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Spectropop - Digest Number 1206

               SPECTROPOP - Spectacular! Retro! Pop!

There are 25 messages in this issue.

Topics in this digest:

      1. Jailbait
           From: Rex Strother 
      2. Merry Go Round Stereo 45 / The Band
           From: Art Longmire 
      3. Re: Jailbait rock
           From: Stewart Mason 
      4. Re: Stereo 45s / Brian Wilson
           From: Joe Nelson 
      5. Re: Stereo 45s
           From: Joe Nelson 
      6. Re: The Cherry People / The Hangmen
           From: Mark 
      7. Re: Brian Wilson's influence
           From: Paul Bryant 
      8. Re: Big Daddy
           From: Phil Milstein 
      9. Re: (Why) Brackets?
           From: steveo 
     10. Left Banke lately
           From: Phil Milstein 
     11. Re: Music To Watch Girls By / Tony Velona
           From: Jules Normington 
     12. Re; Brian Wilson influenc
           From: Stuart Miller 
     13. Spectropoppin'
           From: Artie Wayne 
     14. Re: Troggs' Good Vibrations
           From: Artie Wayne 
     15. The Sundae Train / "Night Time Music: The BT Puppy Story"  CD
           From: Steve Stanley 
     16. Ron Dante
           From: S'pop Projects 
     17. Re: Summertime/ Let's Live For Today
           From: Fred Clemens 
     18. Da Vee-Meister and Surf Music
           From: Albabe Gordon 
     19. Jailbait
           From: Simon White 
     20. Dick St. John Photo
           From: Bob Celli 
     21. Re: First Beatles / 60s resurgence?? Klaatu!
           From: Peter Kearns 
     22. Re: Brian Wilson's influence
           From: Peter Kearns 
     23. Re: Stereo 45s
           From: Bill Craig 
     24. Re: "uptight"
           From: Patrick Rands 
     25. On The Street Where You Live
           From: Watson Macblue 

Message: 1 Date: Tue, 30 Dec 2003 13:01:38 -0700 From: Rex Strother Subject: Jailbait Glenn wrote: > A brief listing of major hits concerning "jailbait": I nominate most of the Steely Dan catalog from any era for this award. And happily drench myself in every peppy progression. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 30 Dec 2003 20:13:56 -0000 From: Art Longmire Subject: Merry Go Round Stereo 45 / The Band I recently got back from the holidays and I'm trying to get caught up on the last week's posts-interesting stuff! The discussion on stereo 45's got me to thinking about a 45 I have by the Merry Go Round on A&M records. It's a white label promotional copy of "Live" in stereo, and is the only stereo 45 by the group I've come across. Of course, this dates from 1967 when stereo 45's were far from common. In fact this is the ONLY stereo 45 I've found from '67. Has anyone else seen this Merry Go Round 45? I have several other of their later promo singles-for instance " 'Til The Day After"- but none are in stereo. Also the font is different on this "Live" promo. By the way, I remember reading somewhere that the reason that the late 50's-early 60's stereo singles were discontinued is because they didn't catch on with the public and couldn't be played on most jukeboxes. Another sort of puzzling 45 I have is one by the Band on Capitol Records. It's their first single, "I Shall Be Released", but instead of the artist name being given as The Band, the name on the record is "Music From Big Pink". It makes me wonder if the group (or the record company) might have released some early copies of their first single under this name. Have any Merry Go Round or Band experts run across these? I'd appreciate any info! Art Longmire -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 30 Dec 2003 12:14:52 -0800 (PST) From: Stewart Mason Subject: Re: Jailbait rock Phil M. astutely notes: > Of course this is no place for a discussion of > sexual morality, but since Glenn brought it up I'd > like to point out that society does (or at least > should) make a clear distinction between sex between > near-age partners, and sex between an adult and a > minor. Donny Osmond's "Sweet And Innocent," for > example, doesn't really belong on a "jailbait" list > (whereas several of Chuck Berry's hits do). One exception I can think of which just barely fits into Spectropop parameters thanks to its '60s-obsessed production (including one of the all-time great Farfisa riffs) is Blondie's debut single "X Offender." Originally titled "Sex Offender," the song was originally written about an event in guitarist Gary Valentine's life: when he turned 18, his still-underage girlfriend's disapproving parents had him arrested for statutory rape. Naturally, the song takes on a