just came acrooss it on you tube and the people are saying it was the ohio players.

anyone add anything to that.

also whats the sound quality on the boot

chheers

just came acrooss it on you tube and the people are saying it was the ohio players.

anyone add anything to that.

also whats the sound quality on the boot

chheers

This was a previously unreleased track that was pressed up in the early eighties if I remember correctly.

It's a boot in the sense that I doubt whether it was officially licensed but is not available on any other format.

Towanda Barnes is a bit of an enigma but did have some realtion to the Ohio Players (note her version of 'You Don't Mean It')

The sound quality is not the best but my copy plays well enough.

Best...

just came acrooss it on you tube and the people are saying it was the ohio players.

anyone add anything to that.

also whats the sound quality on the boot

chheers

I read somewhere that Towanda was the girlfriend of Sugarfoot at the time of this recording, (lead vocalist of the Players?). Hence the connection with the Players on this track. The other is that they were connected via producer/ record man Johnny Brantley, who recorded all of his artists on some tracks. I.E. Sam Williams and Herman Hitson.

Got a boot of Towanda Barnes on a seven, and the sound quality is awful. But the other side "Gotta get away" is okay.

Martyn

Came out on an album so not unreleased the best version by miles! makes me goosebump everytime i hear it.

Came out on an album so not unreleased the best version by miles! makes me goosebump everytime i hear it.

that's where the boot came from isn't it, album version cut to 45 and titled Towanda Barnes.

Came out on an album so not unreleased the best version by miles! makes me goosebump everytime i hear it.

My point was that it was never released under "Towanda Barnes" but, as you say it is available on the Ohio Players LP "Greatest Hits" on Trip records.

As Towanda Barnes she released "If I'm Guilty" on Groovy and "You Don't Mean It" on A&M - the other Ohio Players track - and released one recording under her real name of Gloria Barnes - the very good LP "Uptown" in 1973.

I believe the 'Jo Mar' boot is taken from the Ohio Players LP and it revealed this previously quite well hidden gem.

Best

Edited November 29, 200915 yr by ClearVinyl

As Towanda Barnes she released "If I'm Guilty" on Groovy and "You Don't Mean It" on A&M - the other Ohio Players track - and released one recording under her real name of Gloria Barnes - the very good LP "Uptown" in 1973.

She also did a 45 as Gloria Barnes "I'll call you back later" on Maple, but that might be from the LP "Uptown"?

Came out on an album so not unreleased the best version by miles! makes me goosebump everytime i hear it.

Best version my arse!

SAM WILLIAMS is head and shoulders the best cut of this tune, a record that people take for granted now, but one that sums up the real credibility of the Northern Scene, in discovering it in the first place. Goosebumps?? That middle eight section where Sam grunts and tells us 'I'm gonna find me someone...' is one of the most atmospheric moments in Northern Soul history.

My point was that it was never released under "Towanda Barnes" but, as you say it is available on the Ohio Players LP "Greatest Hits" on Trip records.

As Towanda Barnes she released "If I'm Guilty" on Groovy and "You Don't Mean It" on A&M - the other Ohio Players track - and released one recording under her real name of Gloria Barnes - the very good LP "Uptown" in 1973.

I believe the 'Jo Mar' boot is taken from the Ohio Players LP and it revealed this previously quite well hidden gem.

Best

Played at Yate & else where for years, i like all the versions in different ways, but the OP has a special place for me, can never understand why it didnt go MASSIVE every where, maybe has lived in the shadows of SW for too long.........the instrumentation on the op IS SIMPLY AWESOME & just makes me wanna dance !!!!.

Russ

,

Played at Yate & else where for years...

Russ

,

Previously hidden for me - last nite out being 1988

Best..

Got my Ohio Players Greatest Hits album on a trip to Wax trax in Denver many moons ago...got it back to UK in one piece and still have it to this day!

The album also contains "I Gotta Get away" which is so brilliant too. Hear on refrosoul here

Edited November 29, 200915 yr by soulechoes

Played at Yate & else where for years, i like all the versions in different ways, but the OP has a special place for me, can never understand why it didnt go MASSIVE every where, maybe has lived in the shadows of SW for too long.........the instrumentation on the op IS SIMPLY AWESOME & just makes me wanna dance !!!!.

Russ

,

It never went massive Russ, cause it lacks the overall passionate, thundering full blooded intensity of SAM'S cut!

[it's my all-time Northern fave so I'm gonna champion it arent I lol!!!] Still think the above line is true, though.

