Tlscapital

I'm forever hearing this whenever I hear her name. Rest In Peace Sister Houston +

As much as it sounds strange but all the Mary Jane releases would date from 1967 from general consensus. The two first sharing La Beat numberings 6703 and 6707 evidently. Then followed the proper Mary Jane catalog numbering system 1002 up to 1010. Mary Jane 1005 'Baby Don't You Weep' Copyright was registered in June 1967. Could be released later though. Until someone comes up with such a 'new release' press review or a radio chart featuring the tune to determine better it's actual date of release...

Total different takes. Rawer but 'HOT '. Even the flip side 'Tell Me' of Mary Jane 1003 is a different take than the one on the flip of 'Baby Don'tYou Weep' on Mary Jane 1005. My real preference was to discover that side while I initially bought it for the alternative take of 'My Darling Baby'. That to this day I still prefer 'polished' as on Mary Jane 1010.

Not much to add or tell appart if ever with both next to each one another. Just the Billy Page composer connection and the BMI but that's about that for the WYGTHAM' side. Then evidently the composers and BMI are also respected for the 'Lonely Little Girl' flip side of Yvonne Vaughn done by Lowel Farmer on Trident. Still that don't point to a link...

Different singers IMO. Heard the Tippi Saunders and I truly didn't like it. Sounded too weak to me in comparison. Beyond the musical re-mastering even... Mind you Yvonne is clearly a white singer as it's Donna Fargo first pseudo. Yvonne Vaughn on DOT dates from June 1965. Donna Fargo first 45 is from 1967. Tippi Saunders 45 on Trident would be dating from 1967 or after 1966 apparently. A previous Trident release by Lowell Farmer with 'Lonely Girl' re-uses Yvonne's flip side 'Lonely Little Girl' backing track... That was also re-used for a Chattahoochee 45 after and another L.A.P. obscure other thing... Backing track that was recorded first in 1964 with the 'Wreckin Crew' bassist Ray POHLMAN ! So it seems that re-using Yvonne / Donna Dot backing tracks gear was a thing at Trident.

John's reserve are not disclosed (if there's one) but I seem to remember (reading on here) that there was one on some items... With some finished auctions that after inquiry revealed that they didn't met their pre-set 'reserve'. As for Tim's reserve it's the starting auction price.

But did the Shades of Jade met its reserve ? Presuming that there is one automatically for any item auctioned... Meaning I don't know per se as I've never auctioned any records through John's, so am not in the 'known' but as a private auction seller I guess he would offer his seller's such protection to avoid any mishap griefs if ever like here...

Got it. Thanks. Got your address too. Will ship it through UPS by tomorrow. Will provide you with the tracking number then. Give it few days to reach out to you as I ship from Brussel, Belgium. Not to fret no extra Import Duty Fees (declared as gift with low €5 value). You'll be sorted after the week-end at the latest. And hopefully be able to dance to it home then. Regards, Tim

Hi Roy, I'm sure you won't be disappointed. Sorry but I only take Paypal. Payment to be made as to 'Family or Friend'. If still good to you my Paypal is - tlscapital@me.com (TLS but in lower cases). Let me know what. Cheers, Tim

Hi Roy, well as I said holding the records it's barely noticeable if you don't seek for it. But once on the deck it doesn't look flat on the mat's platter. Then with the needle in the groove you can see the tonearm going gently a bit upon and down by few ministers. It's nothing offensive to the eye and not impairing the play as I have my platter revolving continuously and lay by hand my needle in the run in groove carelessly without any problem like in the mp3 I did where you can hear on both sides the needle dropping in easy peasy. Hope that helps. Am no tech guy and have no gear to make a film of it but can only describe it at best. Let me know. Smashing looking copy still. Cheers, Tim

Unbearable, embarrassing and so 'today's bourgeois' like.

Fastest gun that side of the Channel.

Thrilling gritty R'n'B Rocker that has the right pace to dance to. Superb EX promo vinyl copy with only a wide slight warp dish that is most noticeable once on the deck. Although NAP. Sound clip of both sides and scans from actual copy. £125 All In. king coleman black bottom blues.mp3

A lovely EX copy that bares a mere cosmetic circular mark (like that of a juke-box) on the vinyl (NAP) of 'tonight's the night' side. But judging by the rest of the record's condition (no juke-box number sticker mark on the label) that either never got a play in one. Look at the scans and listen to sound clip of the sole side with needle drop and lift. Flip is The Rolling Stones cover so NO sound clip ! tonight's the night.mp3

Rozetta's most intense tune IMHO for this two-step winner. In nice EX condition £200 all in. Scans and sound clip from actual copy for sale with needle drop and lift from both sides. rozetta johnson how can you lose.mp3

No I'm really thinking about Monarch's pressings and pressing machines...

Now I picture the whole thing a bit better. It seems indeed legit all around but from another pressing plant or another pressing machine. Weren't there some pressings at some times from Monarch that didn't receive all the markings ? Somehow I have a vague memory of such a tale. But could be mixing things up as my brain does lately... The JM one on YT also do have a 'drill cut' in the label. Could it be a later 'rush re-release' batch that didn't actually sell... Although similar the label fonts are of another caliber and arrangements even if very similar to the 'normal' one. Popsike show 2 of these (out of 150 or about most promos though) OM419 pressing both with drill holes !

Simple. Copy the promo label. Erase the PROMOTIONAL COPY NOT FOR SALE and paste it on a virgin green stock label (photoshop) and you have those informations covering the 'right' hand unlike the OG styrene stocker.

