty British job...

Always did the same effect to me. Sounds like a rock group trying to reach the Pop crowd with some 'bluesy' touch sounding that; not soul ! Had them all in multiples (promos, UK's, French's..) since it was an easy pick-up (hit record) for the crate diggers and an easy seller. Never kept a copy.

Drama Philly ballad of the highest caliber***** This is the rarer double 'A' side (flip 'easy rockin' is a mindless instrumental worth over passing) bi-chrome west coast promo copy in super clean and sounding condition. Had the vinyl copy and kept this styrene that is much superior sounding in depth and dynamics. Just have this copy as a spare now. Members of these Epsilons were John Whitehead (Roame's cousin), Gene McFadden, Allen Beatty, Lloyd Parks (ex member of The Emanons) and James Knight. The video below is a treat on it's own... Drool !!! Scans from actual record for sale ! SOLD ! £50 FREE SHIPPING ALL OVER THE WORLD. ADD £6 TO HAVE IT REGISTERED. Grading through M - EX - VG - G... PM me to inquire

😳 Now am after a minty of this. Although it's not so bad looking and plays strong enough.

The stocker is good looking enough IMO... But I understand you. I collect my Motown (1961-1969) (not all numbers completist, just and only the 45's I love) promo with the bold italic logo (not map) and some are likely to not even exist from this pressing plant I believe. Loving the Spinners 3 first singles on Motown, I was aware of their 'truly yours' promo being only double 'A' side. Until one day I found a promo with the flip. Maybe I was the only one seeking that, so even though if rare, in an auction it won't find many bidders... Still a flip side that I couldn't live without and kept the stocker copy for that side to that day. So this promo find that I though not to exist meant the world to me that day. And it's the sole promo copy of 'where is that girl' that I have seen to this day though. And this Spinners promo copy of 'where is that girl' that I now have could be a service copy as it has the same handwriting as all the pre-releases from Motown & Co. or as on famous copy of Frank Wilson on Soul that floats between hands of DJ's in the UK.

Either it's a "made up" promo label for this YT clip or it does really exist as such. But if so, likely in very small number. For some reason it happens occasionally for a few copies to have been pressed with the 'B' side where most double 'A' side promos where not.

Well, like I said earlier on, once you manage to get a clear and neutral signal out of your speakers all for the best detailed, deep and dynamic sound qualities in sound, you also get more of the default. High note frequencies distortion (sibilance) are not necessary due to bad stylus raque angle or azimuth setting, nor it is necessary some inherent mastering flaws during recording or at the laquer cutting stage but also at times from scruffs. Those nasty scruffs do require deeper cleaning and this is where those ultra sonic bath (60Hz since 40Hz won't go deep enough) can play a role in the cleaning process of some records. After that they still need to have that mechanical soft brush "scrap" since some of the scruffs are barely "detached" and not "peeled off" completely through that process. Then the record is still to be either vacuumed or cloth dried out.

To idea clean the records is to have the best stylus groove retrieval. In order I hope to get the fullest of the record out of the speaker. Right ? Glue for instance won't do the best jobs for those NOS warehouse records with that layer of trans lucid grease all over the vinyl. Isopropyl cut 50/50 with distilled water on a cotton ball will do the best job. After a good dry cotton ball wipe. Then if there's any particules left in the deeper groove the PVA glue should prove efficient enough then. Finally I'd love to have one of those ultra-high frequency (60 Hz) to clean deep in the (highs) groove. This apparently can prove very efficient to eliminate some highs distortions inherent to crease there. And so logically one would want the phono gear who'll put all those effort to worth. There's not only one way to have the right phono set-up that meets one needs. We might have fantastic memories of nighters and instinctively want to relive/reproduce that home. On a budget I got my first 18" JBL Woofers mounted speakers with bullet cone tweeters. I was into the early (1959-1973) Jamaican music and I wanted BASS ! But to get bass and not "boomy" is another work... And it took me time to get where I am with my phono set-up and I enjoy my playback music sessions more than ever. I wish I was born rich and would have access all that before. Only I am not and have to deal with all the other bits in life at the same time so it took me that long to finally hear my records as I was seeking and longing to hear them. I'd thought I'd share that as well. To clean your records is not only to get rid of the odd Snap, Crackle and Pop but also for a cleaner and distortion less playback in the high frequencies. I remind you we are listening to soul voices and they are in the highs ! And to hear bass the tight ! To hear the Funk Brothers with such rendition is to do justice to James Jamerson instead of a mushy muddied sloppy boomy thing.

