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Spectropop - Digest Number 1190

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Re: Patti Dalstrom
           From: Austin Roberts 
      2. Re: Beatles' 1976 aborted reunion attempt?
           From: Scott 
      3. Gold Radio
           From: Rosemarie 
      4. Re: Orpheus / Standells
           From: Mike McKay 
      5. Re: So Lonely / Bad Lyrics & Good Music
           From: S.J. Dibai 
      6. Re: The Ventures
           From: Paul Urbahns 
      7. Poets and more O'Sullivan
           From: Albabe Gordon 
      8. Christmas with The Quiet Jungle on Arc
           From: David A. Young 
      9. Re: Gilbert O'Sullivan and more Good-Bad Lyrics
           From: Albabe Gordon 
     10. Re: Del Shannon
           From: Albabe Gordon 
     11. Re: Del Shannon
           From: C Ponti 
     12. Re: Rokes / Yardbirds
           From: Eddy 
     13. Re: "Hard Day's Night", Peggy Lee, Cover Versions
           From: Andres 
     14. Re: Stan Farber
           From: Stephane Rebeschini 
     15. US Chart Question, Still Unanswered
           From: Paul Bryant 
     16. Re: "Uptight"
           From: Paul Bryant 
     17. Re: "Hard Day's Night", Peggy Lee, Cover Versions
           From: Rick Hough 
     18. Re: A Rock 'n' Roll Mystery ?
           From: Mikey 
     19. Re: Ruby and the Romantics
           From: Justin McDevitt 
     20. Re: Beatles covers (Godfrey Daniel)
           From: Mike McKay 
     21. Re: one song, three versions
           From: Paul Bryant 
     22. Re: One Wonderful Night
           From: Chris 
     23. Re: Burt Bacharach / Ann-Margret
           From: Phil Milstein 
     24. Re: Orpheus
           From: Steven Prazak 
     25. Re: Dirty Water
           From: Phil Milstein 

Message: 1 Date: Mon, 22 Dec 2003 13:58:59 EST From: Austin Roberts Subject: Re: Patti Dalstrom Hi Artie, As a friend of Jimmy's (Croce) and having met and even written a song with Patti and Kerry Chater, it's good to hear how well she's doing. Please send her my best. Sure miss Jimmy. Take care, Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Mon, 22 Dec 2003 17:01:16 EST From: Scott Subject: Re: Beatles' 1976 aborted reunion attempt? > The "Moments in Time" mentioned, is the auction site that got > involved (& got scandalised) in the sale of the autographed copy > of Chapman's Double Fantasy. I saw some guy on the Today Show a couple of weeks ago pawning the Chapman LP. It was kind of nausiating to see the pitch, though the guy didn't seem bothered by the concept at all. I forget how much they were expecting to get for the album, but it was pretty stunning. Scott -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Mon, 22 Dec 2003 14:16:29 -0800 (PST) From: Rosemarie Subject: Gold Radio Just wanted to say Happy Christmas to everyone - and to let you know that 'Eddie Rambeau' is now being played quite a lot at They are on air 24/7 and have different streams of music including an oldies stream. Rosemarie proud to be an Eddie Rambeau Fan! -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Mon, 22 Dec 2003 17:35:22 EST From: Mike McKay Subject: Re: Orpheus / Standells Mike Edwards wrote: > I first heard "Can't Find The Time To Tell You" when I moved to > Boston in 1993. It was one of the few non-standard oldies on > WODS 103 FM, no doubt because they were a local group as were > the Standells. Given the subject matter of their biggest hit, it's not surprising that many assume The Standells were from Boston. But in fact, they were from L.A. Drummer/singer Dick Dodd was an original Mouseketeer, and guitarist Larry Tamblyn was the brother of actor Russ Tamblyn ("West Side Story," etc.). -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 23 Dec 2003 00:17:24 -0000 From: S.J. Dibai Subject: Re: So Lonely / Bad Lyrics & Good Music Mike McKay wrote: > No changes in the second verse or the bridge either, but come the > third verse Don and Phil apparently had had enough of this > confusion. Instead of the original lyric ("If you get tired of her > just send her right on back to my arms"), they sing "If you get > tired of lovin' him then come on back to my arms"! LOL! Thanks for the info. > It's funny...I write for a living and certainly love a good lyric > as much as the next person. But for me, really great music will > overcome nearly any lyrical shortcomings. On the other hand, great > lyrics rarely move me unless they're in the company of music that > interests me. It is for this reason that, while I have great > respect for Bob