different spin when sung by a woman, in much the same way that their later single "One Way Or Another" (just about the most blatant song about stalking ever to become a big hit) would be greeted with howls of outrage if a man had sung it. S -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 30 Dec 2003 15:15:40 -0500 From: Joe Nelson Subject: Re: Stereo 45s / Brian Wilson > Early "in store" stereo 45s were Lemon Pipers' "Rice Is Nice", > Rascals' "A Beautiful Morning", Animals' "Sky Pilot", Fireballs' > "Goin Away", Cream's "Anyone for Tennis" and one of the best > reasons for stereo 45s was the great mix on the Doors' pre- > "Touch Me" stereo 45, "Hello I Love You"! Oddly, the stereo 45s > had a hard time catching on after these initial releases, leading > to an odd period in '69 to '71, where you had all kinds of stereo/ > mono issues. I did some research into this a few years ago: it appears "A Beautiful Morning" was the first Top 40 45 whose standard stock issue was stereo (actually compatable stereo, wherein the right channel is thrown 90 degrees out of phase in order to phase down the "center channel" when the record is played on monaral equipment). "Rice Is Nice" was released first but didn't chart in the Billbopard Top 40. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 30 Dec 2003 15:26:27 -0500 From: Joe Nelson Subject: Re: Stereo 45s > What was the first single released in stereo? I'm thinking > "Touch Me" by the Doors, or possibly "Alone Again Or" by Love. > Not even close...............1959......Paul Anka "Lonely Boy". > Yes, but those were for jukeboxes, yes? >From what I understand these could be found in some stores, but the poster's obvious question was about what record's stereo release was the standard issue you'd automatically be goiven if you went into a store and asked for it, rather than a mono/stereo joint release. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 30 Dec 2003 20:27:24 -0000 From: Mark Subject: Re: The Cherry People / The Hangmen No, I'm not a musician. The only thing I can play is the stereo. Okay, I will give the thanks to the producer. I firmly believe that the producer, writer and arranger are the most important people in the recording anyway, at least with the type of music I like. To me, the artist is the least important part of the mix. I look for names like Gary Usher, Tony MacAuley, Curt Boechter, Gary Zekely, Al Capps, Lew Warburton, Gentry and Cordell, Vance and Pockriss, etc. Hey, I got nothing against musicians. But if David Cassidy for instance had his way, he wanted to sound like Hendrix not like the Cowsills. Excuse me but you know what, some of us prefer the Cowsills. Not everything in music has to be deep and meaningful. I want deep and meaningful I'll go read Tostoy or something. I listen to music to be uplifted and to feel good and smile, not to hear the world's problems. There's a place for all kinds of music, just not on my turntable. By the way, I LOVE the Cherry People album. Sorry the Hangmen didn't. I'm sure they liked their album better. Oops, I'm sorry. No one cared to record an album of what they wanted to play. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 30 Dec 2003 13:49:31 -0800 (PST) From: Paul Bryant Subject: Re: Brian Wilson's influence Paul Bryant wrote: > There has never been a vocal group as extraordinary as the Beach > Boys, no one has come close. So Brian Wilson might be an > inspiration to many, but I'm sceptical about his actual influence. > I would of course be happy to be convinced otherwise. Dee: > I'm almost convinced this post is a joke - sounding like "Pet > Sounds" or "Smile" or not has little to do with the question of > "influence". In fact, the biggest influences tend to be so fully > incorporated into shared culture that they're hard to detect. This is the problem of definition I'm struggling with. On the one hand you have straight-forward imitators or creators of pastiches - all of the Gideon Gaye and Hawaii albums by the High Llamas are brilliant pastiches. The listening experience is like train-spotting - oh yes, that's the guitar sound from Here Today, there's the banjo from Cabinessence. It's very clever stuff but it's somewhat slavish. On the other hand, as you say, you have the kind of influences which are "so fully incorporated into shared culture that they're hard to detect". So I guess I'm looking for a middle way here. Or just a group who'll thrill me with fabulous harmonies and drop dead gorgeous melodies! > I think part of the reason that you don't hear a Brian Wilson > influence so readily today is because almost