Enjoy your SL-1200 turntable evidently. As I have had and I am sure many still do. That's alright . Only I have come to compare and tell the difference. Nothing wrong with your enjoyment, but coming to talk about it in comparison is bit like comparing any reissue with the real deal original (with scratches & Co.) 7"on a good "clear" phono system if you ever the chance... the GAP is huge ! But less "in your face" on the average muffled phono or DJ gear. It's not so much on the budget (SL-1200 = cheap !?) but it's mainly about quality playback rendition. A turntable should have platter speed accuracy and stability. Direct drive turntable (with servo) have that more or less better than 'idlers' or 'belts'. True. Till they give in... For the rest, those SL-1200 & Co do always present a muffled "sound signature". Since those "better" direct drive have always to be well dampened in their chassis. And that does affect the sound ! For facts SL-1200 will have a different "sound signature" than (even) a new Thorens belt drive on a similar budget BTW. And a vintage second hand belt or idler turntable with a lot of evolutive potential will set you way better for lesser money at start. And likely more "intuitive" to fit according to your wants and needs if you are a bit of a tweaker. I have grown to be one. I was of the "plug & play" à la SL-1200 prior. Those "vintage" tweak-able turntables are mostly of the belts or idlers drive (more complex; true) kind as they are more "friendly evolutive" than the commanded 'direct drives' as those require a PHD in electronics for fix if ever. And for the same bucks, you get much better results at the end of the line IMHO. Now on the worrying less kind of if any if that, if one wanna feel like a DJ home; stick to the SL-1200. Then you might need 2 and a mixer... Not me definitely. Now some might tell you that it's not the turntable that does the sound but that it's the cartridge. Comparison shows it all ! But once again, it requires a developed and educated ear to music/sound. I love my music and it's not the scratches nor the "cheap" masterings at times that bothers me. But the bad playback out of the records that bothers me at times. So I set for the Right-Fi and not the Hi-Fi ! Money AND knowhow. And there the cartridge choice is not to wonder. Not any tonearm can handle any cartridges mind you. And this is where the PICK is ! We talk about those mainly rare 45's that for most are cut MONO I believe. Then DO get a MONO cartridge for your MONO records in the first place and do them justice ! I went for a DL-102 that is compliant to STEREO for careless easy sake but with full playback pleasure and enough rendition both ways. Speakers are another matter. If on the SOUL side, you want the 'voices' to be clear and 'upfront', meaning you want to have at least a 2-D effect or a 3-D out of your speakers, that is not achieved through the speakers as such necessary. Check your connections qualities and specs straight from your stylus read onto your cartridge, through your tonearm (+TURNTABLE), then preamp and/or power amp, cables and through your SPEAKERS'S tweeters. Voices are high frequencies (tweeter). Instruments mid and low ones (woofer + medium if ever) in the analog process. So there's not one way to achieve that but many. And one has to come to assemble that first (avoid muffle) in their gear set-up. One need to have balanced HIGHS (not saturating or too bright) to allow voices to come upfront and be present through the speakers. This requires a well balanced stylus pick-up and "clear" signal transmission follow-up from beginning through end. It's all in the chain. This just goes to show how many factors are at game with those micro volts sent from the cartridge and "reasoning" with. On any phono stage this happens... What everybody wants is the avoid the BAD vibrations, the LOOPS and the LOSTS signal during the stylus in the groove pick up and transmission from the cartridge to the preamp and ending out of the speakers. I also need the good (necessary IMO) resonances transmissions. Those SL-1200's don't allow that. OK, they are easy to adjust/set to DJ with (torque) and about carefree for tonearm (nothing great) settings, I agree. But never a best/first choice when it comes to quality playback. Even more if you're on a budget to plug-in better fitting cartridges to get the best out of your beloved 45's, there's better out there. For the 'rough & rumble' DJ thingy, they are the tank. At home, I only need the Cavalry !

