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Cecil Washington

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Guest giant

The Group ft Cecil Washington

I Don't Like To Lose

Original Prophonics !! How much ????

one sold on ebay mint- condition few weeks ago i think £1200

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Guest giant

Ill rent you mine....or I could lease it to you Terry :thumbsup:

:lol: :lol: :lol:

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Strange one this considering it was such a monster back in the day, it does get a mixed reception at some venues

I know !!

I was chatting with a friend ( yes I do have one ) the other day and we talked of old Records that seldom see the light of day, this was one of them. We loved it back in the day but its not really the 'Modern' take on oldies - not 100MPH so gets ignored a little.

Before I get a barrage of 'we play it at ours' I am generalising.

Ted, you must have a box full of stuff that frustrates the hell out of you when its played and gets little or no response !!

Hey ho, theres always You Tube.

Take care and see you soon matey

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This was the biggest sound I ever heard at Wigan. Absolute stunner, still sounds great & soulful today.

You can't please all the people.......

Aid.

yes dear door lady, probably same for me....in my top three of all-time with vicky baines and william powell....and i bet a fair few on here will say they're all crap!!.....GO ON THEN.....CAN OF WORMS OR WHAT? :lol:

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Seen it described as a scene changing record and have to agree. It is awesome and always fills the floor when I hear it out, even usually frets me on floor :yes:

Vicky Baines is great Northern as is William Powell even though his singing is as bad as George Lemons.

Love how, on the William Powell, the Pianist comes in late after the break and has to catch up Lol !!

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On the contrary, three fantastic Northern Soul dancers. The Cecil Washington really does have everything.

always does it for me pete, the intro & the fade out give the tune a unique twist...in between its full on detroit, yet, with a distinct difference, the bassline carries that tomangoes feel and the piano is almost honky tonk in, the instro break. remember well, hearing it at the casino, played under its suedonym...it just caught the imagination then...proof that amongst the pop paraphenalia and humdrum, digging a little deeper provided quality results, nonemoreso than in the hands of mr. searling, circa 78. i know you think that vicky baines sounds as if she was standing at the other end of the sink unit/echo chamber/studio when she cut country girl on may 17, 1966 but in a way it could easily be misconstrued as some latter day phil spector cast off, if anything it does have that aura of "niter tune" about it and as a subsequence, somewhat unfairly, dosnt get the recognition of the average crowd, not that their are particularly few copies of it....on the contrary, there appears to be quite a lot in circulation and hence, my belief that with its reputation it should be sharing more playlists.the nagging, incessent tambourine intro to heartaches, souveniers in metronomic time, leading into a hypnotic piano riff is pure essence of northern soul,..there's even a marimba lurking in there somewhere and adistinctly fragmented, edgy sax break,...so many unexpected ingredients!!, oh and lets not forget the monotone voice of mr. powell...it really pales into insignificance with such purile lyrics, but its all so predictably unpredictable,...thats why its a "does what it says on the tin" record.....and like the other two cohorts in this triumverate, it demands respect both as a dance floor winner, and a four figure aqquisition of prestige.

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always does it for me pete, the intro & the fade out give the tune a unique twist...in between its full on detroit, yet, with a distinct difference, the bassline carries that tomangoes feel and the piano is almost honky tonk in, the instro break. remember well, hearing it at the casino, played under its suedonym...it just caught the imagination then...proof that amongst the pop paraphenalia and humdrum, digging a little deeper provided quality results, nonemoreso than in the hands of mr. searling, circa 78. i know you think that vicky baines sounds as if she was standing at the other end of the sink unit/echo chamber/studio when she cut country girl on may 17, 1966 but in a way it could easily be misconstrued as some latter day phil spector cast off, if anything it does have that aura of "niter tune" about it and as a subsequence, somewhat unfairly, dosnt get the recognition of the average crowd, not that their are particularly few copies of it....on the contrary, there appears to be quite a lot in circulation and hence, my belief that with its reputation it should be sharing more playlists.the nagging, incessent tambourine intro to heartaches, souveniers in metronomic time, leading into a hypnotic piano riff is pure essence of northern soul,..there's even a marimba lurking in there somewhere and adistinctly fragmented, edgy sax break,...so many unexpected ingredients!!, oh and lets not forget the monotone voice of mr. powell...it really pales into insignificance with such purile lyrics, but its all so predictably unpredictable,...thats why its a "does what it says on the tin" record.....and like the other two cohorts in this triumverate, it demands respect both as a dance floor winner, and a four figure aqquisition of prestige.

Ditto - Lol !!!

