In the thread about records you just don't get, Tony says he prefers The Moody Blues "Go Now" to Bessie Banks version; so do I, by a mile, but I wonder if anyone had listened to Georgie Fame's version of Sitting In The Park? I really like Billy Stewart, and his version is fantastic, but I think Georgie Fame's version is even better if thats possible.

Am I deluded or does anyone else think so?

Edited July 14, 200915 yr by Pete S

I think Billy Stewart just edges it for me...

I love Billy Stewarts unique vocal style so his is the winning version for me.Best,Eddie

yes you are deluded

WITH YOU ON THIS ONE PETE, PREFER GEORGIE FAME. ALSO PREFER HIS VERSION OF SWEET THING OVER THE SPINNERS VERSION, THO LOVE EM ALL

BRI PINCH.

SUNDAY CHILLOUT, 16TH AUGUST, HORSE AND GROOM PUB, EAST LAITH GATE, DONCASTER.

nice version by slim smith on youtube

In the thread about records you just don't get, Tony says he prefers The Moody Blues "Go Now" to Bessie Banks version; so do I, by a mile, but I wonder if anyone had listened to Georgie Fame's version of Sitting In The Park? I really like Billy Stewart, and his version is fantastic, but I think Georgie Fame's version is even better if thats possible.

Am I deluded or does anyone else think so?

got the billy stewart from a carboot sale in warrington sunday morning and have the georgie fame on an LP, so been listening to 'em both this morning, for me GF edges it, better production and great flute interludes, didn't realise how many times its been covered, SLIM SMITH, GQ (terrible version),BOBBY McCLURE, BOBBY THURSTON, and many many more, suppose it just shows what a great record it is

Really not much in it for me, but I think that Georgie just about takes the honours.

Great flip side too, "Many Happy Returns"....

just picked up quite an obscure versionm of sitting in the park myself by dirk and tony on united a carolinas label.

it sounded OK on the phone call to the states but now i have it its not all that great its OK but not essential soul. Its a blue eyed version. flip side is also a cover of a jerry butler track "i dig you baby"

just picked up quite an obscure versionm of sitting in the park myself by dirk and tony on united a carolinas label.

it sounded OK on the phone call to the states but now i have it its not all that great its OK but not essential soul. Its a blue eyed version. flip side is also a cover of a jerry butler track "i dig you baby"

you mean a cover of lorraine ellison track "i dig you baby"

you mean a cover of lorraine ellison track "i dig you baby"

probably .... I don't know the lorraine ellison original.

ALTON ELLIS DOES THE VERSION IVE PUT IT REFOSOUL OK

ALTON ELLIS DOES THE VERSION IVE PUT IT REFOSOUL OK

Despite being a great fan of BS , I am afraid that GF edges it for me in respect of " SITP " .

Malc Burton

Georgie Fame gets my vote. Conjures up mental images of typical 6ts London for me. Dunno why, cos I wasn't there!!....

BOBBY THURSTON

His version gets my vote.

His version gets my vote.

Aye an extremely decent Prelude version Mr W. I thought the GQ version was ok too really despite it's previous rubbishing

They still sound a tad 'watered down' compared to GF to my lugs though..... They don't capture that same magic....

Still, each to their own eh?

Actually I really like the G.Q. version, but Billy Stewart's just gets my nod too.

Hmmm...

Actually, I've mentioned this quite recently to someone on this thread - I first heard this song around 1970 and it was the GF version, I wasn't aware of Billie's original until a few years later.

So the one I bought at that time was.... yep Georgies! (Still got it)

Never did get around to picking up a copy of Billy's 'version' - but I do like them both really

Staying in the fence on this one I suppose...

Georgie Fame's version is okay but have always preferred Billy Stewart's one. Next someone will be saying that GF's dire version of Daybreak is better than Bobby Womack's. Obviously just my opinion.

Georgie Fame's version is okay but have always preferred Billy Stewart's one. Next someone will be saying that GF's dire version of Daybreak is better than Bobby Womack's. Obviously just my opinion.