Dylan and what he's meant to contemporary music, I > rarely listen to him I know what you mean about Dylan. Just listen to his version of "Mr. Tambourine Man"--fascinating lyrics delivered in a dull style with the singer mumbling his way through and mangling the melody. But The Byrds seized upon the best apsects of the song and transformed it into something special. This is why I like Dylan's songs more than his recordings. His vocal style doesn't appeal to me often, and the arrangements, well.....I'd rather listen to the Yardbirds' goofy BBC cover of "Most Likely You Go Your Way" than Dylan's version. As for great music with bad lyrics, I understand your point, but as a songwriter and a perfectionist, I have limited tolerance for such things. This is perhaps my biggest problem with The Association. Great sounding group, and their songs usually had good melodies, too. But the lyrics to songs like "Windy," "Everything That Touches You," and "We Love Us" annoy me (don't even get me started on "Yes I Will"). They put out a wealth of recordings that had it all--great performances, productions, and arrangements as well as great melodies and lyrics--but you have to program your way through any given Association CD in order to weed out the weaker material. S.J. Dibai -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Mon, 22 Dec 2003 20:35:08 EST From: Paul Urbahns Subject: Re: The Ventures Mike Edwards missed the point when he wrote: > I like the Ventures and I know they made those tuition LPs that > enabled many of our guitar heroes to become experts. But there > is a limit. The six gold LPs listed above are pretty lame. Take > "Telstar And The Lonely Bull", neither of the title tunes can > hold a candle to the original versions by the Tornados and the > Tijuana Brass..... An instrumental hits LP for someone who > couldn't be bothered to pick up the singles. Or I reply a great instrumeantal album for folks wanting the songs on an Lp instead of stacking 45s. The Ventures Telstar album clearly out sold the Tornadoes original and The Tijuana Brass had not even issued an album at that point. Mike continues: > It has always seemed to me that they were a rocker's version of > Percy Faith and/or Billy Vaughn, releasing 2 or 3 LPs a year > loaded with their versions of the hits of the day, without adding > anything to them. Wrong again Mike, on most Ventures albums only about have of the songs were instrumental versions of current hits. The other half were original compositions. You bought the albums for the songs you were familiar with (the current hit covers), and discovered the originals were actually quite good. It was a formula that made them a good selling instrumental group when most other instrumental artists (except Tijunana Brass, Bert Kaempfert, Montavani and other adult performers) were normally one hit artists. And along the way the Ventures had several hit singles of their own. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Mon, 22 Dec 2003 20:01:37 -0800 From: Albabe Gordon Subject: Poets and more O'Sullivan Chris said: > Isn't the point where words fail a perfectly legitimate, and > even traditional, theme for poets and lyricists? I am at a loss. All I can say is: Huh? If I glean what you say... Do you mean there are only "...perfectly legitimate, and even traditional, theme(s) for poets and lyricists?" Chris also said: > Not, of course, that I ever thought to see Jackson Browne > equated with Rainer Maria Rilke... Equate means to "compare". I didn't say Jackson and Rainer were equal or even similar. I said they were both poets. You don't think so? They do both write about love and loss... Does that make someone a poet? What does..? Got me. And would it be better said here, if I were to try to dazzle anyone with my reading habits, by quoting Yeates, or G. B. Shaw or maybe Joyce? I love Ulysses... but you can't dance to it. Besides, the point that I was discussing is that some people think they know what the song "Claire" is about. How can anyone besides G. O. know what G. O. means? You can enjoy poetry of any ilk; you can project all you like, but you'll never know what a certain poem is about. And when asked, a lot of poets answered that they weren't sure about what their own words mean. And I'm not a huge fan of Deconstructionist history. Hikky burrr, ~albabe -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 23 Dec 2003 02:29:17 -0000 From: David A. Young Subject: Christmas with The Quiet Jungle on Arc Sometime in the last few weeks, one or two messages here concerned a record