maslar

Yep, just like the boy who told the emporer he wasn't wearing any clothes

Lonely and bemused. why isn't there a shaking head emijo when you need one? or shaking head and palm face combined. Even better.

It can't be just me? Surely someone else doesn't rate it?

I know there's no accounting for taste but I think "one of the finest" may be pushing it a little.

Maybe not but when it was played at Wigan it packed the floor (in the suppossed post-pop era) and was very atmospheric. Back then I doubt if many knew who it was. I knew The Seeds record from Record Collector mag where it was listed as moderately rare but I hadn't heard it .So when I heard it at Wigan I didn't actually realise it was the same record for a short time. so had no preconceptions about it. As I doubt many on the dancefloor did. Some of whom today will trash it. no doubt with their acquired knowledge. To me it had a psych-soul sound and is really no worse than many white dancers and better than most eg the Outsiders. Obviously some records sound better played in a large room like the Casino than at home. (Presents Manys The Slip is similar). I'm not arguing whether it is soul or not. The point I'm making that in 1980 it sounded much better to me in the Casino than John and The Wierdest. Which is actually a pretty poor dancer in my opinion. I also condider CGOTM to be quite poppy. Actually another big record palyed then: Phantom Janitor (Deadbeats) No second Chance is very similar to Pushing Too Hard to me. Isn't that psych/garage? To be honest I would also say that J& wirdest would also fall under the garage banner. If i heard it afresh.

I suspect if you played both to someone who'd never heard either before they'd have a job realising it's the same song. Such is the rearrangemnt of the 70s version. Not that it's bad. Just the opposite but the original is still some way ahead.

Oh and before its too late. Pushing Too Hard by the Seeds was a better record than the dreadful Can't Get Over These Memories. I just needed to say that.

Free Richard Richard Richard.

Well I voted for RS due to my limited time at the Casino (June 1980 to the last but one night in October 81). Thats primarilly down to the quality of his "new" 60s plays. To be honest I found his 70s stuff generally just ok (there are a couple of exceptions that are very good). And if I'm being really honest I think the general standard of "modern" sounds played then - which some seem to the get really enthuisiastic about was pretty average. There was much better contemporary (albeit more commercial) soul music being played at the time, some of it in the pop charts . Tailgate played by RW at that time is better than most of the more obscure 70s outings on RS playlist. But I'm not sure what criteria is being used in the "last man standing". Because even though I voted to RS due to my limited experience - the reality is that RWs name is synonymous with Wigan Casino. He is Wigan Casino personified . So that's got to count for something?

Allowing two votes will effect the result if it''s done as a percentage, since it will make the lesser appear more popular than it is. It won't effect the outcome granted. Surely it's not too difficult to choose one and if someone really can't decide maybe just toss a coin - isn't that how it's usually done?

Like I said, it's ok. He covered Heaven Must Have Sent You. And also Move On Up. Maybe you need to get on these. Chances are they could be of the same standard and hence right up your street.

Going from memory The Destiny LP listed which DJ played each track first and where. I think it stated 1978.

Do you think any of the other Mike Morton Tamla covers are worthy of playing?

Steve Lane. So rather than just respond to my post/points or even ignore it (wouldn't bother me at all) you decided to give it a "down" vote? That's poor form old chap . Run out of ideas? I've never used the "down" vote. Seems a bit of a waste of time tbh. Oh well

That seems very reasonable

For an independent label Motown had a huge output. They based their releases on an average of a couple of singles a week from the five labels with some obviously more prominent than others. In that respect they got it about right. They could only release so much and under those circumstance some high quality material is always going to go missing/shelved for whatever reason. That aside their treatment of the Isley Brothers seemed pretty bad. The cover of the first LP TOHOM was a disgrace. Not giving them the artistic freedom they needed and deserved and then letting them go after a few years seems a big mistake. All those great LPs that followed could have been under the Motown banner.

It's an ok version imo as I've already stated. It's not recorded/mixed as well as it could have been and the arrangment is a little lacking based as it is on the original. But for what ti was I don't suppose too much time and effort was spent on it. The session men did a good standard job and earned their fee. What's laughable is that it commands the prices it does when it's from a Uk session covers compilation LP. Would anyone play the TOTPs LP version of Tears Of a Clown? It's exactly the same thing. Probably pretty ok to listen to and a "soul" record no doubt but so what? Yes it is a lesser standard in my opinion. As not the same standard as the original. YES really. I really do think that. I really do. PS I've already made the point that without the original I believe it would be classed as ok by those who knock it. But just to clarify for the sake of confusion - lesser as in not equal or superior. As for it being played out by "respected djs" - since when has that been a bench mark of quality? I first heard it after it's heyday. On the Destiny LP in 1980. it wasn't being played out anywhere at that time. It never occured to me then that it wasn't a US soul record. Just not as good as the original. But the reality is it's the Mike Morton congregation. And why anyone would want to play it rather than the original is beyond me but taste is a funny thing. so if anyone else prefers it then that's up to them. And price is obviously a reflection of demand. I just question why that demand is there.

I agree with this. I wouldn't call it pop. It just shows how some people don't really know soul music or any type of music for that matter. That's why I've always believed that its better ot have a wider appreciation of different types of music. The mentality that only "soul" is good is pretty stupid -especially when it's only good as long as someone has given it the "soul" tag - regardless of how bad it really is. But it also works both ways. There are people who think the Blue Sharks (with it's adequate vocals and arrangement) is brilliant that would undoubtably turn their nose up at other Britsh soul recordings by white artists that are actually better. Or instrumentals. It's all quite bizarre really because they're trying to fit their quality control within a pretty tight definition that they haven't ever really got to grips with. There's no logic or rationality to it.

I wonder where she is now. And if she knows that the very sight of her in a charity shop would send some men into raptures - not becasue of her sadly - no, it's all down to the Mike Morton Congregation.

£30 ?!!! Sweet Jezus

And how much would that little beauty set one back?

Pretty laughable and actually quite bizarre that people pay relatively large sums of money for a lesser standard Britsh recording by session singers of a much better Motown orignal. I tihnk I've got a copy of Mardi Gras Too Busy Thinking about My Baby on an old K-Tel LP. Offers? Whats that Shakespeare quote about men losing their reason? ... Mike Morton Congregation ffs

The original is a classic Motown production. The Blue Shark musicians sound like a session group basing their arrangement to some extent on the original. However it isn't quite there. The big fault with the Blue Sharks (imo) is the drumming is too loud and prominent in the mix. It's overpowering. To me it sounds like a standard average session group of musicians giving it a decent run through. The vocals (lead and backing) are not on the same level as the original but it is a decent effort nonetheless.

The original is really superior in every aspect (imo). That said , if the Blue Sharks were the only version I'm sure it would have a higher standing. As a (lesser) alternative to the original I prefer the version by Romey Carr which has a nice bassline.

A Whiter Shade Of Pale, Procol Harum. On first hearing it played at the Bag of Nails club Paul McCartney and others in his group were convinced it was by a black soul singer. I think Wilson Pickett was put forward as a possible. I've also heard other accounts by musicians of the time that on hearing it they thought it was an American recording by a black artist. (That's on very first hearing without knowing the title or artist obviously). Have a listen and imagine you're hearing it for the first time. Is it a soul record? Plenty of people back then thought it was ...... for a short while at least.