Steve G

It never really had it's day - being a bit slow for the northern dancery types Always and forever a "Yarmouth" record. And of course B side Funk before Simon jumps in..... Hope you are well Marc. Steve

Brilliant record, I had "We want freedom" anyway but the other side is fab-u-lous.... played it a few times last year - but not enough. I actually thought it was released last year but seems like I had a promo. Anyway whenever I played it out someone always asked me about it.....so should be a good seller....Steve

Credit crunch Simon! Plus there's about 9 copies now

Surprised you guys are all surprised by the non surprising lack of accurate research by the Beeb. Most researchers that are employed have no passion or knowledge of the subject they are researching, they just research for a living and a paycheck. Most are just googling things anyway these days. And there's an awful lot of misinformation on the internet. As you know another one of my passions is Brit film and TV (and actresses ) and the nonesense that gets written about those topics on reputable databases is equally shocking. I guess at the end of the day we're all secret anaroks when it comes to Motown because we are passionate about the music. I guess it would help if the Beeb sourced some resources that knew a little about the subject......Steve

thought it was a different mix or something

Hi Ray, not sure about that 70s British version - it might have been made for the northern scene but I cannot place it right now. WIll have a scout round because there were some covers done in the late 70s. What can you tell us about Vivian Copeland - Key in the mailbox etc etc and, secondly Mickey Mouse Concerto in B flat` - how did that one come about? Wasn't Pete Warner "I just want to spend my life with you" one of your songs too (I haven't checked my copy) just seem to remember it. Steve

Don't think you'll ever understand this northern thing Sean

Welcome Ray and question: How did the deal with Polydor come about? Did the album get much airplay at the time? Steve G

Sean, disagree with you there - it's a National release of a local release - happened all the time in the USA as you know because the locals could't manage distribution or because the national thought it had potential (or both). That's different from a reissue which is something that comes out much later in response to some sort of demand. I am sure Flanny has danced to my copy of the Ivories too. which has far better sound on it than the Despanza release by the way.

Just ask me has had on off plays in the south ever since the early 80s......it's been played in Herts / Beds, Essence etc every so often over the years - great tune and always had it's following. It doesn't clear the floor either. This record was one of the turning points for me at Wigan in 1980 - I was amazed at the stuff Richard and Sam were playing when I went back up there after a break. Always loved this one - that kind of Prelude Lester / Brown type beat, and those vocals.........a record I never tire of.......can I play it when I come up to Cambridge in May David? On the other topic - Sean The Ivories a very poor example mate - Despanza was a local Chicago label, Wand was a national label that picked it up for wider distribution. It was still a new release at the time. Shall I scan up my cherished Wand copy ?

Just curious as to what is wrong with an issue on this?

There is another version very good by Eddie carr.

Oh yeah Rhyze - brilliant stuff......still play that 12 sometimes, also Bizar....

Ooops sorry Paul - a bit of mis-information - put it down to my advancing years.....that other version of SHe Comes up by Storm was on Ebony Sounds......seeing the posts about the Soul Generation reminded me of that......

Great news Darryl......all together now: "I can see him making love to you baby And the thought of his body next to yours drives me crazy" Ray and Billy Terrell TOP writers

Nice thread. And hey Richard good to hear from you - it was nearly 30 years ago when we met in the front room of Trevor Swaine's old house in Tooting...

Thanks Paul, yes "She comes up" is the same record and First Class came out on Fast Track records (the same label as Sugar Billy, Soul Generation etc.). I have both records and the better vocal version is Storm. The First Class version is more Philly influenced if that makes sense. Steve G

Anyone mentioned the credit crunch yet?

Interesting and good points. Must admit wouldn't bother with an oldies venue if one opened up across the road. Also thought Cardysharpy's post was interesting......young blood that's what is needed.

Hey Paul fantastic to see you on here. Like all your sweet soul ballad stuff - and of course Robbie Lawson and the Pi Kappa label. D We all love a bit of Calenders "Hypertension" it was groundbreaking funk in it's day, but what do you remember the group Storm? And what was the connection with First Class who also recorded a version of "She comes up"?

Huh huh! That's rich coming from you Hippo!! Anything with a train in gets my vote and there are a whole load of SSers out there who admit privately to the same, but I won't name them Their secrets are safe Al Greene "Back up train" Gladys Knight "Midnight train to Ga" Natural Impulse "She went away" (on the midnight train) Don Thomas "Come on train" Impressions "People get ready" (there's a train a comin) etc etc.....the list is endless.

Interesting that Sam had it so early on - not surprising as he has always been one for new tunes.

John playing mindgames? Eh? All he has said is that it's coming up for auction - it's us lot on here that have been speculating about a mythical 3rd copy, boxfulls waiting in an attic, some old record shop man in in LA once says he has one,etc etc. Still a two copy record and still the ultimate item for those that collect Motown.

I just love the sellers basis of valuation...... "Based on previous researched sales of the same series, a physical base value is set at £15,500. £1000 is obvious simply for the catalogue number (the label it is on) which has a ripple effect on arriving at values for other elements. A further £4000 is added for the fact that it is a translucent record which is very unusual and interesting for vinyl. £2000 is added for the fact that it is coloured vinyl, and a further £3500 is added for the plain obscurity of this fusion of translucent colouring. £500 is added for the rarity element of the colouring and tone, i.e. it is a non-primary colour. The imagery of the sleeve is rarely an influence on the physical valuation of a record, but in this case, although the paper stock is of a low grade, this image has rarely, (I have yet to find another documented case), if ever been used, so the sleeve commands an added high obscurity value of £4500, perhaps much more. Rarity Value: The sheer rarity value is unlikely to be debated at less than £8000 as a base. Desirability Value: Although desirability is without question subjective and arguably transient, it is set here as discretionary at £8000, relating to the present market. Cultural Value: Culturally it is a cover version, and coupled with its relationship to Buffalo Springfield and the Soulrunners, the extra attachment to Bob Dylan (a two month gap between both recording their own different versions of all along the watchtower) gives it additional appeal among connoisseurs of the genre, and its link between the contemporaries of that era. Again subjective, and not necessarily dependant on taste or personal opinion of the audio representation. It round's up the sixties, which may forever be looked back upon as unique, as a record, this compilation is also highly unique in that respect, physically and artistically and as a potent marker. A general cultural value is set at £8000. " Put's on voice of Private Fraser from Dad's Army "He's mad, mad, mad I tell ye, Mad.......Mad".

Interesting so still only the second copy then.....despite the stuff on here about it being a 3rd one. I have serious doubts as to whether a 3rd copy would ever surface at this point.