That makes it sound like I was just being facetious for the sake of it when I said I prefered GF's version - why CAN'T I prefer that version or is at against soul police rules? And note I'm not the only one saying it..

That makes it sound like I was just being facetious for the sake of it when I said I prefered GF's version - why CAN'T I prefer that version or is at against soul police rules? And note I'm not the only one saying it..

We can all prefer any version of a song that we like, up to the individual. Just don't think GF's version of Sitting In The Park is as good as Billy Stewart's. I'm certainly not a member of the "soul police" as any of my friends would tell you.

that sandwich looks nice, whats in it ?

Georgie Fame's version is okay but have always preferred Billy Stewart's one. Next someone will be saying that GF's dire version of Daybreak is better than Bobby Womack's. Obviously just my opinion.

I've never heard Georgie Fame's version of "Daybreak" but I do rather like his (and Womack's) version of "Daylight".

Prefer Vicki Sue Robinson's version of "Daylight" to both , though (as I've said on here before). I've never heard her version of "Daybreak", either, so I can't comment on that one...

I've never heard Georgie Fame's version of "Daybreak" but I do rather like his (and Womack's) version of "Daylight".

Prefer Vicki Sue Robinson's version of "Daylight" to both , though (as I've said on here before). I've never heard her version of "Daybreak", either, so I can't comment on that one...

You are correct of course, I meant Daylight. Pressure of work must be getting to me, lol.

I can vouch that Inspector G Green is not a member of the Soul Police

How the hell do I attach a quote to a reply these days ?

I can vouch that Inspector G Green is not a member of the Soul Police

How the hell do I attach a quote to a reply these days ?

I know he's not, but he was for that briefest of moments

I know he's not, but he was for that briefest of moments

If you can't beat 'em, join 'em.

As they say It's a matter of personal taste, always loved Billy's voice, so for me, he just pips it. Best Steve

In the thread about records you just don't get, Tony says he prefers The Moody Blues "Go Now" to Bessie Banks version; so do I, by a mile, but I wonder if anyone had listened to Georgie Fame's version of Sitting In The Park? I really like Billy Stewart, and his version is fantastic, but I think Georgie Fame's version is even better if thats possible.

Am I deluded or does anyone else think so?

Have a listen to the Bobby Thurston Version!!!! Brill.

WITH YOU ON THIS ONE PETE, PREFER GEORGIE FAME. ALSO PREFER HIS VERSION OF SWEET THING OVER THE SPINNERS VERSION, THO LOVE EM ALL

BRI PINCH.

SUNDAY CHILLOUT, 16TH AUGUST, HORSE AND GROOM PUB, EAST LAITH GATE, DONCASTER.

Eh?????????????????????? GEORGIE'S 'Sweet Thing' over THE SPINNERS, You must be joking!

Georgie Fame's version is okay but have always preferred Billy Stewart's one. Next someone will be saying that GF's dire version of Daybreak is better than Bobby Womack's. Obviously just my opinion.

With you absolutely on this, BILLY STEWART'S version is an r/b classic, GEORGIE is a good british shout, but it's by far the inferior and how his version of 'Daylight' ever gets played ahead of BOBBY WOMACK'S is an absolute joke. Superb 7Os, but sometimes I'm sure people play things just to be different rather than on the true quality of a record.

Now, hope that merely because I strongly prefer the soul originals to the white copies, does not make me a member of 'The Soul Police'!!!!

Edited July 11, 200915 yr by chorleysoul

With you absolutely on this, BILLY STEWART'S version is an r/b classic, GEORGIE is a good british shout, but it's by far the inferior and how his version of 'Daylight' ever gets played ahead of BOBBY WOMACK'S is an absolute joke. Superb 7Os, but sometimes I'm sure people play things just to be different rather than on the true quality of a record.