label called Arc and based in Toronto, Canada. Would someone please briefly recap what was of interest there? It didn't register at the time since I wasn't familiar with the label, but I've just gotten a Christmas album on Arc that has piqued my interest. It's by a band called The Quiet Jungle, whom I understand had a Canadian chart hit with "Ship of Dreams" on Yorkville the year prior to the Christmas album's 1968 release. What makes the LP, "The Story of Snoopy's Christmas and Other Favourite Children's Songs," so interesting is that, of its 11 tracks, only the cash-in title cut is not also found on Phil Spector's Christmas LP from five years earlier. Not only that, but the arrangements for every last one are borrowed from Jack Nitzsche's, right down to lead singer Doug Rankine mimicking Darlene Love's phrasing on " hear sleighbells in the snow (sno-o-ow)." It's not a wall-of-sounder by any means; the basic arrangements are transferred to a more lo-fi garage feel, but all the basic ideas are there with no attempt to disguise them. Also of interest is the fact that this places the first cover version of "Christmas (Baby Please Come Home)" much earlier than any other known to me. It's a bit disconcerting to hear, for example, a fuzz guitar solo instead of Steve Douglas's sax on the break in that song, but fascinating to realize what an influence Phil's work had on these folks' with so little of the historical perspective that informed future homages by others. The only tunes from the Spector LP not included on this one (besides "Silent Night," which wasn't really served up as a song there per se) are the dubiously seasonal "The Bells of St. Mary" and "Parade of the Wooden Soldiers." In my mind, it prefigures what would come to be known as a tribute album, and while it makes for marginal listening, it also makes for a fascinating historical document. David -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Mon, 22 Dec 2003 20:17:06 -0800 From: Albabe Gordon Subject: Re: Gilbert O'Sullivan and more Good-Bad Lyrics Bill George said: > "Alone Again Naturally" is one of the first songs I remember > hearing on the radio (on a very long car vacation), and one > of the first singles I bought. Does anyone know what he is > doing these days? As soon as he stopped writing dirty songs, he dropped out of sight. And one more song for best lyrics theme: "...Well... Now I'm convinced that I must be insane, Or else I was born with a peanut for a brain." or... "I couldn't see the forest though the trees. The boy I loved was down on his knees, and I played the game, and acted like a tease, Somebody kick me, please." -Dumb Head - Ginny Arnell Apropos of me..? I think so... 'cept that I like girls. When this thread about "Good-Bad, but Not Evil" lyrics peters out, someone (me?) should make a word document with all the great stuff and make it available. Fun stuff. ~albabe -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Mon, 22 Dec 2003 20:49:11 -0800 From: Albabe Gordon Subject: Re: Del Shannon Marc Wielage said about Del Shannon: > By early 1990, I guess Del had had enough, and decided to end his > life that February, in a rustic cabin in a forest, where he was > spending a few days alone "writing songs" (as he told his wife). A situation like this is so sad. Something very similar happened with a friend of mine. It made me feel horribly powerless things like: "If only I'd called him, just to see how he was doing. Maybe that would've helped a little." ... and maybe not. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Tue, 23 Dec 2003 04:52:24 -0000 From: C Ponti Subject: Re: Del Shannon Bill Craig commented: > Considering the Petty connection I wonder if there was any > truth to the story that Del might have been added to the > Traveling Wilburys had he lived?..... Marc Wielage : > My understanding is that just after Shannon killed himself in > 1990, his wife gave an interview (my memory was that it was in > the LA TIMES) in which she said Del had been feeling depressed > because a) he'd just gone through a lot of painful dental surgery, > b) he had come down with a severe case of the flu, and c) he hadn't > yet gotten an answer as to when or if George Harrison and the other > members of the Traveling Wilburys were going to hire him as a > new "Wilbury Brother," to replace recently-deceased Roy Orbison. > Roy had died in late 1988, and I think Del spent most of 1989 hoping > he'd get the call. Wow, Marc, that is spooky. Just yesterday I was in a shop where this quirky Willburys' boot was being