none of the newer > artists making credible music today actually get much radio play > (some with a Wilson influence, like Scotland's Beta Band - widely > touted by folks like Brian Eno - I've never even heard once on my > > local college station). Have you heard Rufus Wainwright's "Want > One" or the High Llamas' "Gideon Gaye"? I bought the High Llamas' albums, as I mentioned in an earlier post. Don't know the Beta Band - any others? pb -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 30 Dec 2003 16:56:39 +0000 From: Phil Milstein Subject: Re: Big Daddy Estufarian wrote: > Big Daddy were a parody group - but in the best sense where the > love of the original music shines through. For example, they do > 'Graceland' (on another album) as Elvis 'should' have done it. Speaking of Big Daddy, I think a lot of y'all would appreciate the scan I've got posted at It's not of the group that Estufarian describes, but does make an interesting/amusing use of the same name. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 30 Dec 2003 14:07:17 -0800 (PST) From: steveo Subject: Re: (Why) Brackets? Paul Bryant wrote: > So the question is... why was there this rash of silly brackets > in song titles in the 60s? Who started it (anyway)? Paul, My guess is because the title phrase was longer than they wanted it to be, or it helped the public identify the song by including more of the phrase. Could have been a producers gimmik, I dunno. It is a very interesting question and I'd like to know more about it myself, which record started it, what year, etc. -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 30 Dec 2003 17:20:33 +0000 From: Phil Milstein Subject: Left Banke lately Mike McKay wrote: > It turns out that in the last few years, there have been attempts > to get the at least some of the band back together for various > recording projects, though nothing concrete has come out of any of > them. I've been fortunate to hear a five-song demo, entitled Airborne, that Michael Brown and Steve Martin, under the name Left Banke, recorded alone together within the last couple of years. It's a very simple affair, with just synthesized keyboards and string parts underpinning Martin's still-lovely voice. Titles are Airborne; I Don't Know; Until The End; All The Pain (All The Wonder); and High Flyer, all wr. by Brown and in the original Left Banke style. Several of these are excellent, with the title song and All The Pain especially poignant and memorable. My understanding is that plans to gear up for a full- fledged recording have stalled, but are not necessarily dead in the water. Keep your fingers crossed. --Phil M. -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Wed, 31 Dec 2003 09:49:10 +1100 From: Jules Normington Subject: Re: Music To Watch Girls By / Tony Velona > ...and how can you go past "Music To Watch Girls By" for lyrics so > evocative, so damn clever, and so damn simple (just how good is that > first line)..the scene is set so just wanna be there.... > piazza in sitting 'n' leaning > on scooters... > Wowza. Thanks for this transcription, Jules: proof positive that song > lyrics are the ideal forum for elevating seemingly mundane thoughts > and emotions to the level of the classics. I'm embarrassed to ask, who > is responsible for this brilliant work? Hi there Phil...we have Tony Velona to thank for those observations... Sidney Ramin wrote the music, and I can't find a single other song written by the two of them...would love to know if there were any more ...folks? Tony also wrote "Lollipops And Roses" (Paul Petersen / Jack Jones would be best known versions), and, although there's not a lot of them, again the lyrics are eloquent and heartfelt. He apparently added "some catchy musical production numbers" to the 1968 kids movie "The Clown And The Kids", but apart from the two above- mentioned songs I know of bugger-all else by him. Would love some leads ...anyone? Cheers, Jules -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Tue, 30 Dec 2003 22:57:39 -0000 From: Stuart Miller Subject: Re; Brian Wilson influenc Steveo said: > This is correct. The label always had the group record at their > given studio and assigned a producer. But Brian wanted to record > outside of Capitol as he didnt like the Tower studio "sound" for > rock and roll. Murry, Brian's dad, convinced Capitol that it would > work and they agreed as long as the stuff sounded good. I think we need to get this into context and state that we're talking about the majors here. I don't think the independents gave a hoot and, for example, Jan Berry was doing his own