The story of Towanda Barnes and in fact the song itself, is intertwined into the story of Johny Brantley's life. It was all told in Issue #5 of There's That Beat! All long sold out now but if you get a chance to read the feature it's well worth it. Bit more to Mr Brantley than just the Sam Williams cut.

I like all the versions of LSTMF. Great song.

Rather than just repeat that which is written, below are scans of both the front & rear covers of the mentioned Maple LP. Well.. As much as my scanner would allow, at least !! Quite an interesting read - and throws a little more light on the 'topic' I feel ??

The Jo-Mar 45.. Can anyone else on here confirm my belief as to it being a 'Limited' press - I've (personally) no idea as to the 'originator' or the 'quantity' involved. As many as required ?? - WHEN required !?! And 'Produced' in 2004 ??

As a point of interest..

The 'flip' to LSTMF on the Jo-Mar 45 ('Gotta Get Away'..), and as can be seen, is INDEED lifted from the 'Uptown' LP on Maple..

BUT !! - It's a different take to the album cut, and comes in a Very p**s poor 'second' to that found on the LP. Slightly different arrangement and the vocals nowhere near as 'strong'.. Sounding (I believe) as though laid down much later (2004 maybe.. ??).

In addition - the album take of 'You Don't Mean It' is ALSO (very..) different to the A&M 45 release !!

Again.. Far, FAR, superior !! From it's intro on the LP cut - you wouldn't even realise that the song about to bring magical musical excellence to the 'Audio Receptor Cavities' is, actually, 'You Don't Mean It'. Providing one of those rare moments of - unexpected - but satisfyingly pleasurable surprise.

I've only played it out the once, so far, at United Sound Of Soul, back on the 19 September.. But I think (at the time) the Soulie peeps in attendance didn't realise - as everyone was still trying to deal with, and blinded by, the indescribable brilliance of the 'Mercy' cover version I'd played just prior..

Anyways - Read the LP sleeve notes for yourself - and enjoy the educational experience. I did !!

Fingers

The Jo-Mar 45.. Can anyone else on here confirm my belief as to it being a 'Limited' press - I've (personally) no idea as to the 'originator' or the 'quantity' involved. As many as required ?? - WHEN required !?! And 'Produced' in 2004 ??

Fingers,

Thanks for posting the cover as it does provide some interesting background.

As for the Jo-Mar copy, I'm sure I've have had it since the late eighties.

I'm not sure as to whether it's always been the same 'originator' but my guess is that it is.

The copies that appear recently seem always to originate from the Las Vegas source.

I suspect that this has been a steady source of naughty income for some time for this individual.

Best..

Rather than just repeat that which is written, below are scans of both the front & rear covers of the mentioned Maple LP. Well.. As much as my scanner would allow, at least !! Quite an interesting read - and throws a little more light on the 'topic' I feel ??

The Jo-Mar 45.. Can anyone else on here confirm my belief as to it being a 'Limited' press - I've (personally) no idea as to the 'originator' or the 'quantity' involved. As many as required ?? - WHEN required !?! And 'Produced' in 2004 ??

As a point of interest..

The 'flip' to LSTMF on the Jo-Mar 45 ('Gotta Get Away'..), and as can be seen, is INDEED lifted from the 'Uptown' LP on Maple..

BUT !! - It's a different take to the album cut, and comes in a Very p**s poor 'second' to that found on the LP. Slightly different arrangement and the vocals nowhere near as 'strong'.. Sounding (I believe) as though laid down much later (2004 maybe.. ??).

In addition - the album take of 'You Don't Mean It' is ALSO (very..) different to the A&M 45 release !!

Again.. Far, FAR, superior !! From it's intro on the LP cut - you wouldn't even realise that the song about to bring magical musical excellence to the 'Audio Receptor Cavities' is, actually, 'You Don't Mean It'. Providing one of those rare moments of - unexpected - but satisfyingly pleasurable surprise.

I've only played it out the once, so far, at United Sound Of Soul, back on the 19 September.. But I think (at the time) the Soulie peeps in attendance didn't realise - as everyone was still trying to deal with, and blinded by, the indescribable brilliance of the 'Mercy' cover version I'd played just prior..

Anyways - Read the LP sleeve notes for yourself - and enjoy the educational experience. I did !!

Fingers

I seem to remember an old B/W photo in Blues and Soul back in the 70s, of Russ, Richard and Kev Roberts at Wigan and either Russ or Roberts is holding this album. Thing is I seem to recall the image of her on that cover being in a more 'glamorous style' than the pic produced here, although it was encased in a similar vingette. Can anybody confirm that or am I just suffering from hallucinatory delusions?