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always does it for me pete, the intro & the fade out give the tune a unique twist...in between its full on detroit, yet, with a distinct difference, the bassline carries that tomangoes feel and the piano is almost honky tonk in, the instro break. remember well, hearing it at the casino, played under its suedonym...it just caught the imagination then...proof that amongst the pop paraphenalia and humdrum, digging a little deeper provided quality results, nonemoreso than in the hands of mr. searling, circa 78. i know you think that vicky baines sounds as if she was standing at the other end of the sink unit/echo chamber/studio when she cut country girl on may 17, 1966 but in a way it could easily be misconstrued as some latter day phil spector cast off, if anything it does have that aura of "niter tune" about it and as a subsequence, somewhat unfairly, dosnt get the recognition of the average crowd, not that their are particularly few copies of it....on the contrary, there appears to be quite a lot in circulation and hence, my belief that with its reputation it should be sharing more playlists.the nagging, incessent tambourine intro to heartaches, souveniers in metronomic time, leading into a hypnotic piano riff is pure essence of northern soul,..there's even a marimba lurking in there somewhere and adistinctly fragmented, edgy sax break,...so many unexpected ingredients!!, oh and lets not forget the monotone voice of mr. powell...it really pales into insignificance with such purile lyrics, but its all so predictably unpredictable,...thats why its a "does what it says on the tin" record.....and like the other two cohorts in this triumverate, it demands respect both as a dance floor winner, and a four figure aqquisition of prestige.

I'd loved that William Powell for many years and hadn't even noticed anything wrong with his voice until people on here started going on about it being poor, who cares, what a record!

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I'd loved that William Powell for many years and hadn't even noticed anything wrong with his voice until people on here started going on about it being poor, who cares, what a record!

The innocence of the production and the raw quality of his voice are what make it what it is. You can imagine them getting to the recording studio and the bosses saying, 'you've got 30 minutes, make me something' - and didn't they just !!!

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The innocence of the production and the raw quality of his voice are what make it what it is. You can imagine them getting to the recording studio and the bosses saying, 'you've got 30 minutes, make me something' - and didn't they just !!!

i second that emotion mate, a truely magnificent rollercoaster of a tune...it will always have its critics but to me it has all the elements required to establish a full dance floor...if it had secumbed to the bootleggers it would have been ground into the dust, but its acute rareity has been prevailent in protecting its status and long may that so be....

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Guest Seagrave

yes dear door lady, probably same for me....in my top three of all-time with vicky baines and william powell....and i bet a fair few on here will say they're all crap!!.....GO ON THEN.....CAN OF WORMS OR WHAT? :lol:

They're all crap.

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Played William Powell at Alderley Edge last weekend - went down a storm. Cecil Washington ?? surprisingly gets mix response whenever it gets played ( not by me I hasten to add

Its not really a surprise mate, the inhabitants of the East Midlands oldies scene were, in the main, on their 20 year sabbatical when it was the biggest record on the scene.

Thats why the response is like it is, because they dont remember it from their youth. As an observer of the aforementioned scene over the last 15 years I've seen countless examples of this phenomenon. Sad but true!

One of my fondest memories is of Richard Searling playing it on a midweek night upstairs at the Eight Bells in Mansfield in 1979. The best DJ and the biggest record on the scene, playing in a small room above a pub - it was like having a private audience with the pope!

A tune of tunes :thumbsup:

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Remember when he did the same at the Highland Room on the alldayer. All close up.

Its not really a surprise mate, the inhabitants of the East Midlands oldies scene were, in the main, on their 20 year sabbatical when it was the biggest record on the scene.

Thats why the response is like it is, because they dont remember it from their youth. As an observer of the aforementioned scene over the last 15 years I've seen countless examples of this phenomenon. Sad but true!

One of my fondest memories is of Richard Searling playing it on a midweek night upstairs at the Eight Bells in Mansfield in 1979. The best DJ and the biggest record on the scene, playing in a small room above a pub - it was like having a private audience with the pope!

A tune of tunes :thumbsup:

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Its not really a surprise mate, the inhabitants of the East Midlands oldies scene were, in the main, on their 20 year sabbatical when it was the biggest record on the scene.

Thats why the response is like it is, because they dont remember it from their youth. As an observer of the aforementioned scene over the last 15 years I've seen countless examples of this phenomenon. Sad but true!

One of my fondest memories is of Richard Searling playing it on a midweek night upstairs at the Eight Bells in Mansfield in 1979. The best DJ and the biggest record on the scene, playing in a small room above a pub - it was like having a private audience with the pope!

A tune of tunes :thumbsup:

In one.

or as pope ricardo would say....amen

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Its not really a surprise mate, the inhabitants of the East Midlands oldies scene were, in the main, on their 20 year sabbatical when it was the biggest record on the scene.

Thats why the response is like it is, because they dont remember it from their youth. As an observer of the aforementioned scene over the last 15 years I've seen countless examples of this phenomenon. Sad but true!

One of my fondest memories is of Richard Searling playing it on a midweek night upstairs at the Eight Bells in Mansfield in 1979. The best DJ and the biggest record on the scene, playing in a small room above a pub - it was like having a private audience with the pope!

A tune of tunes :thumbsup:

Must remember it was Soul Sam that "gifted" that one among st others to RS

Edited by theothertosspot

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