played. One of the tracks, "Theme From....." (I get it mixed up with the Jack Bruce or Mountain song), was playing. It was an instrumental that had the Willburys playing behind this amazing analog effected Fender guitar, which I assumed was George. I learned while there it was a track they cut with Del. I thought it was for one of his albums, but maybe it was testing those waters. It was like the coolest thing I ever heard, very much like Jack Nitzsche's "The Lonely Surfer". Del was such a dear and vulnerable guy to be around. Considering what he accomplished he was very self-effacing. -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 23 Dec 2003 07:43:54 +0100 From: Eddy Subject: Re: Rokes / Yardbirds S.J. Dibai: > I bet that Garth Watt-Roy is the guy who co-wrote a song for The > Hollies--"Magic Woman Touch," if memory serves. That's the same guy alright, except that the song was not written for the Hollies. It's a cover version. The original was done by G W-R's group The Greatest Show on Earth. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 23 Dec 2003 11:56:01 +0300 From: Andres Subject: Re: "Hard Day's Night", Peggy Lee, Cover Versions steveo wrote: > Peggy [Lee] was always willing to record great stuff that other > people were afraid to record. Witness "A hard day's night" that > she did. How many other covers of that song are there? (not many.) Goldie Hawn, 1998 Otis Redding Ektomore Alexander Zonjic Ramsey Lewis Trio (instr.) John Mayall Elton John and Billy Joel (Live Pittsburgh, 1994) Apple Jam Any more? Andres - - - - - - - - - - - Admin note: Take a look at the website dedicated to Beatles covers. It has a searchable index and currently lists 38 versions of "A Hard Day's Night": -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 23 Dec 2003 10:48:24 +0100 From: Stephane Rebeschini Subject: Re: Stan Farber Bob a écrit: > Getting back to the Eligibles, the group also ties in with Gary > Lewis in that one of the members, Ron Hicklin or Hickland, was used > by Snuff during Gary Lewis sessions. Snuff had Gary sing along with > Ron and I believe Snuff left Ron's vocals on the various tracks. Al > Capps was the deep voice on "She's Just My Style", the guy that sang > the line, "don't'cha know that she's". The third member was Stan > Farber. I know nothing at all about Stan. Perhaps someone here can > fill me in on Stan! Hi Stan Farber became a producer and formed the Farber-Fitzpatrick Productions. His name can be found on several albums like: Pidgeon, same, Decca, 1969 (psych pop rock, with a young Jobriath) Frantic, Conception, Lizard, 1970 (good heavy rock, with jim Haas) Rubber Band, Beatles Songbook, GRT, 1969/70 (instrumental pop, Michael Lloyd studio project) With Ron Hicklin, he also worked as a singer for the... Partridge Family. More details here: Circa 1980/81, Farber would also work as a singer with Pink Floyd on "The Wall" tour. Stephane -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 23 Dec 2003 03:01:27 -0800 (PST) From: Paul Bryant Subject: US Chart Question, Still Unanswered Dear Poppers I posed a question but got no answer - so I would like to try again. We were discussing crooners and someone pointed out that a particular croon has been a real big hit in the Adult Contemporary chart, but not on the Billboard/Cashbox pop chart. In Britain we do not have these different charts (or didn't in the 60s/70s anyway). So I was puzzled - is it true that a record could sell enough to be in the top 20 pop chart, but because it was not a pop song (say it was a country song, or an "adult contemporary" croon tune) it would be excluded from the Billboard/Cashbox chart? pb --------------------------------------------------- Admin Note: In the USA, unlike in the UK, the Billboard Top 100 is compiled, in the main, from radio plays, not record sales. Therefore, if a record is played only on Adult Contemporary stations, it will figure only on the Adult Contempoaray chart. S'pop Moderator -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 23 Dec 2003 03:54:07 -0800 (PST) From: Paul Bryant Subject: Re: "Uptight" Richard Williams wrote: > Speaking of which, I'm absolutely sure (from personal recollection) > that "uptight" enjoyed a brief usage, circa '66, as a synonym for > "groovy", "happening", "far-out", etc, before being redefined to > mean "small-minded", repressed", "bent out of shape by society's > pliers", etc. Can anyone else produce a similar example of a > vernacular term changing its meaning so completely? Well, the standard meaning of the word "wicked" was inverted by hip- hop vernacular (good-bad, not evil, you might say). And this is part of a never-ending process which happens in language - see the history of the meaning of the word "nice" and the recent change in the meaning of "decimate". pb -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 23 Dec 2003 13:40:36 -0000 From: Rick Hough Subject: Re: "Hard Day's Night", Peggy Lee, Cover Versions Chris: > Peggy Lee album with "My Sweet Lord" ("Where Did They Go?" -- > "Snuff" Garrett as producer!) also has an obscure Bacharach & > David tune called "My Rock and Foundation". Worth chasing down? Certainly is, Chris. "My Rock & Foundation" is very "Raindrops Keep Fallin'..."