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THE BLUE SHARKS: THE SOUL SCENE'S LONGEST EVER 'COVER-UP'?

Gene-R

By Gene-R
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Gene-R
Gene-R

Previously discussed at length on a thread here in 2008, but this should put all past rumours and conspiracy theories surrounding 'The Blue Sharks' to bed. Those of you who have been on the North

Steve S 60
Steve S 60

Mike Morton shrunk my Spencers.

maslar
maslar

I first heard the Blue Sharks version on the Destiny Record Collector Lp in about 1980. I thought it was an ok if slightly sub-standard version of a great record. I've just listened to it again (the f

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Chris L Veteran

Chris L

Posted
Posted
1 hour ago, Mick Holdsworth said:

I've recorded all four songs, just for comparison and future ref,

BlueSharks-TheseThings.mp3

MikeMorton-TheseThings.mp3

BlueSharks-BannerMan.mp3

MikeMorton-BannerMan.mp3

I have already conceded that "These Things" are the same as each other, however Banner Man is clearly different. It sounds like the same Female vocalist, but the Male is different, could be same singer but a different take. One obvious difference is the phrasing of "and the tubas oompahed all the way" in the first Male vocal at about 25/30 seconds in. Cheers
Mick

 

Guess that £1.00 album gonna rise in value then ? :D

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Mick Sway Veteran

Mick Sway

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40 minutes ago, davidwapples said:

who got the ebay buy it now version last night  for £10 after seeing this? lol

Ive just bought one from discogs but it was £3 plus postage so at least the value is increasing :) from your original £1

A great find

 

You just pipped me at Discogs.

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maslar Regular

maslar

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I first heard the Blue Sharks version on the Destiny Record Collector Lp in about 1980. I thought it was an ok if slightly sub-standard version of a great record. I've just listened to it again (the first time in decades) and I've got to say the best thing about it is the vocal which is adequate. The arrangement is pretty poor.

So this track is basically an early 70s "session cover", exactly the same as the Top Of The Pops LPs and such like. Not that these were necessarily musically bad - in some cases they were equal to or better than the original. But nevertheless it's a substandard track when compared to the original and the idea that anyone would pay £700 or even £50 for it I find quite baffling. Maybe £20 to £30 would be ok.

A quick  google search finds that Barbara Kay was the voice of The Piglets (Johnny Reggae). :)

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Gene-R Veteran

Gene-R

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1 hour ago, maslar said:

I first heard the Blue Sharks version on the Destiny Record Collector Lp in about 1980. I thought it was an ok if slightly sub-standard version of a great record. I've just listened to it again (the first time in decades) and I've got to say the best thing about it is the vocal which is adequate. The arrangement is pretty poor.

So this track is basically an early 70s "session cover", exactly the same as the Top Of The Pops LPs and such like. Not that these were necessarily musically bad - in some cases they were equal to or better than the original. But nevertheless it's a substandard track when compared to the original and the idea that anyone would pay £700 or even £50 for it I find quite baffling. Maybe £20 to £30 would be ok.

A quick  google search finds that Barbara Kay was the voice of The Piglets (Johnny Reggae). :)

Just found out that Barbara Kay also recorded for Woolworth's Embassy label under the name of Kay Barry.  According to Jonathan King, she was "in her 40s" when she recorded Johnny Reggae as one of the Piglets.  Wonder if she's still alive?  However, according to the clipping which Steve posted above, dating from 1963 and listing Barbara at 22 years old, this would mean she was actually 30 at the time of recording Johnny Reggae. Confused?  Yes, indeed.

Not been able to find out anything about Sharon Winters yet, nor Mike Morton himself.

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Steve S 60 Veteran

Steve S 60

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18 minutes ago, Gene-R said:

Just found out that Barbara Kay also recorded for Woolworth's Embassy label under the name of Kay Barry.  According to Jonathan King, she was "in her 40s" when she recorded Johnny Reggae as one of the Piglets.  Wonder if she's still alive?  However, according to the clipping which Steve posted above, dating from 1963 and listing Barbara at 22 years old, this would mean she was actually 30 at the time of recording Johnny Reggae. Confused?  Yes, indeed.

Not been able to find out anything about Sharon Winters yet, nor Mike Morton himself.