Mind you my actual amp is only 40 Watts but since it's so "clear" and "dynamic" sounding, it's sounds at least double that. And my vintage speakers aimed originally to be played with low powered tube/valve amp (15 Ohms). But surprisingly they are a fantastic match with my circuit amp even more so after my "sacrilege" recap. Now I like loud and the neighbors are very tolerant with me and my "nice" music. With such playback "clarity" definition from groove pick-up to the speakers output, power is way less of importance to hear the music with "presence". With the general modern 'receivers' that too many use for phono power amplifier as well that are designed to treat with more compliance the digital signals, the analog signal is dished out like "lazy", "muffled" and "dull". To try to compensate one pushes up the volume... Preamp and amp sound signature and specs are too often overlook in the record collectors world in comparison with "horse power"... Now I am awaiting the delivery of a long time want to upgrade my actual 18 years old 'Exampli' amp with an opportunity. A second hand of a good conditioned 'Integral 2' that holds trice the power at 120 Watts ! That since I am afraid that this actual 40 Watts won't suffice in any bigger environement. Still living in the work field of my home to be, my actual phono set-up and most of my records are set-up in an office (not the best acoustic environment) and so I am impatient to move in (in a matter of months I hope) on my new home with it's dedicated music basement room. 45 meters square fully isolated with wall and ceiling panels. Carpet (recycled from stand's exhibitions) glued to the ceiling and walls and a linoleum floor. Dimmed led lightning behind old glass fiber panels on the walls. Panels that are still currently covering the yard (soon open aired again garden as it was 50 years ago), this basement music room will be pleasant to spend time in with continuous mechanical ventilation, toilet facilities and fridges as it is already properly isolated acoustically to play music loud anytime of the day and night. Phew lot of time, money and hard work though !

All my apologies for this little adrift from OP ! My phono set-up consist globally of a Denon DL-102 (1962 FM broadcast) cartridge (MONO MC high output cartridge that is STEREO tolerant) whose suspension is of the very low compliant kind (no manufacturer's tech specs given but 5 or less) with conical nude stylus 0.7 (large) in an Ortofon SPU bakelite 'G' type headshell on a SME3009 'Improved' S II tonearm converted by me into a super heavy mass tonearm. Tweaked Thorens ex TD145 now hybrid turntable powered with a Phoenix Eng. 'Falcon' PSU controlled by it's 'RoadRunner' tachometer. Preamp adjustable 'Modulis' from Isem set to crazy loads, gains and impedances for my "exotic" cartridge. Amp is now 'Exampli', soon to be dethroned by an 'Integral 2', both from Etalon. Speakers are Leak 'Sandwich' 2 ways (15 Ohms) early models recap by me and not by the book (book = in parallel - me = in series) to give the tweeter more presence (clarity) ! Speakers are anchored with 40 Kilos of marble and concrete tiles on top of each of them ! And all my wirings and cables are just decent enough.