-inspired, and I imagine it would have been the title track's follow-up 45 had the album and single not stiffed. There are some real gems on this, and it's a lavish commercial production in the grand Garrett style a la Cher's brilliant '72 comeback album. Peggy Lee's version of "My Sweet Lord" is hypnotic as is her harpsichord-laced "Help Me Make It Through The Night". The album is a product of it's time, but a quality product which was very carefully and masterfully crafted. Enjoy! -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 23 Dec 2003 08:55:48 -0500 From: Mikey Subject: Re: A Rock 'n' Roll Mystery ? Denny, I'm a Vogues expert, and have their full discography. The Vogues never released a song called "Wait A Minute". The only version I've found is the one on Palmer Records by Tim Tam and The Turn ons in 1965. Looks like they had a couple of other releases also. best, Mikey -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Tue, 23 Dec 2003 08:46:21 -0600 From: Justin McDevitt Subject: Re: Ruby and the Romantics Hi Spectropoppers, It's good to see some postings on this group regarding Ruby and The Romantics. My favorite song by this wonderful harmony group is When You're Young And In Love. Although I enjoy the Marvellettes early 1967 version of this track, R and The R's slower, softer treatment really brings out the essence of the lyrics, without that Motown edge. A blessed Christmas and healthy New Year to all of you. Justin McDevitt -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Tue, 23 Dec 2003 09:32:42 EST From: Mike McKay Subject: Re: Beatles covers (Godfrey Daniel) Chris wrote: > Possible topic for a new thread: non-copycat cover versions of > Beatles tunes which work on their *own* terms. This stipulation would seem to indicate that the arrangements of the cover versions should be as far afield from The Beatles' original arrangements as possible. On those grounds, I nominate "Hey Jude" by Godfrey Daniel. For those who've never heard their early 1970s album on Atlantic ("Take a Sad Song"), it consists almost entirely of doo wop-styled versions of recent rock 'n' roll hits (among the others: "Purple Haze," "Dance to the Music," "Woodstock," "Whole Lotta Love," etc.). The thing of it is, the singing and the arrangements are EXCELLENT -- and outside of a component of humor that seems naturally occurring in doo wop music, they're played perfectly straight. That is, there's no element of exaggerated parody such as you find with Sha-Na-Na. These guys were serious about what they were doing, and the sheer inventiveness of the vocal and instrumental arrangements deliver a lot more laughs than Sha-Na-Na's shtick could ever hope to. "Hey Jude," the lead-off track, starts off with nonsense syllables ("whoodly pop a cow", as I recall!) and then moves into a jump-tempo arrangement that's great fun. Unusually, a completely different version of "Hey Jude" closes the album. This is done at a funereal tempo and given a Spectorized Righteous Brothers treatment laden with echo that's even more cavernous than the master ever attempted. Interesting, but the first version makes for better listening. I have always longed for more information on this one-off project. That is, who were the singers that comprised Godfrey Daniel, and how did the album come to be made? About all I know is that it was a project of a couple members of The Amboy Dukes (talk about further music miscegenation quite beyond The Beatles and doo-wop!). My research on the web has yielded little; does anyone know more about this thoroughly enjoyable album? Mike -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Tue, 23 Dec 2003 07:00:35 -0800 (PST) From: Paul Bryant Subject: Re: one song, three versions Richard Williams wrote: > "Walk Away Renee" is one of the few great songs, I think, to > exist in three outstandingly and completely different versions > -- by the Left Banke, Four Tops and Rickie Lee Jones. Not just > covers, complete revisions of equal artistic merit. Any more? Money : Barrett String, Beatles, Flying Lizards. All completely different. One of several examples of those four white boys taking a black song and - erm, how can I put this delicately - blowing the original to smithereens so that when you do go back to it, poor old Barrett just sounds....weedy! (Same fate befell Twist and Shout) pb -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 23 Dec 2003 07:42:43 -0800 (PST) From: Chris Subject: Re: One Wonderful Night Alan Gordon: > Oh this has been, one wonderful night > A night I never will forget for the rest of my life > > Tonight I met, one wonderful boy > And I know we're gonna share a love time can never destroy. > > The Honeybees > > I love the meter and wordplay in each second line. Wordplay? What "wordplay"? Is there a topical allusion that I'm missing? Perhaps a startling image that eludes my poor clouded senses? Or is it the "never will forget"/"tonight I met" rhyme that you find impressive? Do explain. Chris -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Tue, 23 Dec 2003 10:21:45 +0000 From: Phil Milstein Subject: Re: Burt Bacharach / Ann-Margret Mick Patrick wrote: > "One Less Bell To Answer" was first recorded by Keely Smith on > Atlantic 2429 in 1967. I've never seen or heard a copy, so I > don't know who produced it. Is it out on CD? If not, perhaps > some kind soul could post the track to musica. The next version > was by Rosemary Clooney on Dot 17100 in 1968. This makes me curious -- how does it happen that not one but two singers whose commercial lights has long since faded get first (and second) crack at a wonderful new song by the day's leading songwriters? I realize songs are sometimes custom-written for a particular artist, but I don't know of any personal relationship between Keely Smith and Bacharach-David, so I wonder how this "One" might've wound up in her In basket. My question, by the way, doesn't necessarily refer to "One Less Bell," but rather to any song with a like story. > Here's a poser for all you Bacharach experts. What was the first > record on which Burt was credited as producer? No prizes for the > correct answer, except my admiration. Lou Johnson? Speaking of Burt & Hal, I caught a movie on TCM last night, "Made In Paris," starring Ann-Margret at her prime (c.'66?), that featured a Bacharach-David title theme, sung by Trini Lopez. Despite making it a practice to try and catch every pre-accident A-M flick, I'd never heard of this one before, and wonder if the song is well- known, released on record, covered, etc. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Tue, 23 Dec 2003 10:45:23 -0500 From: Steven Prazak Subject: Re: Orpheus A big thanks to all S'poppers for alerting me to the wonderful Orpheus. I had purposely avoided anything even remotely connected to MGM's notorious "Bosstown Sound" for decades, although time has since done a fair share of that music a good service. I picked up a used copy of the Varese Orpheus collection, and it's damn fine. I don't quite hear the Left Banke-sound some early posters were proclaiming. However, I do pick up a real nice breezy R&B vibe not unlike a Friends of Distinction or a Main Ingredient would appropriate a few years hence. Anyway, thanks everybody for the tip! Steven Prazak Atlanta, GA -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Tue, 23 Dec 2003 10:44:35 +0000 From: Phil Milstein Subject: Re: Dirty Water Rat Pfink wrote: > The Standells were from L.A., the lyrics to "Dirty Water" > notwithstanding... Ed Cobb, the writer of "Dirty Water," spent some time in Boston during or after his Four Freshmen years, dating a Boston University co-ed (as they were so quaintly called back then), and having a hard time with her dorm's midnight curfew. As B.U.'s campus lines the Charles River, after his dates Cobb would head down to its banks to mull over his frustration. As Paul Harvey would say, "and now you know ... the rest of the story." With typical New England flintiness, over the years "Dirty Water" has become adopted as a virtual theme song around Boston. But Cobb was if anything understating the case when he referred to the Charles as "dirty" -- in all my years here, I have yet to see a single person so much as even attempt to swim in it, and even the mangiest of mutts wouldn't dare lap at it. --Phil M. -------------------[ archived by Spectropop ]-------------------
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