Interesting site for all those budget cover albums...

https://hitcovers.weebly.com/non-stop-hits-rca.html

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Woodbutcher Veteran

Woodbutcher

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Bit more about Mike Morton here ... :)

 

This article from Music Now of July 25th 1970 makes it clear that music was Mike's second priority, after dry-cleaning:

'Mike Morton has an unusual angle on pop music. At 33 years of age he is hardly the prototype teenybopper idol, yet each week he plays live to more than 5,000 kids and reaches many thousands more through Radio One appearances. Though things have certainly declined since the days when tea-time dances drew 1,000 dancers to the Lyceum, the ballroom still remains an important factor in influencing the record-buying habits of teenagers. Mike and his group, the Mike Morton Sound, have been resident at the Orchid, Purley - one of the biggest dance venues in the country - for years, and now the affable guitarist has embarked on a new venture which could help change the face of pop. 

Travel down Clapham High Street in South London and, opposite the British Transport Museum, you’ll spot a garish former cinema now known as the Majestic Bingo Hall. It's just one of Mike ’s business ventures, along with a chain of dry-cleaning shops, and this unlikely spot could rapidly become a haven for pop stars. Explains Mike: “About nine months ago I made a record called ‘Suzanne’ for Plexium Records. I’d done plenty of TV and radio recordings before, but it was my first time in a pukka studio. I thought we’d take about three hours to make the record, but in the end it took 12. When I got the bills in I was staggered. I began to think that there must be a market in the recording studio business for people who have potential but can’t pay the ridiculous charges of West End Studios, and the germ of an idea took root.” 

Now, in an amazingly short time, Mike has transformed the upper circle of the Majestic into one of the most modern, largest and best-equipped studios in the country. Out have come the seats and the Edwardian decor, and in have gone sound booths, soundproof walls, one of the most luxurious control rooms around, and ultra-sophisticated eight-track recording facilities, all in a setting of plush wall-to-wall carpeting, soft lights and lavish drapes. More than a mile of cable alone has been used, and in excess of £50,000 spent already. “We can offer facilities beyond compare, including a spacious licensed bar, and yet I’ve deliberately kept our charges down to a mere £14 an hour flat rate - less than half what most studios are charging. Groups can even hire a Lowrey organ for use on their sessions, and we’ve got first-rate engineers. I believe there is a real demand for a modestly-priced studio, providing there is nothing modest or second-rate about the quality it provides.” 

Mike knows the graft of trying to break through. He started playing guitar at 17 and, after a summer season on the Isle of Wight, formed a trio called the Blue Notes which toured with people like Petula Clark and the Platters. He joined Mecca in the early 60s, then left for a spell with Bob Miller & the Millermen, and was a regular member of the studio bands on the pioneering TV pop shows Six Five Special, Drumbeat and Dig This. “I had a fantastic year when I was with Drumbeat. I was earning £100 a week, which was an enormous sum in those days. I saved hard, borrowed a lot more from the bank, and opened a chain of dry-cleaning shops. Then Cyril Stapleton found an old cinema in Chertsey which he thought would make a good bingo hall. Cyril asked me to come in with him. Several others were going to put in money, but everyone pulled out because their advisors said it wasn’t viable, so in the end I went into it on my own. Then, two years ago, I bought the Majestic.” 

In between times, Mike has worked on the Continent for a year, then rejoined Mecca as resident at the Orchid. “We play the current chart things plus the pop standards, and I’d be bold enough to say that it’s the best group in the country for out-and-out entertainment. We aren’t strictly a pop outfit, because we have to serve a wider purpose, but we are rather unique because it’s an 11-piece and eight of them sing!” Many of Mike’s singers find extra employment recording cover versions of pop hits for labels like Music For Pleasure and Marble Arch, and Mike sees this as one outlet for his studios: “Since we play all these things onstage and on Radio One, I could take the whole band into my studio and cut cover version LPs by the dozen.” But perhaps the most exciting prospect of the Majestic is its potential for onstage recordings: “The hall holds 1000. We could put on big-time concerts and pipe the sound straight through to the studio and get an unequalled sound. The things against live recordings at the moment are the cost and technical problems of shifting complicated and bulky recording equipment around the country - there will not be any such problem here.”'

