did it?

Hopefully the answer's no.

soussan cut acetates first which were a different take to the one cut on blackmagic, these had a slightly longer ghostly laugh at the start then violins but not with the vibes overdubbed, sounded more atmospheric in its day and naturally, everyone was blissfully unaware it was "manufactured" as opposed to being an original, which as everyone knows, was recorded by the rivingtons.

  On 26/04/2013 at 18:46, AGENTSMITH said:

soussan cut acetates first which were a different take to the one cut on blackmagic, these had a slightly longer ghostly laugh at the start then violins but not with the vibes overdubbed, sounded more atmospheric in its day and naturally, everyone was blissfully unaware it was "manufactured" as opposed to being an original, which as everyone knows, was recorded by the rivingtons.

I disagree that everyone was unaware of it's origins.  Most people I knew where only to aware of the utter shite Soussan was responsible for.  Unfortunately many people did not care, including everyones favourite DJ Richard Searling, who was telling me about the fantastic new version of Blowing My Mind To Pieces that had just arrived.  Can't remember whether it was "bob relf" or paula rousell he was referring to.  Probably both.  I was in Russ's shop around the same time, when Soussan was in residence and waxing lyrical about his fantastic new instrumentals he had.  He then spun his version of Thumb A Ride, and was a bit put out when I enquired "What The F*ck is This Sh*te".

 

Paul

you're right paul, the vast majority was contrived stuff, one wouldn't be seen dead near it now...but that was back then when we were new to the scene. the sharonettes was huge at the casino and, as a point of fact, so was the terrifics - i cant get enough ( johnny sayles ) at the catacombs of all places.. soussan however, was responsible for an enormous amount of original content coming to light...as well as bootlegging it...how ironic is it, in this day & age, that many of these boots are fetching as much in monetary terms as the myriad of £30 - £40 tunes we all tout as deserving to be played, that just don't get a look-in. i used to think the sharonettes record was awesome...back then in 74/75 ( cant be precise ), but going to the casino was like a kid in the sweetie shop, it was all new and amazing and everybody else thought that at the time...and you just danced to everything!. the record in question had its moment in the spotlight, which instantaineously disappeared upon its release on black magic.

Taylor made Soussan shite 

i'm not arguing!...it's just there, isn't it?...we could have the same discussion about the merits of levine's productions, the fact is his stuff from 76 got played, was danced to and bought...the same innocent naeivity we displayed then as with soussan...we all grew up a long time ago and grew out of it, perhaps it's our obsession with OVO that drives us to sweep that period in our history, under the carpet, but we can't escape from the fact that it happened.

I actually quite like it. The instrumental version anyway

  On 27/04/2013 at 16:36, daved said:

I actually quite like it. The instrumental version anyway

that was what was played at wigan, ot the vocal, bit of a difference with the r n'r original...just that the advance acetate sounded more atmospheric and almost like it could have been recorded in the 60's.....though it wasn't!

Very much agree with agent smith, the sharonettes was massive at wigan , it was one of the first things i heard there ,and it sounded great ...at the time .