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SPECTROPOP - Spectacular! Retro! Pop!
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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
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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
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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
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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
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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
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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
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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 http://www.aspma.com/temp/BigDaddy/ It's
not of the group that Estufarian describes, but does make an
interesting/amusing use of the same name.
--Phil M.
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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.
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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 well...you just wanna be there....
> piazza in Italy....mini-skirts...boys 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
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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
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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
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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 country......so 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
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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
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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:
http://www.spectropop.com/RonDante/index.htm
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
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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.
http://shadowy.brainiac.com/smen-main.htm
I wish you all peace, and prosperity of mind and life,
for a new year.
albabe
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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
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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
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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.
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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.
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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
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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
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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
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