This is one common heated debate subject. The SL-1200 pros have so rarely acceptation in understanding other peoples dislike and critics on those turntables. And I had mine bought second hand one for 10 years before swapping for a Stanton STR8-100 when it failed down. Both are on many aspects off the same league. Sonically the Thorens tonearm are likely less "not so good". So having play my records home on those for 20 years on I believe I am eligible to attest how these turntable sound signature is. More so with the same mid-high end amp and preamp that I still run now. And I was indeed rather skeptical or confused when I was explained some as to why these turntables would not benefit my vintage 7" playback and better choice of cartridges. And this is where my whole approach to it changed. Never fully satisfied with the traditional 'moving magnet' cartridges I got to hear, even of the higher kind, I understood that a dramatical change had to come into game; a change that would imply another kind of tonearm able to handle such a cartridge. I was lend a vintage Thorens belt drive turntable with suspended sub chassis and an SME3009 tonearm. Believe me, I had my prejudices on such wobbly and loose bearings turntable coming from the sturdy turntable and rigid tonearm beliefs in understanding of how it should be. So at first I had to over come my prejudices (esthetic as superstitious) to set such a device in place of my Stanton turntable. But once all set with the first groove resolution the speakers spoke suddenly with depth I never heard before with a much more relax feel. Long story short; I kept this vintage Thorens turntable and SME and I totally DIY tweaked them to upgrade their respective performance and looks. Friends coming to my place admit it does sound good and some are even amaze of how it does sound now. Phono playback ear use (the brain can be rigid or more flexible), preference (subjective) and specificity (no one is equal or even there also) come into the game. Beside that, I have come to understand how a turntable build and design can play a significative role in it's "sonic signature". Those direct drive turntables need to have such damping that it will tend to muffle the sound. And this is evident once the whole of your phono chain is of the "clear" and "neutral" kind. Which I have. So are we drifting from the PVA glue OP ? Not really. Because as well as to have the records looking good as they can, the needle drop is the crucial bit of to. With more "clarity" in the sound signal as I now have, the dirty and damaged groove do tend to be more "audible" as well. So I have learn to clean more than ever my records before, during and after playback. So I decide to buy me one of those PVA glue jerrican and try that method as well. Understanding that some records will require different processing of cleaning, I need to have as much tools under the hand to get optimistic results. The clean stylus is very important. And here depending on what kind of scruffs it is dirty with, one should also have different tools under the hand to clean it. I understand to play wet records allows the stylus in the groove to "surf" on it instead of in it. But this makes the groove retrieval by the stylus only poorer. Less distortions and defaults altogether with less details dishing out shorter high frequencies and muddied low ones. It's a trick, never a benefit. It's an old DJ (bootlegger style) from the 78rpm's shellack era/days that remained a while with the Jamaicans for example... So for the stylus one should have a 'magic eraser' pad, a brush and either the prefab stylus $olution or isopropyl. A drop of isopropyl on the magic eraser gently twisted on the stylus axial few seconds won't allow the isopropyl to heat/melt the stylus glue on the cantilever. A clean stylus running in a clean groove is what I want as much as possible. On an adequate phono gear as well ! And it took me time (decades), money (gear do come to a cost), brain juice (researches and testings) and acceptance of not being in the "right" when not (superstition) to achieve to do justice to my records. Understanding that we want to enjoy our music out of our beloved records is definitely what is most important at first. But with time to get the best out of them in the most caring and regarding ways takes more than a pocket full of money to walk into a shop to buy the "best" gear. There's much more than that to it. We play mainly vintage MONO American 7" that are nothing like STEREO LP. There is no "better universal" phono gear out there. And it is always a matter of compromise as to gain some here there's some to be lost there. And it starts at the stylus cut and ends at the speakers.

Like for everything in the analog phono world, the universal absolute better is something that can't exist. Different stickers with different glues will require different techniques of removal and so different scruffs on record surfaces will work better mechanically (cellular friction, embedding, scratching) and/or with the help of different solutions (alcohol, acid, vinyl...). So different solutions for different problems. But what is crucial in any cleaning processed clean is to have as minimum residue left over from the scruffs (wipe, hoover...) and or dried up liquid components. Like tar in tap water, window cleaning shine, soap grease... This means that to clean the records does take time, understanding and some gear and equipment. With time I have learn to use different techniques according to what I think will be the most effective. I'd love to add to my cleaning gear an ultra-sonic (60Hz) bath, a hoover but without the room to have a dedicated table to have more than few towels, cotton balls and a spray of distilled water cut with isopropyl and a can of PVA glue, I do clean my records with those 2 mainly.