Now, hope that merely because I strongly prefer the soul originals to the white copies, does not make me a membere of 'The Soul Police'!!!!

Billy Stewart one of my all time favourite soul tunes, just oozes class in that laidback style. And by comparison Georgie Fame is quite weak. Ive listened to it, and it just didn't do it for me. And i don't mind a good white soul artist, so it's not that.

Martyn

In the thread about records you just don't get, Tony says he prefers The Moody Blues "Go Now" to Bessie Banks version; so do I, by a mile, but I wonder if anyone had listened to Georgie Fame's version of Sitting In The Park? I really like Billy Stewart, and his version is fantastic, but I think Georgie Fame's version is even better if that's possible.

Am I deluded or does anyone else think so?

Hi Pete, First of this is a no brain er for myself, Georgie Fame along with all the stalwarts of talented musicians that based there whole careers on the line by promoting R&B, Soul and Blues to our ears in the 6ts putts the man in the Hall of Fame (pun is intended) and I go along with in most cases it was what you heard first especially with certain UK covers of original Black US records eg:- Herman's Hermits or Earl Jean, well I will be honest I first heard the Earl Jean when I found it Junking in the early 7ts yet when I played it my sister 5 yrs older than myself who was a original Mod knew it , as foe the Question I am lucky to say that I have seen both acts, Georgie is very good, however when I saw Billy Stewart at the Flamingo in 68, how can I say? if you saw the DELLS at Trentham gardens, he was a one man Dell and that's no lie, however there are quite a few remakes of records that come to mind especially pop covers of Bob Dylan songs?. while on the subject of Georgie and the recent 45 that was on J Manships auction, when the old Black Horse was running in the Early days I had a copy of "Sweet Thing" Columbia 45 but I was sure it was a Indian or a Singapore release? unfortunately I don't have the record anymore and I remember selling the LP with it on for £10 there, did it only come out from where JM states because I am sure mine was not a European issue? DAVE KIL

I almost invariably go for the originals, and that includes Bessie Banks and Billy Stewart (And Earl Jean, Major Lance, Barratt Strong, The Isleys...). But I can think of a couple of exceptions.

'Bend me shape me' by Amen Corner

'Three rooms with running water' by Cliff Bennet and the Rebel Rousers

Now, hope that merely because I strongly prefer the soul originals to the white copies, does not make me a member of 'The Soul Police'!!!!

You're missing the point here, nobody in their right mind would say that georgie Fame is a better soul singer than Billy Stewart, all I was saying in the original post is that I prefer Georgie Fame's version - because of it's musical and vocal arrangement. Sometimes, copies are better than the originals - case in point is one mentioned elsewhere, Bessie Banks vs The Moody Blues versions of Go Now - the cover absolutely murders the original, which sounds like a demo that should never have been released.

You're missing the point here, nobody in their right mind would say that Georgie Fame is a better soul singer than Billy Stewart, all I was saying in the original post is that I prefer Georgie Fame's version - because of it's musical and vocal arrangement. Sometimes, copies are better than the originals - case in point is one mentioned elsewhere, Bessie Banks vs The Moody Blues versions of Go Now - the cover absolutely murders the original, which sounds like a demo that should never have been released.

I get your point! Pete that,s what I was saying RE: some 6ts pop covers, and not with my hedonistic I have been into rare soul since GODS dog was a pup so it is always the soul version? I believe in this case that I,am right maybe its because I hear ed the Billy Stewart first as a reissue in 68? its also like who did the best version of "wide awake in a dream" I know there are better arranged versions of the song than the Blues Busters? but as I had that on a Doctor Bird LP that I got Junking in the mid 7ts I really do believe its the best you can get?. we will see DAVE KIL. (this sites playing me up today)

Hi Pete, First of this is a no brain er for myself, Georgie Fame along with all the stalwarts of talented musicians that based there whole careers on the line by promoting R&B, Soul and Blues to our ears in the 6ts putts the man in the Hall of Fame....