thing in his garage back in the 50's (Jan/Arnie/Dean the first garage band too?). As for Brian's influence, I find this thread an interesting one. I am not a musician so it may well be that there are tons of examples of chords, phrases, lyrical feel, etc. on various records where one can point to a direct Wilson influence but if there are, the vast majority have passed me by. My judgement would be, does that sound like a BB's record? Very few records indeed have ever made that impact on me and my own interpretation of that would simply be that the BB's sound was very hard to copy. When artists talk about Brian influencing them, do they not mean, "Wow, I heard this BB record and it really made a deep impression on me"? It may be that there is something much more subtle going on here but if there is, it's over my head. Stuart Miller -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 31 Dec 2003 04:11:08 -0800 (PST) From: Artie Wayne Subject: Spectropoppin' They rock on computers all year long Hoppin' and a-boppin' to a sixties song All the cats and chicks rock to the beat Down on the corner of memory street Spectropoppin' Spectropoppin' Go Spectropoppers somethin's really gonna' pop tonight!!! Happy New Year, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 31 Dec 2003 03:53:18 -0800 (PST) From: Artie Wayne Subject: Re: Troggs' Good Vibrations Phil.........How ya' doin'? I met Larry Page the day his production of "Wild Thing" by the Troggs Hit # 1 [on two different labels at the same time] in the U.S. He and his wife were coming over for dinner ......and I was freaking out!!! I didn't have any songs to play for the hottest group in the 15 minutes before they were due to arrive, I picked up my guitar and wrote "Somewhere my Girl is Waiting". Larry loved it and recorded it a few weeks later. Although it was banned in the UK [for being too suggestive] and never released in the U.S. it gave me an open door to Larry from then on. When I had the idea to update "Good Vibrations", with Brian Wilson's blessing and an altered lyric, I did a piano/voice demo. It was about a minute and a half long........with the first verse and one chorus .....but it was enough for Larry and Reg to make a great record!! Regards, Artie Wayne -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Wed, 31 Dec 2003 03:26:39 -0800 From: Steve Stanley Subject: The Sundae Train / "Night Time Music: The BT Puppy Story" CD Albin Lindström wrote: > I recently discovered two fantastic singles by the Sundae Train. I > have been searching the net for more info but I haven't come up with > much. All I know is that the band were from the New York area and > released their records on The Tokens BT Puppy label. The two singles > I have been able to find are: > > Wake Up (Sleepy Girl)/I Wanna Be > Sing Sweet Barbara/Love Affair of Two Happy People > > These four songs can be found on the new Rev-ola BT Puppy compilation > (which I haven't got yet so I don't know if there is any more info > on the band there). Anyway, the songs are wonderful examples of soft > pop at its best and they make me wonder if the Sundae Train ever > released an album or more singles? Albin, The two singles you mention here are apparently the only 45s released by the band. The Sundae Train were rumored to have recorded an LP for B.T. Puppy--with a catalog number apparently assigned to a self- titled album. Unfortunately, this album doesn't exist (according to Phil and Mitch Margo and Sundae Train band members Joel Cherry and Steve Fecker.) For those who are interested, here's my Sundae Train notes included in the just-released Rev-Ola various-artist comp, "Night Time Music: The B.T. Puppy Story." Formed in 1965 in Sunbury, Pennsylvania, the band was known as the Avantis before adopting the more whimsical-sounding name Sundae Train. Personnel consisted of chief conductor Joel Cherry, Bill Gheen, John Morgan, Galen Ramsey and Steve Fecker. The Joel Cherry­penned ³Love Affair² is an exciting build-and-release composition that clearly displays the talents of a up-and-coming songwriter with serious potential. ³Sing Sweet Barbara² is a sadly- forgotten Margo, Margo, Medress & Siegel effort that begs the obvious question: why didn¹t this record become a huge hit? The band¹s other single was released on the 20th Century label. ³Wake Up (Sleepy Girl)² b/w ³I Wanna Be² was co-produced by Dave Appell and Joe Tarsia and has stellar production flourishes that enhance the solid pop songcraft. The band later recorded one single, ³Pamela² (b/w same) as simply The Train, and released this Tokens­co-produced recording on the Avco Embassy label. Credited to Arnold and Alfred Infanzon of the Canterbury Music Festival, the tune was long thought to be a CMF recording. Latter-day Sundae Train drummer Steve Fecker remembers the mysterious ³Pamela² recording session: ³We went down to the Ed Sullivan Theatre (where the Tokens had their offices) and I don¹t remember if we actually recorded in that building, or if we went somewhere else. But I do remember standing around the mic and singing harmonies with the Tokens, and that was really exciting. For me, it was as exciting as being there with the Beatles or somebody, you know? That was Joel singing lead on ŒPamela.