Different mats aim for different uses and different mats aim for different driven turntables too. Those direct drive turntables beg for thick rubber slip mats to decouple the record from the platter and damp it from the motor vibrations and reduce its transmission into the cartridge. Mind you that one will need a rather good amplification chain to hear such vibrations out of the speakers. Most mortals shan't hear that on their average phono set-up. Felt mats were introduced in the shellack (very breakable) heydays (after the velour molded ones on the platter). It found practical use for the dee-jays to ease the cueing of the records while the turntable's platter spins. Although being the worst sounding ones the felt slip mats use were found on home TT's. The dee-jay mimetic factor... Offering the least tight contact surface between the platter and the record they disadvantage playback. Clamps or weights help to flat down records while playing but are also 'coupling' the record with the platter. To use them on a slip felt mat is nonsense. So one's use is one thing and sonic preference is another. Turntable drive is another thing like the signal chain is even another one. As for everything in any phono chain a rubber mat might be the best sounding option in one phono chain but not sounding the best in another phono chain combination. This is not helping much I totally understand but the real factor is to test few combinations. Some pricey nice looking 'special' rubber mats are liked by some and hated by others. If they mechanically damp some idler or direct drive TT's they should prove mechanical useless on belt drive turntables which don't need motor dampening. While on some phono combination they will 'muffle' down the playback. Too much for some likes like me. Leather is appreciated by many. It is by me. For a soft, static neutral enough and easy to dust off surface. Fair coupler too. Even though I stacked me a 'lasagna' of mats with under the leather a cork and felt split mat to make it 'springy' as my belt drive turntable spins constantly and I need to safely pick-up and drop my 45's while the platter spins. For bottom mat I use an acrylic one as static catcher from my heavy alloy platter building up statics...

A super clean looking and playing copy with just a drill hole on the label. Sound clip and scans of both sides of the actual copy for sale. chris calloway.mp3

Oh no you're dead wrong on this one. It's way over your £200 since years. Not your Northern record but my type of slow ever since and a Low-Rider anthem for long. Setting the demand Stateside much higher than it ever was here. Now this auction is indeed taking crazy bids. Way over my humble expectations since it broke the 1000 that it never reached before. But now at these heights something is going to fall down as you'll see copies popping out all over...

Agreeing on 'careless' dee-jays playing regardless of the public's reaction. But not on dancer's wanting their own sounds in order to dance to. Unless such is the 'club' policy. Still dancers should be adventurous just as dee-jays should. Secure sounds for safe dances is not a requirement. Obviously 'Mainstream' Northern Soul Nights are referring to Mainstream Northern Soul punters dancing to Mainstream Northern Soul sounds or to their Mainstream Northern Soul Dee-Jay's Mainstream. If so the dance floor should never be empty if all is going Mainstream according to plans. Now outside the Mainstream realm or conjuncture as said evidently there are many predictable variables at stakes for any nighter's promoters such as the dee-jays line-up with the opening and closing hour being the least 'heated' ones and best not to be confused by the dee-jay's selection as pointed out. But in reality what can be a 'HOT DEE-JAY SPOT' in one club can just as well be a 'FLOP' in another one. So unless all what a Dee-Jay will play will be regarded as 'gold' by a floor rammed with fans where all other dee-jays will have to struggle some to get a non-acquired dance crowd to its spot selection in construction. Agreeing that any dee-jay spot should be a construction weither the dee-jay has the dance floor or is still struggling to get it. In real I've seen big names playing all their rare records to an empty dance floors reaction and have also heard other loud mouth bragging to have played to thousands but never in empty rooms where I was... So on real accounts not all is always glamorous. Even more so for the 'over proud' ones. Witnessing other dee-jays playing a certain tune to an empty dance floor then a big name dee-jay playing the same tune an hour later to ram the same dance floor. Against 'dee-jays' devotees no one can fight. Swifties will be Swifties and remain Swifties. The Northern Soul "scenery" always had them and always will. Hence the diversity of nighters, Dee-Jays and punters all around. Diversity is fine and should be open to criticism without unnecessary needed hostility. Back then if a Nighter proved not worthwhile people just called it off. Other events held on and got their share of success later... Like those on here who said it before witnessing an empty dance floor is just part of the night life. Even more so on what constitutes this anti-elitists underground scene that is yet very demanding on 'authenticity' such as sounds (pace and sonority), source (format and origin) and history (who's who) to enjoy them sounds with the respect. Too much involvement for your 'Mainstream' night life goers evidently but all that attracted those who fell in love with the music but still wanted more from this underground 'scene'. And like in all underground scenes its followers are devoted to consent to it but are none the less all so expandable and so not all events achieve all that they promise... From my humble clubbing experience to be assured to have a packed rammed floor at 'SPOT LIGHT' hours at a club with a known musical policy and reputed 'resident' dee-jays running Nighters on a regular basis that has regular punters and enough 'sex appeal' to attract occasional ones will be less incline to such mishaps but still not immune. Those are only few and about. The others might be more your friends or the local one that one'd wish to defend regardless of any of it's weaknesses. Occasional dee-jay I've had it all. Empty dance floors, packed ones and what have you ones I've emptied and the ones I've packed after big names playing on empty ones. If once a trick is never ever one at all times.

Walter and the Admirations went on to become the High Society on USA records, the Green Berets on Uni, the Persuaders on Atco and Velvet Hammer on Soozi. The Admirations is a youngster's group (Walter & are adults) disbanded after their record venture with Eddie Silvers and the shut down of One-Derful operations.

Indeed they are not one and the same group but two totally different acts.

Talking about anger, bitterness, disappointment more than heartbreak, sorrow and sadness when it isn't actually about LOVE as much as it is about PRIDE and conventions... Not all relationships are about love. Then triggering the anger 'emotive' response. My instinctive choice in female significative stand is this of a young mad Mary Wells setting the Motor Town Uptown Rythm'N'Blues trademark shouting to all the young ladies out there willing to float their boat of their own to dump their 'time wasters' partner.