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What does it mean when somebody writes and publishes a song in 1899, then writes the same song again in 1928 and publishes it again?

How about when he publishes it under one name first time around, then uses a different name 29 years later?

Now suppose he works with co-writers. A team of two partners to start, so the song has three writers in 1899. Three decades later he uses an alias, chooses a different (single) crony, and writes the song again. That's really a new new partner, not just one of his old partners pretending, by the way. Not a new song though. Same song.

OK, fine. But we see that in the 29 years of the tune's first karmic go-round it was never recorded. Not even once as far as I can tell. And it's a really great song! This is weird. (In the 1980s Keith Alcock, Roberta and I wrote a song late one drunk night after the bars had all closed. We were dining at The Devon, now Nova Dry Cleaners at Church and Wellesley. I think. That's decades with no recording too, but there are good reasons for this one. I'll play it for you someday and you'll know why.)

Anyway, what's so odd about somebody in the music business having a stage name? I mean, he only used the two names, right? . . . *ahem* . . .Charles N. Daniels, Neil Moret, Jules Lemare, L'Albert, Paul Bertrand, Julian Strauss, and Sidney Carter. Among others. (I mean, even wasted at the Devon we could remember our names!)

I turns out the same guy wrote The Song of the Swamp, aka Chloe. Figures. Music with an alias. Somehow I'm not surprised Allan McFee made it his theme song.

lyrics

I had a dream, dear
You had one, too
Mine was the best dream
Because it was of you

Come, sweetheart, tell me
Now is the time
You tell me your dream
And I'll tell you mine

credits

from Spadina Saturday Night, released December 19, 2020
Charles N. Daniels (aka Neil Moret), Albert H. Brown & Seymour Rice, 1899
Vocal Chuck Clarke
Photo Patrick Tevlin

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