Garethx

It's the A-side of "I'm The One Who Loves You" on 45 and is seen on a demo with "Just Because…" on both sides quite a bit. Should be a fraction of the cost of an issue copy. It's also on his 1969 Volt album "Here To Stay".

Mary Wheeler's Prove It also recorded by Aretha Franklin and Lea Roberts.

The Gates one is more of a dancer, but in a Crossover style. Dave just means one is sixties and one early seventies.

Thanks Steve. Any good? I like both sides of the TSOP single.

Very interesting to see The Brockington Singers 'Stretch Out' came out on TCS in the same year it appeared on TSOP, and with different writing credits too. Wonder if it's a completely different version? I should mention that I've played the Tony Carter 45 out from time to time and even had people dance to it. It's a record that gets better as it goes along and has a pretty cool ending.

I've had a couple of these. Nice record, turns up from time to time. From Philadelphia as Steve says.

Tried the Magic Eraser as a stylus cleaner today as per the above method and have to say it works very well, particularly in conjunction with the Onzow.

Rodico is used by watchmakers to hold movement parts, hand-sets etc. I wonder if it wouldn't be too 'sticky' for a stylus although the basic idea looks the same. The Onzow is a gel.

Can be bought on ebay for around £18 including postage from Japan.

That's Franklin Gothic, which was first cut in 1902!

That's an interesting article Steve. Best summed up as weasel-words, legalese and semantics. The author raises a good point as to whether this means that the 'production-feel' of a record must now be a copyright issue. I would argue that it indeed should be. Popular music is as much about that trademark feel and sound as the musical ingredients therein. There are finite notes, scales and keys. An indelible sound or artistic fingerprint is what differentiates an artist or genre as much as the theoretical structure of the notation. It's a good job the majority of music consumers aren't musicologists or theorists. The intention of the Robin Thicke record was clearly to pastiche the entire feel and identity of a highly distinctive and specific piece of music, but to alter it just enough not to have to credit the original copyright holder. If they'd just sampled wholesale they would have had to give up some of the vast proceeds. The cynicism of their enterprise is breathtaking and for that reason I'm glad the court found in the Gaye family's favour.

It actually makes it worse in that the replaying of the basic structure removes all the subtlety of the original. Here's an interesting piece on some of the technical and moral dimensions of the Thicke record written in 2013: https://nicholaspayton.wordpress.com/2013/09/13/an-open-letter-to-pharrell-williams-blurred-lines-vol-3/

But Steve this wasn't a case of creating something 'a bit like' Got To Give It Up. Pharrell Williams didn't stumble upon that arrangement out of naivety. He was slyly referencing an existing copyright and should have acknowledged it. Failing to do that was a mistake.

Essentially, yes they should. I'm astounded that people should disagree with this judgement in the spirit or the letter. Being on the receiving end of someone 'borrowing' your ideas and completely failing to credit them is not nice. When that party then goes on to make truckloads of money out of it adds significant insult to injury. Of course there are degrees of 'borrowing' / 'being influenced by' / plain 'ripping off'. It should be down to the courts in individual cases to determine where the instance lies on that sliding scale. Anyone who heard Blurred Lines and didn't think it owed some debt to Got To Give It Up has to be deaf.

It's only around a fiver for a 400ml can Phil, which lasts me about a year.

It's basically Benzyl alcohol in water. In its foam form it was intended for use on vinyl car upholstery to clean it and remove odours. Benzyl alcohol has long been used in the photographic industry as an antistatic cleaner for lenses on enlargers etc. It was used in computer and TV showrooms to prevent static on screens and so on. Static is the main problem with records. The action of the stylus in the grooves generates a huge amount of static buildup which attracts dust and—over time—grime. The stylus cleaner I mentioned above is an antistatic gel which grabs debris off the stylus, very much like the action of the wood-glue-on-record method. The stylus cleaner comes with a 10x magnifying loupe. If you use it each time you play a record you can see just how much crap builds up just in one play.

Something I'd also recommend buying is an Onzow Zerodust stylus cleaner. Really works. https://www.amazon.co.uk/product-reviews/B0075KTY3M

That's why Amberclens is so effective. No need to rinse.

To the naked eye Steve I'm sure you're right. If you looked under any magnification you'd see abrasions. On a record you'd be taking dirt away, but also a minuscule amount of the surface of the record too.

A small amount of Amberclens foam and a lint-free microfibre cloth produces by far the best results and can significantly improve both the look and sound of vinyl and styrene. The glue method is very effective (the science behind it is sound) but unnecessary for anything but the mankiest records. I used to use the washing-up liquid method but this only gives superficial cosmetic results while still depositing even more matter in the grooves. The 'shine' you might see after using WUL is the liquid itself still trapped in the grooves of the record and reflecting light. Bear in mind that the more water you put on the liquid only spreads it around rather than rinsing it off. Any cleaning that is done is with the cloth you're using to get the liquid off the record rather than the product itself. Synthetic sponges or nylon toothbrushes sound like very bad practice to me. Bear in mind you can scour the surface of stainless steel with a nylon toothbrush. I wouldn't put one anywhere near a valuable 45.

I think Ian Levine still has the original hand-written drafts of some of Dave Godin's correspondence regarding the closure of the Wheel, which he used in the SWONS documentary.

I have one of these–bought for pennies thirty years ago–so will be interested to see what this makes. Don't think I could get my head around it as a youth but it makes more sense now as a pretty good piece of Chicago Northern.

Bear in mInd that Revilot 222 (J.J. Barnes 'Our Love') is also available as a styrene Columbia press with multicoloured label too. From then on all the releases are ARP presses.

The Darrell Banks are all Columbia pressings. Think all the Columbia 45 plants had the capability to press both styrene and vinyl, so I don't think this is anything particularly unusual.

The harmony ballad side of Brand New Faces is actually pretty good. I think the vocals on the dance side are supposed to be deliberately off-key in order to add to its 'hipness'.