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Chris L Veteran

Chris L

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1 minute ago, WoodButcher said:

Bit more about Mike Morton here ... :)

This article from Music Now of July 25th 1970 makes it clear that music was Mike's second priority, after dry-cleaning:
'Mike Morton has an unusual angle on pop music. At 33 years of age he is hardly the prototype teenybopper idol, yet each week he plays live to more than 5,000 kids and reaches many thousands more through Radio One appearances. Though things have certainly declined since the days when tea-time dances drew 1,000 dancers to the Lyceum, the ballroom still remains an important factor in influencing the record-buying habits of teenagers. Mike and his group, the Mike Morton Sound, have been resident at the Orchid, Purley - one of the biggest dance venues in the country - for years, and now the affable guitarist has embarked on a new venture which could help change the face of pop. 

In between times, Mike has worked on the Continent for a year, then rejoined Mecca as resident at the Orchid. 

I used to go to the Orchid at around that time, to be honest I don't remember him.

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Guest Spain pete

Guest Spain pete

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The strange, weird ,offbeat, murky, edgey ,wonderful world of   top of the pops cover albums that my naff school chums use to buy :wink: but fascinating all the same 

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Mick Sway Veteran

Mick Sway

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32 minutes ago, Spain pete said:

The strange, weird ,offbeat, murky, edgey ,wonderful world of   top of the pops cover albums that my naff school chums use to buy :wink: but fascinating all the same 

 

Chums eh, was this at Eaton or Greyfriars ?

I hope that you didn't send the fag's down to Woolie's for the latest 45's back in the day.

:-)

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Chris Turnbull Veteran

Chris Turnbull

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6 hours ago, Peter99 said:

Hi Chris

Bit tongue in cheek this but interesting non the less. Although I'm bound to say that!

Great stuff, thanks Pete.

Interested to see Pip Smith, who we used to go to Bradford QH niters with in the early 90's getting a name check for leading the opposing faction i.e. those in favour of more modern sounds - thinking back I remember him telling me about it 

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Still Diggin Regular

Still Diggin

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6 hours ago, randy said:

Good detective work who ever wants to take the credit, to most people this is a real revelation and possible will effect the value of the Blue Sharks 45

Could never understand the fuss about this record I personally have never liked the Blue Sharks version and sold a nice copy few months ago for £300

The one thing I cant really understand is the poor phrasing of the female singer, to my ears its does sound like some one singing in a second language as with lots of mainland European recorded disks. Is the singer British?

Know what you mean, should have been covered up as Abba!

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maslar Regular

maslar

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Going off topic slightly but with reference to Soul Sam at Wigan in 1981. I was at a couple of those nights and it was bizarre to say the least. This is how I remember it and I'm not knocking anyone. it wasn't just SS but also Arthur Fenn and they went back to back.  The floor was largely empty or near empty for the whole time (and that was quite a while). It was the strangest sight and I remember a really strange atmosphere. A sort of "you had to be there" moment. Quite depressing and a little surreal.

I'm not knocking either DJ. I thought both played some good records, The problem seemed to be that they were both transplanted into the Wigan Saturday night each with established modern soul playlists that the majority of Casino regulars had probably never heard before. And then they played one after the other. If it was an experiment then it seemed to me to have been set up to fail. Also on those night the attendance wasn't that great which didn't help matters. 

That's how I remember it through the hazy passage of time. If I've got anything wrong apologies in advance.I  I wasn't there when any banner was hung from the balcony or anyone was thrown off the stage. :ohmy:

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Guest Spain pete

Guest Spain pete

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2 hours ago, Mick Sway said:

Chums eh, was this at Eaton or Greyfriars ?

I hope that you didn't send the fag's down to Woolie's for the latest 45's back in the day.

:-)

The only fags l had was 5 park drive 

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Peter99 Veteran

Peter99

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28 minutes ago, maslar said:

Going off topic slightly but with reference to Soul Sam at Wigan in 1981. I was at a couple of those nights and it was bizarre to say the least. This is how I remember it and I'm not knocking anyone. it wasn't just SS but also Arthur Fenn and they went back to back.  The floor was largely empty or near empty for the whole time (and that was quite a while). It was the strangest sight and I remember a really strange atmosphere. A sort of "you had to be there" moment. Quite depressing and a little surreal.