¹² (This recording of "Pamela" can be heard as a bonus track on Canterbury Music Festival's "Rain and Shine" CD, released on Rev-Ola earlier this year.) In 1972, the Sundae Train ran out of fuel and morphed into Road Apple, a band that included future Starbuck keyboardist David Shaver. Today, Joel Cherry is Tanya Tucker¹s attorney/manager. After the demise of Road Apple, Steve Fecker went back to college and returned to Sunbury, where he currently works for the Commonwealth of Pennsylvania. Steve Stanley -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Wed, 31 Dec 2003 13:58:59 -0000 From: S'pop Projects Subject: Ron Dante New @ S'pop THEN & NOW: A RON DANTE RETROSPECTIVE by Laura Pinto Ron Dante is best known as the lead singer for The Archies, but that's only a single entry in his show-business resume. Ron was multitasking well before the word made its way into the vernacular - his career has more facets than a five-carat diamond... For the full story, click here: Enjoy! The S'pop Team -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 30 Dec 2003 23:56:33 -0000 From: Fred Clemens Subject: Re: Summertime/ Let's Live For Today Phil M.: > A very generous member of our group -- who shall remain nameless, lest > everyone hit him up for a copy -- recently turned me on to > ....Ricky Nelson's 1962 version of "Summertime", which opens > with the signature "Let's Live For Today" lick. I'm guessing > it was played there by James Burton. I just listened to Rick Nelson's "Summertime". No matter how hard I try, I can't hear any "Let's Live For Today" lick. However, I do hear the Blue Magoos "We Ain't Got Nothin' Yet", mixed with Chuck Berry's "Memphis". Fred Clemens -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 30 Dec 2003 15:42:52 -0800 From: Albabe Gordon Subject: Da Vee-Meister and Surf Music Re: Bobby Vee. My two bits worth: If you like Bobby, you should check out the Liberty/EMI reissues from '91 and '92: "Bobby Vee Meets the Crickets" and "I Remember Buddy Holly?" I think they're pretty groovy. Nice but tame Rockabilly. They're no Johnny Burnette Trio, but not many are. If you are into present day surf-like music (as someone mentioned), some of my fave stuff is done by "The Shadowy Men From a Shadowy Planet" (I assume their name is a take on The Shadows). They did most of the music for the brilliant Canadian comedy troupe show: The Kids In The Hall. I wish you all peace, and prosperity of mind and life, for a new year. albabe -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Tue, 30 Dec 2003 23:47:49 +0000 From: Simon White Subject: Jailbait Phil Milstein wrote - > The most blatant song of this type is "Jailbait," by the > great Andre Williams. Andre Williams, now there's a name! But what about "Good Morning Little Schoolgirl"? Who did the original of that? I have Little Richard's version but assume it's a blues standard...... Howling Wolf? Simon -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Wed, 31 Dec 2003 00:02:06 -0000 From: Bob Celli Subject: Dick St. John Photo Hi, I've posted a photo taken at a picnic I held on Memorial Day, 1987 for the tour going through my area in Ohio. The guests included, Bobby Vee, Brian Hyland, Tommy Roe, Dick and Sandy St. John (pictured) and Dickey Lee along with Bobby Vee's band, The Rockin' Ricochettes. Dick and Sandy St. John were exceptionally nice people and it was great fun for me and my family and a great time to kick back and relax for the artists. I've kept in touch with Dick and Sandy periodically and they were always most gracious. I'm sure Dick's great falsetto will be missed. Bob Celli -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Wed, 31 Dec 2003 00:17:56 -0000 From: Peter Kearns Subject: Re: First Beatles / 60s resurgence?? Klaatu! Mark Frumento wrote: > I guess the earlier the example the more likely it's not > so much a longing for the 60s as much as an out-dated record? Hah,a yes that could be true in many cases. It