Hold on a minute, thats re-writing history a little is'nt it?? - 'GEORGIE FAME along with all the stalwarts of talented musicians who put there careers on the line by promoting R/b, Soul and Blues to our ears in the 6ts'...etc, etc

I think the opposite is actually the truth, Many white pop artists earnt a bloody good living (GEORGIE FAME typified them) by adopting a musical style they copied or borrowed from Black American Blues and Soul acts. Talented and popular as he was, GEORGIE in fact maintained a lengthy and notable career off the back of Black America. I can think of countless examples wherein white artists actually laid the foundations of lucrative careers by copying Soul artists and there are very FEW who actually stood up and held a seriously supportive flag for the original artists.

As for the statement 'put their careers on the line', it sounds as if they were somehow taking a risk by plundering Black America's songbook! On the contrary how could THE BEATLES be risking their careers by covering SMOKEY, THE SHIRELLES, BERRY GORDY ETC....Along with legions of others, they benefitted from the quality of the songs and incorporated elements of the lyricism and melody into their own material. If anything it was usually the Black artists who suffered, being many of them had loosely defined publishing arrangements and in many cases had to wait years for a share of royalities from White cover version sales. Some never receieved any!

In fact I think it is pretty fair to say that without the resounding musical influence of Black America, the 60s British Beat scene would have been far less dynamic than it was. Even today there are still plenty of people around who do not realise that a lot of their favourite 60s tunes are Soul records, another ironic dab of salt in the wound for the original artists.

The idea that Black America should be grateful for what white pop musicians did is outdated, unjustified and in brute terms - a downright distortion of reality!

Quite a lot of 'Black America' is VERY grateful for what white pop musicians did.

Little Richard, for one, has always been happy to say how pleased he was with the extra songwriting royalties that he accrued from Pat Boone's and Elvis Presley's versions of his Specialty classics.

Likewise I wouldn't imagine that Smokey Robinson and Arthur Alexander were too perturbed about the money that they earned the Beatles and Stones covering their songs. Or Chuck Berry, Larry Williams, or any of the others whose songs that one or both of those groups recorded in their early days.

Or for the fact that Beatles and Stones covers also helped revive careers of people like Chuck and Larry, who couldn't catch a cold in America between the end of the 50s and the arrival of Mersey Beat and the R & B Boom.

Or that Larry Banks and Milton Bennett sent their royalty cheques back in disgust on on seeing how much money the Moody Blues made for them with "Go Now"

And I bet Billy Stewart was reasonably pleased to be the writer of a British number 1 record, too.

That, my friend, IS 'reality', You can feel free to distort it any way you like.

Edited July 11, 200915 yr by TONY ROUNCE

ame='chorleysoul' date='11 July 2009 - 05:09 PM' timestamp='1247324995' post='1112615']

Quite a lot of 'Black America' is VERY grateful for what white pop musicians did.

Little Richard, for one, has always been happy to say how pleased he was with the extra songwriting royalties that he accrued from Pat Boone's and Elvis Presley's versions of his Specialty classics.

Likewise I wouldn't imagine that Smokey Robinson and Arthur Alexander were too perturbed about the money that they earned the Beatles and Stones covering their songs. Or Chuck Berry, Larry Williams, or any of the others whose songs that one or both of those groups recorded in their early days.

Or for the fact that Beatles and Stones covers also helped revive careers of people like Chuck and Larry, who couldn't catch a cold in America between the end of the 50s and the arrival of Mersey Beat and the R & B Boom.

Or that Larry Banks and Milton Bennett sent their royalty cheques back in disgust on on seeing how much money the Moody Blues made for them with "Go Now"

And I bet Billy Stewart was reasonably pleased to be the writer of a British number 1 record, too.

That, my friend, IS 'reality', You can feel free to distort it any way you like.