Edited November 30, 200915 yr by chorleysoul

I seem to remember an old B/W photo in Blues and Soul back in the 70s, of Russ, Richard and Kev Roberts at Wigan and either Russ or Roberts is holding this album. Thing is I seem to recall the image of her on that cover being in a more 'glamorous style' than the pic produced here, although it was encased in a similar vingette. Can anybody confirm that or am I just suffering from hallucinatory delusions?

This is an image off the net which shows the same image as posted by Fingers.

Not that glam so it's probably just your memory putting on those rose tinted filters..

The Ohio Players album has a bit more of a 'glamorous style'

Best.

I seem to remember an old B/W photo in Blues and Soul back in the 70s, of Russ, Richard and Kev Roberts at Wigan and either Russ or Roberts is holding this album. Thing is I seem to recall the image of her on that cover being in a more 'glamorous style' than the pic produced here, although it was encased in a similar vingette. Can anybody confirm that or am I just suffering from hallucinatory delusions?

You 're not going mad , I remember that picture as well , though I seem to remember Richard was holding it .If I can be bothered to go up in the freezing cold loft I'll dig it out and post it up .Best wishes ,Eddie

the gloria barnes album take of you dont mean it is the one they used for the u.k. grapevine single

regards i gotta get away, theres 2 different takes of this the one used on the gloria barnes album & the one from the ohio players album

You 're not going mad , I remember that picture as well , though I seem to remember Richard was holding it .If I can be bothered to go up in the freezing cold loft I'll dig it out and post it up .Best wishes ,Eddie

definatly winstanley.....probally the only decent record he ever had

This is an image off the net which shows the same image as posted by Fingers.

Not that glam so it's probably just your memory putting on those rose tinted filters..

The Ohio Players album has a bit more of a 'glamorous style'

Best.

No, I know that album, this was absolutely certainly the Gloria Barnes LP with the vignette picture, because I remember now thinking at the time, why is he holding an LP, a strange thing for those times...That is why it stood in my mind all those years - since I was 15 for fooks sake!

definatly winstanley.....probally the only decent record he ever had

Yeah, I'd bet money it's Russ holding it.

You 're not going mad , I remember that picture as well , though I seem to remember Richard was holding it .If I can be bothered to go up in the freezing cold loft I'll dig it out and post it up .Best wishes ,Eddie

I'd appreciate that Eddie. For some reason, my mind is insisting that the picture of her on the album depicted her in a more stylised manner even though it was the same 'vignette' style picture framing and 'Gloria Barnes' Title graphic. Probably wrong but at least I am right about the picture, one grain of comfort for a severely damaged memory bank!

Don't know if it's common knowledge around here or not but there's at least three different Ohio Players Trip comps that have the Towanda Barnes tunes. One has 8 songs per side and is obviously not an audiophile experience. Another set I have is a double LP with 4-5 songs per side and sound much better.

Don't know if it's common knowledge around here or not but there's at least three different Ohio Players Trip comps that have the Towanda Barnes tunes. One has 8 songs per side and is obviously not an audiophile experience. Another set I have is a double LP with 4-5 songs per side and sound much better.

Is 'LSTMF' on all of those Trip comps?

Confirmation either way appreciated.

Cheers...

Edited December 1, 200915 yr by ClearVinyl

Richard played the Towanda Barnes/Ohio Players versions a few times at Wigan circa '77-78....

In addition - the album take of 'You Don't Mean It' is ALSO (very..) different to the A&M 45 release !!

So there is 3 version of this then, do you have sound clip?

Here is a scan of the only (?) 45 from the rare Maple LP

Is 'LSTMF' on all of those Trip comps?

Confirmation either way appreciated.

Cheers...

That's what I meant, there are at least three different comps with LSTMF. There are also loads of other budget label comps of the early Ohio Players material that don't have the Towanda Barnes tunes. They really milked that stuff to death after the group blew up.

Towanda Barnes verion of LSTMF is by far the best version, IMO.

I might even go so far as to say that it's the best vocal performance on any record, ever. It's stunning.

Towanda Barnes verion of LSTMF is by far the best version, IMO.

I might even go so far as to say that it's the best vocal performance on any record, ever. It's stunning.

Hey Trub I thought you were into drum banging not vocals ?

Towanda Barnes verion of LSTMF is by far the best version, IMO.

