Tlscapital

Done ! Get back to me if working or not...

It's uploading... slowly... + you've got an e-mail...

This is from my set-up (not reworked) as such; turntable: Thorens TD160 'Super', tonearm: SME 3009 S2 converted into a heavy mass, headshell: Ortofon SPU 'G' model, cartridge Denon DL-102 (MONO), through a Isem 'Modulis' pre-amp (frequencies set to my taste), amplifier Etalon 'Exampli' then through passive volume "modulator" and straight into my mac using Audacity program without anything. It took me enough time, studying (I'm not a tech geek one bit) and little money spent here and there to add-up to a lot of dosh in the end to build up a proper home phono to read RIGHT those old USA 45 we love so much. There can be justice in this world sometimes. Sound reading of vinyls and styrene starts with the needle drop and everything that comes in between it and the speakers will challenge what you hear. Then there's the room and it's acoustic characteristics...All this I do know very well now. I will have to re-record them again so I will be able to send you a full and heavy recording of it since I never keep those full and heavy 'WAV' files. I will let you know when it's there for you.

Here t'is with both sides in one clip. 4 sonics.mp3 Straight out of my turntable and amp. Requires good speakers on your computer though. I think it plays better on this last "set-up" improved phono. Now depending what you call the flip. But there are definitely issues in the process of the recording and/or mastering. The 'blue velvet' side is absolutely messy. At the end of the song there are major dilemmas between the right and left channels and my needle and cartridge read mono !

Yes, as far as I remember it does saturate on the highs and it's rather sad since it's the take I like best. I'll dig my copy and check if my last conversion and improvement on my tonearm and turntable will read this capricious styrene better and more properly or not. Will let you know with an mp3 recording.

Doesn't do anything for me. The 2 firsts sounds like European prods and number 3 sounds like a "crooner" wanna be hip "à la Tom Jones"...

Same here, never kept a copy of Jaibi but I always picked it up and before it become a "collector" item amongst the "soul" or "northern soul" front, I always sold it as a "pop" record. Which is what it always sounded to me. With all the respect due to those who, like Dave Godin who listen to it differently than me, I understand the selector's choice for it's release as the label revive with Dave G. special mention for it. ***** Ady

Originals both,this is the styrene press and this the vinyl

I listen to the flip of this one;

Right; they were at times the Ohio Players (Capitol & Compass), the Adventurers (Ran-Dee, Music World, Blue Rock), the Chosen Few (Maple/Canyon)) with Gregg Perry involvement here and there on different formations and team under Johnny Brantley's supervision.

promo vinyl stocker vinyl promo styrene stocker styrene

Some later Okeh numbers had both styrene and vinyl issues as promos and stockers.

Yeah, well I never thought such a thing before now, but by reading dun post here I gave it some thought and honestly I dig the idea. I did buy few copies years ago for peanuts and finally even sold mine not long ago because of the "voice" after playing it a last time. And since I don't like Timi Yuro (sorry folks) it all makes sense to my ears. And dun's theory could as well fit Timi's thirst to do a side project "incognito". Why would so many do that and not her ?

Some say music IS first and I (kinda) agree but it doesn't necessary mean "music is all !" To me (IMHO) that is. I can have the music in my head and sing out loud under the shower to the inconvenience of the wife, the cat, the dog and the neighbors. Others listen (rather to hide the outside world sound/buzz/noise) with headphones to MP3Z and still call it music !? I don't know about supposed louder than loud gigs with DJ's and their computer and other machines that kills everything that keeps us alive (quote)... So to say, I'm not to sure to dig 'road runner' for it's musicality and doubt it will ever achieve "anthem" status on any scene. Still I find such thread interesting from a collector's (I don't collect the Jenges stuffs to make it clear) point of view. Music and records are an odd universe in 4D's at times and to read meaningless supposed misleading points, are just bringing it to the real world; in 3D's: the naive, the liar and the cheater.

No, not as bad as you, but way back some 25 years ago I bought some vintage rare UK reggae to a Swiss dealer for peanuts through mail. He letted me buy them all (a count of 25 or so of NOS promos with few multiples) but he had to comment that he never heard such shit music in his life. Maybe that was his way to say he was happy to get rid of them ? Some people you know... or still don't !

Top Notch stuffs those old papers, but then Ian was the only one where each sentence implied 'I' at least once ! Even to comment the magazine !!! Or talk about Motown...

real one bootleg as describe above

These were floating around a lot in Belgium due to the demand for the Pop-Corn scene in the 7T's. I always found them suspicious and when I finally got myself a genuine stocker, I understood these ones (like your scan) were bootlegs made in the the USA in the 7T's. They have all the characteristics from a pressing plant (which particular one I don't know) that are made with thick vinyl and even thicker center with a "basin" toward the center hole and with bad print quality on the paper label. Then there's this one also (legit ???) that from the look like an 8T's thing to me...

Yes, and by definition; all counterfeits are bootlegs, while all bootlegs are not counterfeits. And all reissues are never counterfeits. There was some mish-mash with those terms and arguments by some here in this way too long and tiring tread. You were right to do so chalky, let's call a cat a cat.

Don't know how many boots they made anymore, I know of a green and vague memory of a light blue both on styrene I believe, but only one original; on vinyl with a purple label and proper matrix stamp (just in case the rats pack decide to make a "reissue" lookalike of it)

First/top copy has the label of the styrene but if it's on vinyl, then it's a "re-issue" or worse...

Sad, dreadful, depressing and on top of it all ugly ! Why compare with that if you want to argue yourself out ?

Coming back to this old tread on here; I'm very interested in such little things because they tell a story also. I really love those kind of brute Detroit "home made" Atac/Washpan/Do-De-Re... releases. Theoretically I'd have understand that Gino didn't release himself his own material, back catalogue included until the late 6T's early 7T's. I'd have thought that he started his own releases only after failing with the poorly promoted Mala and Atac (RPR) 45 misventure with what could be reasonably considered as his most potent and potentially hit-bound material 'I'll be around'. Do anyone knows better for facts what's the story with those multiple releases ?

Then there's this west coast promo issue (never saw a stocker of it) where the intro of 'I'll be around' (guitar stackato) is cut shorter than on the Detroit press (where funnily is rather long...). How is the intro of 'I'll be around' on the Mala copy in comparaison ?

partially and incompletely only... more to come maybe...