depends how much credence (no pun intended) one gives to trend or current style of a given time. Many flagrantly copied the Beatles, but in the case of Klaatu I think it was largely innocent. John Woloschuk's voice just happened to sound eerily like a young George for example. And what does out-dated mean anyway? Is anything ever really out- dated? Frank Zappa said all time and music exists right now, and I think he had a point. If he wasn't right, none of us would be here talking about the 60s right now. So thinking that way, it's all still happening. What a wonderful thought. > However, they never gave up on the sound even though the > Beatles hype killed them. Three of their remaining 4 records > were wonderfully melodic pop affairs. Littered with trifles though compared to the cohesion of the first two albums though wouldn't you think? > James Warren, who was probably the main proponent of their > Beatles/Beach Boys sound, was also in the 70s band Korgis... > yet another example of a band updating 60s sounds. That's right, I'd forgotten them. Peter. -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Tue, 30 Dec 2003 23:51:17 -0000 From: Peter Kearns Subject: Re: Brian Wilson's influence Paul Bryant wrote: > There has never been a vocal group as > extraordinary as the Beach Boys, no one has come > close. So Brian Wilson might be an inspiration > to many, but I'm sceptical about his > actual influence. I would of course be happy to > be convinced otherwise. Dee: > I'm almost convinced this post is a joke - sounding > like "Pet Sounds" or "Smile" or not has little to do > with the question of "influence". In fact, the > biggest influences tend to be so fully incorporated > into shared culture that they're hard to detect. You two guys above are actually agreeing with each other. :-) > I think part of > the reason that you don't hear a Brian Wilson > influence so readily today is because almost none of > the newer artists making credible music today actually > get much radio play And another prime example is LA's Jon Brion. His recent album 'Meangingless' reeks of 60s/70s splendour. I would recommend giving this a listen. It's really quite something. Peter. -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Wed, 31 Dec 2003 00:50:25 -0000 From: Bill Craig Subject: Re: Stereo 45s previously: > What was the first single released in stereo? > I'm thinking "Touch Me" by the Doors, or possibly > "Alone Again Or" by Love. > Mikey wrote: > Not even close...................1959......Paul Anka > "Lonely Boy". Steveo wrote: > Yes, but those were for jukeboxes, yes? What I'm sure I didn't make clear in my question was that I was trying to determine what was the first stereo single that kicked off the trend to stereo 45 releases. I assume that it was around the beginning of the FM stereo progressive rock era. Nonetheless thanks to all for the info on the earlier ones. Bill Craig -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Wed, 31 Dec 2003 02:07:20 -0000 From: Patrick Rands Subject: Re: "uptight" I'm not sure if anyone has mentioned it, in regard to Stevie Wonder's Uptight - but looking up the definition of the word - it can mean "financially pressed; destitute" - and since Stevie is a "a poorman's son, from across the railroad tracks" I think that is the meaning he's taking in this song. :Patrick -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Tue, 30 Dec 2003 20:08:21 -0800 (PST) From: Watson Macblue Subject: On The Street Where You Live Phil Milstein writes: > And, not that we were discussing songwords of great romantic > beauty, but are there any more romantic lyrics than those of > Vic Damone's "On The Street Where You Live"...??!! > Originally from "My Fair Lady," of course. Lyrics by Frank > Loesser, if memory serves; no clue as to which singer debuted it. John Michael King, in 1956, with the rest of the original cast of My Fair Lady, led by Julie Andrews and Rex Harrison. Disgracefully, Julie Andrews didn't get to star in the subsequent movie because she wasn't thought to be "photogenic"; instead, the role went to Audrey Hepburn, who couldn't sing at all. Hepburn's "singing" was done for her by Marni Nixon - Andrew Gold's mother, by the way. Mega-trivia note: There was a porno version of My Fair Lady called "My Bare Lady". Name the ultra-famous director whose career was kick-started by the proceeds. Oh, OK, it was Roman Polanski. Now watching Brian Wilson's Pet Sounds DVD. I need a drink ... Watson -------------------[ archived by Spectropop ]-------------------
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