No, my friend, what that represents perfectly is the 'outdated' and patronising viewpoint that these artists were somehow done a massive favour by these guys copying their records. Of course people were pleased to get money, that is the nature of capitalism, dog eats dog and black artists had to earn a buck where they could get it. What were they supposed to do, send it back? But to purport that these artists would not have preferred to have the hits themselve would be ridiculous. When we are talking about the early to mid-60s, let's remember the historical setting - in America, people were still protesting against segregated buses and schools, in South Africa, Apartheid was reaching it's zenith and Mandela had only recently been sentenced. The world was a lot different and black music was still scrambling around for crumbs. Even Presley was considered 'too black' in his stylisations and performances so what hope did real black artists have?

The whole culture of white artists covering R/B had developed from the 50s as you well know and the tradition continued well into the 60s. Don't tell me all these white pop gurus sat around going 'hey some great new tunes in from the states this week, lets get some out and make sure we do our bit for the black brothers' because that is bullshit. It was the paydirt, the sheer quality of the records that made them attractive propositions to white Producers and record companies and little else. The fact that you say 'Chuck and Larry' 'could'nt catch a cold' in the states before Merseybeat had everything to do with the watering down and EXPLOITATION of black music i.e Rock'n'roll following the arrival of Elvis and assorted chums. In fact the record companies consciously preferred to have pretty boy white artists singing black songs because they were easier to sell to a white audience. The pre-Beat/Motown years in the USA and the UK saw a very tepid form of white dominated pop, ensure fiery black performers such as the ones you quote were sidelined and the fact that there are still legions of people who think LULU did the original of 'Shout', shows full well the level of ignorance amongst the wider public.

It took social revolution, MARTIN LUTHER KING, MALCOLM X, JAMES BROWN, BERRY GORDY and a significant level of other factors in order to build a platform from which black artists could start to believe they might get a half-balanced chance at success with their own material. The main energies which provided that engine emerged from Black America itself and without those movements, the white pop 'covers' would have changed very little as regards creative, economic and social equality for Black Americans.

Edited July 12, 200915 yr by chorleysoul

Hi Pete, First of this is a no brain er for myself, Georgie Fame along with all the stalwarts of talented musicians that based there whole careers on the line by promoting R&B, Soul and Blues to our ears in the 6ts putts the man in the Hall of Fame (pun is intended) and I go along with in most cases it was what you heard first especially with certain UK covers of original Black US records eg:- Herman's Hermits or Earl Jean, well I will be honest I first heard the Earl Jean when I found it Junking in the early 7ts yet when I played it my sister 5 yrs older than myself who was a original Mod knew it , as foe the Question I am lucky to say that I have seen both acts, Georgie is very good, however when I saw Billy Stewart at the Flamingo in 68, how can I say? if you saw the DELLS at Trentham gardens, he was a one man Dell and that's no lie, however there are quite a few remakes of records that come to mind especially pop covers of Bob Dylan songs?. while on the subject of Georgie and the recent 45 that was on J Manships auction, when the old Black Horse was running in the Early days I had a copy of "Sweet Thing" Columbia 45 but I was sure it was a Indian or a Singapore release? unfortunately I don't have the record anymore and I remember selling the LP with it on for £10 there, did it only come out from where JM states because I am sure mine was not a European issue? DAVE KIL

NOT EUROPEAN DAVE, SCANDINAVIAN, ALSO CAME OUT IN FRANCE ON 45 EP.

BRI PINCH.

CROFTON COMMUNITY CENTRE 24TH JULY.

SUNDAY CHILLOUT, 16TH AUGUST, HORSE AND GROOM PUB, EAST LAITH GATE, DONCASTER.

Eh?????????????????????? GEORGIE'S 'Sweet Thing' over THE SPINNERS, You must be joking!

ERRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR! NO.

BRI PINCH.

ERRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR! NO.

BRI PINCH.

Fair enough, each to their own. Personally I just think 'Sweet thing' by the SPINNERS is an out and out Detroit classic, great tune, PHILLIP WYNNE one of the great soul voices and a top class production. The SPINNERS backing vocals were superb too. GEORGIE'S to me is a good version but not as soulful.