I might even go so far as to say that it's the best vocal performance on any record, ever. It's stunning.

Why make one outrageous statement when you can make two! lol

Both Towanda Barnes' and Sam Williams' versions are outstanding examples of quality soul music (or any other genre for that matter), and IMO it's impossible to make a call between, they both stand out in their own right as tremendous productions in arrangement and vocal quality. I've never been able to decide which is better since they are both so different, so I don't.........why should anyone feel the need to ?

Why make one outrageous statement when you can make two! lol

Were you not just mumping and moaning on another thread about somebody been condescending unnecessarily about your opinions.

A little bit consistency might be nice from you, although I do appreciate the to the point (almost) approach you are now taking!

Edited December 3, 200915 yr by jocko

Both Towanda Barnes' and Sam Williams' versions are outstanding examples of quality soul music (or any other genre for that matter), and IMO it's impossible to make a call between, they both stand out in their own right as tremendous productions in arrangement and vocal quality. I've never been able to decide which is better since they are both so different, so I don't.........why should anyone feel the need to ?

I guess it's the personality of the DJ? No?

Those that don't feel the need to decide which are the 'best' or those unable to tell the difference between the dull and the exciting, the average from the good, and the great from the greatest should not feel the need to be DJing, and if they do for some reason they tend to put together rather muddled sets, suffer from emptying dance floors and serve little purpose being behind the decks playing records to a crowd of people who are getting bored waiting for the next DJ to come on.

I also guess this is a discussion forum where views are shared and debated? Difficult concept to grasp, maybe?

And rather oddly, you state that you have tried to decide which is better, but you can't. Others can so you knock them for having a pointless opinion. What's the point of that? It's a bit hypocritical. It might even be a bit of an oxymoron, you don't have an opinion so in your opinion others shouldn't have an opinion either.

Edited December 3, 200915 yr by James Trouble

Sat here in my 'Pod' in Iraq, had a couple o glasses of red wine & whilst I'm very familiar with the Ohio Players version of LSTMY I havnt actually played it in a few years so got it up in refosoul, sh*t its good, the bongo's & the that awesome vocal, so fragile, almost like its gonna break, but the power house delivery........just went wooooooooooooosssshhhhhhhhh, like at a Nighter when the medication kicks in.......WOW !!!.

Think I'll have myself a wee soul night of my own, sod the neighbours .

Russ

Sat here in my 'Pod' in Iraq, had a couple o glasses of red wine & whilst I'm very familiar with the Ohio Players version of LSTMY I havnt actually played it in a few years so got it up in refosoul, sh*t its good, the bongo's & the that awesome vocal, so fragile, almost like its gonna break, but the power house delivery........just went wooooooooooooosssshhhhhhhhh, like at a Nighter when the medication kicks in.......WOW !!!.

Think I'll have myself a wee soul night of my own, sod the neighbours .

Russ

Well Russ my man as there's only one country seperating us I'll join you - Pour one for me, no baggies invited......

Rather than just repeat that which is written, below are scans of both the front & rear covers of the mentioned Maple LP. Well.. As much as my scanner would allow, at least !! Quite an interesting read - and throws a little more light on the 'topic' I feel ??

The Jo-Mar 45.. Can anyone else on here confirm my belief as to it being a 'Limited' press - I've (personally) no idea as to the 'originator' or the 'quantity' involved. As many as required ?? - WHEN required !?! And 'Produced' in 2004 ??

As a point of interest..

The 'flip' to LSTMF on the Jo-Mar 45 ('Gotta Get Away'..), and as can be seen, is INDEED lifted from the 'Uptown' LP on Maple..

BUT !! - It's a different take to the album cut, and comes in a Very p**s poor 'second' to that found on the LP. Slightly different arrangement and the vocals nowhere near as 'strong'.. Sounding (I believe) as though laid down much later (2004 maybe.. ??).

In addition - the album take of 'You Don't Mean It' is ALSO (very..) different to the A&M 45 release !!

Again.. Far, FAR, superior !! From it's intro on the LP cut - you wouldn't even realise that the song about to bring magical musical excellence to the 'Audio Receptor Cavities' is, actually, 'You Don't Mean It'. Providing one of those rare moments of - unexpected - but satisfyingly pleasurable surprise.

I've only played it out the once, so far, at United Sound Of Soul, back on the 19 September.. But I think (at the time) the Soulie peeps in attendance didn't realise - as everyone was still trying to deal with, and blinded by, the indescribable brilliance of the 'Mercy' cover version I'd played just prior..

