Steve G

Pop, but a very good pop record

Probably not Sebastian, as this is a West Coast one, and the "Weak spot" lady was from chicago.

Don't wish to be contradictory but..... .........first heard Sam play it at his 60th Birthday do at Albrighton - he was raving over it and had just got it. That was NOT 1999 or anywhere like it. Steve

Ok thanks Steve - Sam had his hands on it at one time as well. Maybe Richard's copy as those two were always swapping records back in the day. I assume the original plan was to release it once demand built up, but for whatever reason that never happened. Unrelated but there is an interesting Evelyn Thomas track that Andy Dyson has from 76 - US release, and not related to "Weakspot", "Doomsday" etc. On a small label.

Wow Helena! I can tell you quite a few people in the UK would dream of a club like that - "500 open minded punters"....."monthly gig"....etc. So you must be doing something right

That'll have confounded a few then Greg Everytime we go through this "who's got a copy of x" chatter will have to remember collecting rare soul isn't just a British thing

Originally came out on a Pye acetate in the 70s. Not sure how many were done 1,3,6? I got Neil Rushton's old copy. Excellent tune. Steve

Mine neither, but agree with others UK ISSUE is the one to go for, much 'warmer' sound to it. Big for Richard at Morecombe in the early / mid 80s as I recall.

Flashback, Why MUST Tim Brown have one? So a consistent seller at the £5k mark then. Great northern doesn't always make for great home listening pleasure. Think in a venue it sounds great, but can understand that on home kit it probably doesn't.

Agree with the above comments a hard to get record. Paid £150 for a vg+ about 10 years ago. Absolutely cracking version of the song though.

That would be great Malc - for many of us this club remains a bit of a mystery beyond the adverts in old issues of B&S. Richard was playing things like Johnnie Howard "The chase is on" etc. there....almost a new release back then What an exciting time that must have been. Steve

Jeeeeeeeeees - condition wasn't all that either....aren't people at all fussy anymore with their records?

Must be all that guitar work.....

Fantastic instrumental - along with Pat Williams Orchestra "Theme from Police Story" Always liked them mindless instrumentals.....

Third one I think Simon. Steve

Nice to see it getting the recognition it deserves....even if it is a bit "mixed up".

Call an ambulance again please. Serious case of delusion on EBay.....

I like the Velma Perkins take on this on Twinight......but for ultimate x over well my taste chages by the day, and today's favourite is: HERMAN HITSON on Sweet Rose.

fer...fer...fer...fer....a good cheap price too ARkwright. Would have placed it at a bit more than it went for....

What like you don't have any American singles with solid centres then?

Thanks John I am sure that will provide a good read for the many who have not seen it. Interesting in the same issue Tim Brown mentions Joseph Webster in passing

Weingarten lights the blue touch paper and retreats.....actually this was discussed the other week......Steve

Thanks Mike - as I suspected some very midtempo sounds there and very much late 60s / early 70s - not too many obvious Mecca or northern spins in sight either.....I have re-read the article and it was this type of slower / midtempo sound that Rod was championing. So it sounds like the music played as x-over have broadened over the years, but does that mean the definition was wrong, or that the sounds originally reviewed weren't sufficiently danceable enough to sustain the interest? See you at Essence.

Later I'll put up some of the sounds Rod listed as crossover to give some additional perspective to the type of sound being championed in 1990. It is fair to say that "crossover" has expanded in it's definiton since then, probably because the venues that advertise themselves as promoting crossover tend to play a very broad range of sounds from the 60s through to some of the better more recent releases that have that 'feel'. To my ears something like "How could you break my heart" or Ed Summers "I can tell" wouldn't fall into my personal definition of "crossover", but they have of course been played at crossover venues, and maybe that's what matters.

Well great to see an outbreak of reasonable behaviour here today....and an acceptance of Parliament / Funkadelic etc. and their 60s and early 70s stuff. It is true that crossover today embraces some of the old Mecca stuff, but I think when it was originally coined it was to describe a certain type of sound. Rod's article was aimed more at the 'modern' scene reader as Gareth says, and it was a way of describing older sounds that weren't uptempo northern but still had a beat. Keep playing nicely while I go and get me lunch!