Edited July 12, 200915 yr by chorleysoul

You're missing the point here, nobody in their right mind would say that georgie Fame is a better soul singer than Billy Stewart, all I was saying in the original post is that I prefer Georgie Fame's version - because of it's musical and vocal arrangement. Sometimes, copies are better than the originals - case in point is one mentioned elsewhere, Bessie Banks vs The Moody Blues versions of Go Now - the cover absolutely murders the original, which sounds like a demo that should never have been released.

Strange how different ears hear different things is it not? Me, I've always preferred the BESSIE BANKS original, loathed the MOODY BLUES cover even before I'd heard BB, too melodramatic and a touch twee for my taste, but there you go!

I did not think you were rating GEORGIE a better singer than BILLY STEWART. Thing is with GF, is that he is kind of synonomous with that hip, mod London 6ts thing and I think thats what maintains people's affections as some posts on here indicate.

At the end of the day he was a a talented 'copyist' and I mean that with respect. The list of great GEORGIE FAME compositions is an extremely short one.

Strange how different ears hear different things is it not? Me, I've always preferred the BESSIE BANKS original, loathed the MOODY BLUES cover even before I'd heard BB, too melodramatic and a touch twee for my taste, but there you go!

I did not think you were rating GEORGIE a better singer than BILLY STEWART. Thing is with GF, is that he is kind of synonomous with that hip, mod London 6ts thing and I think thats what maintains people's affections as some posts on here indicate.

At the end of the day he was a a talented 'copyist' and I mean that with respect. The list of great GEORGIE FAME compositions is an extremely short one.

Yes it probably is - I just like this particular record more than the original - and I love the original.

GQ's version of SITTING IN THE PARK is cheesy and naff,but their version of I DO LOVE YOU is fantastic!

The best version of DAYLIGHT is BW's,but I've seen Vicky Sue Robinson's version tear the arse out of a dance floor in New York back in the day.The best motown version of SWEET THING is Marvins(not The Spinners),but Georgie's is a great production job (Denny Cordell)especially in stereo.But leave Bessie Banks alone!!!(or the ghost of Dave Godin will return to haunt you !) her version of GO NOW leaves Mr.Laine's standing,which did launched the career of the most appalling proggers ever imagined by man!!Now off you go and check out Marvins version of "Sweet Thing"

Fair enough, each to their own. Personally I just think 'Sweet thing' by the SPINNERS is an out and out Detroit classic, great tune, PHILLIP WYNNE one of the great soul voices and a top class production. The SPINNERS backing vocals were superb too. GEORGIE'S to me is a good version but not as soulful.

DONT THINK PHILLIPE WYNNE SANG ON SWEET THING, AS I SAID, I LOVE THE SPINNERS VERSION BUT AM REALLY INTO GEORGIES AT THE MO, THO' IN THE LONG TERM IT MAY NOT LAST.

BRI PINCH.

CROFTON COMMUNITY CENTRE, 24TH JULY.

SUNDAY CHILLOUT, 16TH AUGUST, HORSE AND GROOM PUB, EAST LAITH GATE, DONCASTER.

But leave Bessie Banks alone!!!(or the ghost of Dave Godin will return to haunt you !) her version of GO NOW leaves Mr.Laine's standing,which did launched the career of the most appalling proggers ever imagined by man!!

1) Bessie Banks version is a poor second to the Moodys version, just because it's the original and she's black doesn't mean it's the best.

2) The Moody Blues were never a prog rock band. They became overblown and pompous for certain but they didn't play prog rock. And they still managed to release a few nifty singles like Ride My Seesaw.

And they still managed to release a few nifty singles like Ride My Seesaw.

Edited July 12, 200915 yr by bri pinch

ame='chorleysoul' date='11 July 2009 - 05:09 PM' timestamp='1247324995' post='1112615']

Quite a lot of 'Black America' is VERY grateful for what white pop musicians did.