Anyways - Read the LP sleeve notes for yourself - and enjoy the educational experience. I did !!

Fingers

Cheers for this post, this is the one outstanding thing about this forum, the depth of knowledge and those who choose to share it.... i have always wanted this Lp, really excellent informative post, good to see scans, i usually try to attach the scans of records i have, just believe it makes the topic of more interest. well done

Brett

Both Towanda Barnes' and Sam Williams' versions are outstanding examples of quality soul music (or any other genre for that matter), and IMO it's impossible to make a call between, they both stand out in their own right as tremendous productions in arrangement and vocal quality. I've never been able to decide which is better since they are both so different, so I don't.........why should anyone feel the need to ?

Agreed

I've always considered them two very different tracks. Both are such cracking sounds and I'll marvel at them both in their own right.

Love the power of SW's delivery and the rawness in TB's voice.

Edited December 3, 200915 yr by Dave Turner

Well Russ my man as there's only one country seperating us I'll join you - Pour one for me, no baggies invited......

I guess it's the personality of the DJ? No?

Those that don't feel the need to decide which are the 'best' or those unable to tell the difference between the dull and the exciting, the average from the good, and the great from the greatest should not feel the need to be DJing, and if they do for some reason they tend to put together rather muddled sets, suffer from emptying dance floors and serve little purpose being behind the decks playing records to a crowd of people who are getting bored waiting for the next DJ to come on.

I also guess this is a discussion forum where views are shared and debated? Difficult concept to grasp, maybe?

And rather oddly, you state that you have tried to decide which is better, but you can't. Others can so you knock them for having a pointless opinion. What's the point of that? It's a bit hypocritical. It might even be a bit of an oxymoron, you don't have an opinion so in your opinion others shouldn't have an opinion either.

How typical of you to take comments personally, and to twist words to suit your own ends. May come as a surprise, but It's not all about you so get down off your ego.

I'm pretty sure I'm able to distinguish between dull and exciting James, but I fail to see what point you're trying to make on my comment. I'll help you understand what I said......both versions are excellent.

I seem to remember an old B/W photo in Blues and Soul back in the 70s, of Russ, Richard and Kev Roberts at Wigan and either Russ or Roberts is holding this album. Thing is I seem to recall the image of her on that cover being in a more 'glamorous style' than the pic produced here, although it was encased in a similar vingette. Can anybody confirm that or am I just suffering from hallucinatory delusions?

here it is

definatly winstanley.....probally the only decent record he ever had

Oh so you managed to get out of the lift then trev

Oh so you managed to get out of the lift then trev

wish i was back in it, coz i'm not aving much luck posting up this picture

wish i was back in it, coz i'm not aving much luck posting up this picture

Here ya go Trev

M

thanks mark, thats the one..........off back to my lift now

Were you not just mumping and moaning on another thread about somebody been condescending unnecessarily about your opinions.

A little bit consistency might be nice from you, although I do appreciate the to the point (almost) approach you are now taking!

No to be precise, he called my viewpoint patronising and condescending. Was'nt you was it? Secondly, the line on JT'S post is a single sentence lighthearted piece of banter?

Stroll on, I cannot win with some people.

Here ya go Trev

M

Thanks to everybody who tried and to you for succeeding in loading this picture!

Firstly, it shows I was not hallucinating in imagining that Russ was holding this album. As regards the picture, I now understand why I was under the impression that it was more of a glamorous image than the one depicted on a previous colour shot of the cover in this thread. In the old pic, you can only see her hair - given the fact that most Soul femme pics of the 60s and 70s were glam studio shots, my mind just assumed that was the case here, I've never seen a real one and I imagine a lot of people have not. So no realisation ever lodged in my mind, aged 15, that it was actually a shot of her in a jumper stood at the edge of town with a scrubland backdrop!

Still think the awesome power of SAM WILLIAMS is the ultimate as far as this song goes. cheers Guys.

Edited December 7, 200915 yr by chorleysoul

Best version my arse!

SAM WILLIAMS is head and shoulders the best cut of this tune, a record that people take for granted now, but one that sums up the real credibility of the Northern Scene, in discovering it in the first place. Goosebumps?? That middle eight section where Sam grunts and tells us 'I'm gonna find me someone...' is one of the most atmospheric moments in Northern Soul history.

i think the bit where he sings ,,

and when i find that someone

im gonna love her better than i love myself ,,,,,,,

is pretty atmospheric ,, infact i think thats one of the best descriptions of a soul record that i have heard