Subject: Re: (exotica) London Scores / First Tune of 2000
Date: 04 Jan 2000 09:46:52 -0500
On Mon, 3 Jan 2000 15:02:21 -0800 (PST) chuck <chuckmk@yahoo.com> wrote:
>I really enjoy Moog Groove. It is just one of my faves in that genre. I
>hope you enjoy it.
>
Have you had a chance to check out this collection?
http://www.bestofmoog.com/
"I wanted this collection to sound like C3PO's idea of a good "fuck album" and if I've managed to do that well, then, I've succeeded!" ---Richard Metzger
Those who are interested in the nominees in all 98 categories, and who have Adobe Acrobat, may want to slog through the URL above.
Y'all may be interested to know that Herb Alpert has been nominated in Category 9 for "The Look Of Love," and that Ultra-Lounge Tiki Sampler is up for a packaging Grammy in Category 77.
Lou
lousmith@pipeline.com
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>Since this music had its heyday decades ago, how do the public domain >laws affect it?
Very little of the music discussed on this list is likely to be public domain. Right now it's unclear whether making an MP3 counts as a personal use copy but it is clear that any distribution (passing it along to a friend, putting it on a website for others to download, etc) would be a copyright violation.
LT
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> >forward, going ahead and combining elements to create new music is a good
> >thing. My ears just have to let it in.
> I think one reason I don't listen to much of this "new" music is because I
> haven't really heard much that sounds like it was made in that spirit....
> You don't get chunks of sampled riffs; all you get are blips and
> bleeps in the midst of beats. So if anyone would like to guess what I'm
> referring to and to provide a nice list of stuff I would be happy with, I'd be
> happy with that.
I think I know what you mean. Maybe the best example is that piece on
Electronic Lounge that relies heavily on the Yma Sumac clip to make it
recognizeable, and while fun, just doesn't last multiple listenings. I could add
that the whole remix concept has probably not helped things much as I was
beginning to feel at one point that this was simply a way to avoid the need to
create new. Also, it is hard to be true to the spirit of another era yet
still include something of the present. All in all a big challenge.
This being said, I think it is certainly possible and you have to look no further
than Combustible Edison to see some of the best and most original examples
of how to make this idea work. This should be the working standard of what to
strive for and its been some time since I could say anything has
matched this standard. I was excited about a few recent finds and I
think if you listen to The Bobby Hughes Experience, Mo'Horizons,
Rainer Truby Trio (and a few more I've yet to find) you may, as I
was, be pleasantly surprised at what is possible! the fact that
these recommendations were confirmed by Br Cleve
(with a few more additions) should be enough to make you stop
and think... Of course I could be misreading your comments but
hows about I send you a tape to get your opinion. Of course you
may never forgive me if you like it but... I have Will listening to The
Bobby Hughes Experience this weekend so we'll see what he
thinks as well.
> I think the other reason I don't buy many of them is because
basically
> there are a couple of stores here who carry stuff like that and if I wanted
> them, the process would involve going to those stores weekly and asking
> "You got any more of that stuff you know I like?" Or frequenting CDNow.
I remember trying out a few of those techno stores, oh you know them... every city has them; Lots of turntables/vinyl, most of their stock on the wall and everyone in the place (staff and clients) up on exactly what is the latest thing in the London/NY/etc. clubs and little else beyond. I usually
began by asking about some of the new electronic things I'd heard, mainly on
the A-Musik label as no other stores around seemed to be getting them All I got was blank looks and a typical "what classification is it"? thrown back at me. I politelty would say elecronic but it wasn't enough. At that point they would either ask me more to be certain they weren't maybe
falling behind and missing out on a new thing, or else they tried to sell me something else. Needless to say, I haven't gone near these kind of places since, and I'm certain things have not xhanged!> I used to be like that but I haven't been for a while. Maybe when I get
> busier and richer - will this be the year?? - I'll move to that method of
> acquisition.
> Does anyone have some kinda explanation for this Now Sound/ E-Z soundtrack
> sampling phenomenon? (It's probably not as big as it seems to someone who
> doesn't pay that much attention to it.)
>
> It IS curious though, I must say. I hate to bring up "postmodernism" or
> Tarantino or Eno or Burroughs' cut-up technique or something about baby
> boomers but I just find it really really strange that this is happening.
>
> I'll leave y'all alone for the weekend now.
>
> Nat
>
Brian Karasick
Physical Planner
McGill University
Montreal, Canada
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>incorporating a sample of AN ORCHESTRAL COVER (not the original!!) of >a Stones song...
If by "original" you mean the recording then that doesn't matter. It would still be an infringement on whoever owns the publishing rights to the song (which is not the same thing as a recording). I'm not sure that Jagger & Richards get anything other than songwriter mechanicals since this issue was forced by their former manager Allen Klein (a notoriously difficult person; he's the reason "El Topo" and "Holy Mountain" have been unavailable in the US for years and years). And the reason he got the full royalty amount was because they hadn't bothered to clear the copyright usage and because he also owned the copyright in the recording as well. Whatever we might think about the ethics or moral issues, there's nothing bizarre or unreasonable about this from a legal standpoint.
LT
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I'm sorry, this is off-topic (though relating to threads that have drifted through previously), but here's a really succinct analysis of the DVD Copy Control Authority and their lawsuit frenzy:
>If this collection is no good, any recommendations for CDs to get
>instead ("Voice of the Xtabay"???)
If the CD reissue of "Voice Of The Xtabay" on the Right Stuff/EMI label is still around, I'd say get that. Besides "Xtabay" being the album done w/ Les Baxter, the CD also includes the "Inca Taqui" album. For myself, I'd rather have this than the comp. And I do, so no problem.
m.ace ecam@voicenet.com
OOK http://www.voicenet.com/~ecam/
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>Does anyone have anything to say on 'Tilt', his early 90's LP
It's one of the least describable albums I've ever met. A very singular piece of work. It's not pop song oriented -- rather cinematic instead. Not very danceable either, despite the trip-hop tags occasionally put on it. Odd stuff. Scott gets his voice into some very strange areas. I still don't know whether I "like" it, but it's certainly interesting. I'd say give it a shot... it'll at least be a different listening experience. You can always trade it in.
by Matt Brady & Michael Doran Contributing Editors
webdate: 1/31/00 12:59:55 PM
Long-time and highly respected comic book artist Gil Kane died Monday morning at his home in Florida. Kane, born in 1926, had been suffering from cancer.
Full story at:http://www.anotheruniverse.com/comics/features/gilkane.html
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