I'm not knocking either DJ. I thought both played some good records, The problem seemed to be that they were both transplanted into the Wigan Saturday night each with established modern soul playlists that the majority of Casino regulars had probably never heard before. And then they played one after the other. If it was an experiment then it seemed to me to have been set up to fail. Also on those night the attendance wasn't that great which didn't help matters. 

That's how I remember it through the hazy passage of time. If I've got anything wrong apologies in advance.I  I wasn't there when any banner was hung from the balcony or anyone was thrown off the stage. :ohmy:

Hello Mate

Not seen you for a while - hope all ok. 

It was a long time ago and my memory isn't great but the infamous Sam night - he last one at Wigan, was rammed, and despite the protests so was the dance floor during his set. Did Arthur ever back to back with Sam at Wigan - I'm not so sure about that.

Not being pedantic just my memories.

Pete

:thumbsup:

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Peter99 Veteran

Peter99

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Good thread. My, last comment - well maybe.................

Just goes to show the difference between buying records you like and buy for a specific reason - memories etc, and buying purely for a trophy record. I just bought my copy of the Blue Sharks - its a special record to me and I love it. Paid a decent price for it and Gene's thread/detective work hasn't diminished that at all. Still a great record for me and there still aren't too many about. 

I'm happy as (L)harry - probably happier than Harry Hippie!

Pete

:thumbsup:

 

 

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maslar Regular

maslar

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2 minutes ago, Peter99 said:

Hello Mate

Not seen you for a while - hope all ok. 

It was a long time ago and my memory isn't great but the infamous Sam night - he last one at Wigan, was rammed, and despite the protests so was the dance floor during his set. Did Arthur ever back to back with Sam at Wigan - I'm not so sure about that.

Not being pedantic just my memories.

Pete

:thumbsup:

I'm good thanks. Hope you're ok too.

I pretty sure I wasn't at his last one. I seem to remember reading something about it in Echoes. Could be wrong though. Well I can definitely remember one occasion when Arthur Fenn played either before or after Sam. Then again  I could be losing it:g:. I went to the first/last official last night (Tommy Hunt) and it was on a Friday. Yet as the years went by I would have put money on it being on a Saturday.

 

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Peter99 Veteran

Peter99

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6 minutes ago, maslar said:

I'm good thanks. Hope you're ok too.

I pretty sure I wasn't at his last one. I seem to remember reading something about it in Echoes. Could be wrong though. Well I can definitely remember one occasion when Arthur Fenn played either before or after Sam. Then again  I could be losing it:g:. I went to the first/last official last night (Tommy Hunt) and it was on a Friday. Yet as the years went by I would have put money on it being on a Saturday.

 

You are probably right mate. The night I refer to was Sam's last night - me and my mate Mick from Boston did a bit of a petition to save Sam! Have a look at he banner thread i posted earlier - that was quite fun but had some interesting stuff in too.

Take care boss.

P

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16 hours ago, Peter99 said:

Good thread. My, last comment - well maybe.................

Just goes to show the difference between buying records you like and buy for a specific reason - memories etc, and buying purely for a trophy record. I just bought my copy of the Blue Sharks - its a special record to me and I love it. Paid a decent price for it and Gene's thread/detective work hasn't diminished that at all. Still a great record for me and there still aren't too many about. 

I'm happy as (L)harry - probably happier than Harry Hippie!

Pete

:thumbsup:

 

 

I agree Pete.......what some don`t really want to admit is it`s a much better recording than the original, tighter and much more polished production.

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  • 3 weeks later...
PoolMan Participant

PoolMan

Posted
Posted
On 05 December 2016 at 21:53, bo diddley said:

WHAT!!!!!!!!!!!!!!!!!

You'll be telling me next that Lenny Gamble wasn't really Lenny Gamble.:ohmy:

He wasn't. It is one of the longest running secrets on the Northern scene, with only a handful of buffs knowing whther he was really Smashie or Nicey. First heard of course on Radio Fab FM. Quite literally, mate.

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  • 2 weeks later...
Peter99 Veteran

Peter99

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Posted
2 hours ago, guest said:

Thought there might have been a deluge of copies [Mike Morton LP] turn up after this thread but apart from the ones on discogs etc no more it would seem ?

Why would you think that? Irrespective of what people think of the 45, and despite Gene's detective work, there's never going to be a deluge of something that doesn't exist in great numbers. I can't comment on the availability of the LP but that's an entirely different matter. 

 

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