Sweeney

Just seen this. Sorry to be Mr Pedantic but the thread referenced doesn't contain the actual real name and label. I know because I have one. It is arguably the worst record I own, but to be fair I paid peanuts for it. I've never seen another listed in 25+ years of collecting, but to be fair I haven't exactly been hunting for another one. You will be reassured to know that the B-side is equally appalling.

It seems that rather than wishing to "damage the scene" and "disrespect everyone" who attended he was merely having a dig at you personally. I doubt if the scene was damaged in any great or lasting way or that many of the people there felt anything more than a sense of mild amusement if they noticed at all. Please keep this in perspective. It is however a very amusing story. I can accept you may have been upset by it though. You should have a word with the other party involved and try to find out why they are behaving in such a fashion.

I think the real issue here is that the Music Industry¢Å¾¢ has realised that after many years of trying to ignore rather than embrace the new technologies available they've badly misjudged the situation. Using this woman as a test case to try and scare the public into compliance is a very desperate act. It will badly backfire on them.

As others have said Jim never had a bad word to say about anyone and I've never heard a bad word said about Jim. He was an ardent supporter of the George Jackson! soul nights I helped promote and it was always a pleasure to see him walk down the stairs - you just knew it was going to be a good night as his enthusiasm and love of Soul music was infectious. His Soulcast shows were brilliant too. I can't begin to imagine the sense of loss that his family and good friends are feeling right now. Rest in Peace, Jim.

The Billy Sha-Rae version is fine and a bargain, but I truly believe that Eddie Parker's version is the finest Northern Soul record ever made. A driving insistent Northern beat married with a deep soul vocal performance. Who could ask for more? If only I had a spare £5K to spend...

I don't think they ever made a bad record. Strangely enough I received a new copy of 'Got To Get Through To You' in the post today, to replace a worn out copy. Play the music Toronadoes!

Just played my copies to compare and it does seem as though The Lovers version is indeed The Emotions speeded up - The vocals seem a bit daft and squeaky. Timing for the Emotions is 2:34 and The Lovers 2:26. I didn't even notice that the link had a sound clip to be honest - just thought it was an interesting article.

I used to play the 'Love of a Girl' side at George Jackson Lives. It is indeed a fine piece of mid-tempo harmony soul. BTW The Lovers and The Emotions 'Do This For Me' are actually the same record but put out under two different identities. There was an article on Greg Tormo's excellent website about the group which mentioned this fact - Link below. Greg Tormo's Vardan Article

I've got nothing against Herr Popp - he's good at what he does, but I personally don't believe that it has a place on a rare soul scene. I bet he's just as bemused that people are playing his records in place of the records that inspired his music.

Who said anything about 'worthiness'? When I buy records in a soul context (Northern or otherwise) then yes, I prefer them to be made by black artists. Like it or not, soul music was a black American invention and IMHO is best done by black American artists. Others seem to prefer this approach too. I wasn't aware that this constituted a unique or radical view. A bad record is a bad record and I'd no more buy a bad record made by a black artist than I would a bad record made by a white artist. There's no need to. And no need to play Frank Popp. Even on the Northern scene.

Maybe the scene would be better if they did. If it's not about celebrating the genius of the (predominantly) Black Americans who made the music then please enlighten us all as to what exactly a "RARE SOUL" scene should be about.

There are many hundreds of records made in America by black artists in the requisite time period that don't get the attention they deserve. Until these have been fully exploited I fail to see why a recording artificially manufactured as a soundalike of these fantastic records should have any place on a scene which is meant to be about celebrating the works of Black America. No disrespect to the talents of Mr Popp, Ms Willis et al - they're genuinely talented folk and produce very pleasant pop music. But that's all. I imagine that they're as bemused as many of us are that such records are being played on what purports to be a Rare Soul scene. Just a personal view and if people enjoy dancing and listening to this sort of thing then that's their prerogative.

A fine record. Went down very well when I played it in the Downbeat Lounge at the last Soul Essence. Good luck in your quest.

I'll third that! You can buy any Rance Allen record blind as they're all brilliant. If this was a rare tune people would be fighting each other to own a record of this sublime quality. Buy two and give one to a mate - they'll thank you for it.

I nominate the Natural Four's 'I Thought You Were Mine' (ABC version) expensive on a single, reasonable on the 'Good Vibes' LP. J. Jocko's 'I'm Getting Over' also comes to mind.

"I'm Gonna Make It After All"

Tobi Lark also recorded under the name Bessie Watson - (her real name is Bessie Gupton) She also used the stage names Tobey Lane and Tobie Lock although I don't think she recorded under those pseudonyms. Thomasina Montgomery recorded as Tammy Montgomery and Tammi Terrell.

Kendra Spotswood recorded as Kenni Woods and Sandi Sheldon and 'Jill' as part of Jack & Jill with Van McCoy. Also in The Shirelles, The Pacettes, The Fantastic Vantastics and The Vonettes, I believe.

Reads like a 'Men Seeking Men' ad from the Guardian Guide to me!

I agree. Is there a valid case for 7" vinyl promos in the 21st century anyway? Surely radio stations will play the tracks off CD or other digital forms? As for the DJ fraternity we're talking about a scene where the 'up-front' DJs who are given the track for wider exposure purposes could probably be counted on the fingers of one hand and therefore could easily be given acetates. They only exist because (1) historically they did in 60s America and (2) They can be sold for a premium to fools with more money than sense.

Lonette McKee has been in many films & TV shows as has the multi-talented Roosevelt Grier.

I'd say just as good - but without the desperate almost bonkers quality that Thomas adds to the song. He's not as good a singer as WP, but he gives it his all. It's still a remarkably scarce record and £100 is a steal. If it was a Northern record you could add a zero onto the end.

While I applaud the general thrust of this thread, I just have to ask - should it not be reversed? Some of us are willing to spend big money on the 'deep' sides of, in some cases pretty average 'Northern' records. For instance - 'Please Take Me Back' by the Masqueraders is far better than than the very average 'How Big Is Big' which was eventually discovered by the northern bods. 'I'll be gone' by Tommy Turner is far better than either of the sides that happen to be on the reverse.

Is it just me, or does Mr Baldry sound like one's drunken uncle doing wedding karaoke? All these clips do is confirm the overwhelming superiority of the Ray Pollard and Edwin Starr recordings. Surely these recordings possess little more than curiosity value? All IMVHO of course...

1. Northern Soul in the mass media = never been done properly, never will be, never should be IMHO. Most of us on here can't agree what it is amongst ourselves, so how can we expect those who have at most a nodding acquaintance to do so. And why do we get so worked up about it? I personally think it's amusing. Next time I'm sitting with my cronies at a London Northern Do we can take time out from crying into our beer to discuss it in a rational fashion. But only after we've admired each others suede loafers. 2. How do you know I don't care? As far as I know we've never met. Maybe I care too much. Is there some sort of " I care about the Soul Scene" exam I can take to find out once and for all? If trying to put a little perspective into the discussion means that I don't care about the Rare Soul Scene then fine, I obviously don't care. 3. I was a co-promoter of George Jackson! at SMERSH and was told by the management at the time that their licence didn't permit dancing even if physically possible. This may now have changed, but at that point their licence meant strictly no dancing. On a couple of occasions I had to relate this to brave punters who were trying to subvert the laws of time and space. They thought I was a lunatic for telling them that they couldn't dance to err... dance music. 4. Paper never refused ink.