Little Richard, for one, has always been happy to say how pleased he was with the extra songwriting royalties that he accrued from Pat Boone's and Elvis Presley's versions of his Specialty classics.

Likewise I wouldn't imagine that Smokey Robinson and Arthur Alexander were too perturbed about the money that they earned the Beatles and Stones covering their songs. Or Chuck Berry, Larry Williams, or any of the others whose songs that one or both of those groups recorded in their early days.

Or for the fact that Beatles and Stones covers also helped revive careers of people like Chuck and Larry, who couldn't catch a cold in America between the end of the 50s and the arrival of Mersey Beat and the R & B Boom.

Or that Larry Banks and Milton Bennett sent their royalty cheques back in disgust on on seeing how much money the Moody Blues made for them with "Go Now"

And I bet Billy Stewart was reasonably pleased to be the writer of a British number 1 record, too.

That, my friend, IS 'reality', You can feel free to distort it any way you like.

What a wonderful post to read.

I stand up and give you three cheers,Top post ever In my opinion,

I have in the past in various posts,Stated the money equasion in the Northern Soul genre,

And have been slated (for want of better words),For asking or putting forward the question of dosh,

Did any singer or song writer,record or write a song hoping it would be a failiure,

No I would have thought they wanted the song to be a hit,and if it was would if luck had it's way be covered by who ever where ever

Georgie Fame,The Hollies,The Beatles,The Rolling Stones and many many others covered what we would call Soul singles,And with each cover came more money for the writers of those songs,And also many peoples first memories of certain songs,

Um Um Um Um for instance how many people heard the Major Lance version first,or did they hear Wayne Fontanas version,Sandie Shaw"Always something" or Lou Johnson,

Chicken or the egg

Grant

I blame Denny Cordell (a lovely man who I met many times in L.A.) who produced both GO NOW for the (later to become a crap prog rock band)Moody Blues as well as Georgie Fame version of SWEET THING.He thought Bessie's version was always the best!!!

What a wonderful post to read.

I stand up and give you three cheers,Top post ever In my opinion,

I have in the past in various posts,Stated the money equasion in the Northern Soul genre,

And have been slated (for want of better words),For asking or putting forward the question of dosh,

Did any singer or song writer,record or write a song hoping it would be a failiure,

No I would have thought they wanted the song to be a hit,and if it was would if luck had it's way be covered by who ever where ever

Georgie Fame,The Hollies,The Beatles,The Rolling Stones and many many others covered what we would call Soul singles,And with each cover came more money for the writers of those songs,And also many peoples first memories of certain songs,

Um Um Um Um for instance how many people heard the Major Lance version first,or did they hear Wayne Fontanas version,Sandie Shaw"Always something" or Lou Johnson,

Chicken or the egg

Grant

You are clearly missing the point. I did not state that black artists did not want the money they earnt from the white covers....For gods sake!

I merely pointed out that it was social and political issues on a wide scale that filtered down into the entertainment industry and made it extremely hard for black acts to break through with their own material. There were racial barriers for years in the American Music Industry and that is why we had white covers of classic Black songs for decades! Do you really not believe that there were not Black artists who resented this - that there were not people who would have preferred to have seen their own original and in most cases, superior versions of so many of these songs, topping the charts?

I repeat - the majority of white Producers and Record Company Moguls did not sanction the release of these records as part of a collective stance on human rights, or in solidarity with the eventual Civil Rights Movement which blasted most of this bullshit away. They recorded these songs because they were great songs and they knew they could make money with white artists singing them.

So of course people heard SANDIE SHAW'S version first over LOU JOHNSON, there was invariably far more money and resources behind such pop acts as SS and of course the guranteed radio exposure for white pop acts in the 50s and 60s was the crucial factor in 'hitmaking' back then.

Do you have any idea at all about how hard it was to get radio play for a raft of black acts back then as opposed to white pop stars? I thought all this was well documented social history but there you go...