Subject: Re: (exotica) James Last and beautiful instrumentals
Date: 01 Jun 2001 12:14:11 +0200
alan zweig schrieb:
> At 12:48 AM 6/1/01 +0200, Moritz R wrote:
> >
> >This "other list" shit is beginning to make me sick.
>
> This "other country" shit makes me sick but if I can tolerate all you
> non-Canadians, certainly you can tolerate references to other lists. Of
> course I sympathize with you on some level given that those other lists
> have all banned you from their ranks. I know that you said "I don't want
> to be on those lists anyway" but still it must have hurt when they told you
> that you're just not "beautiful instrumental material".
> I'll try to avoid references to them in the future.
Nationalism remains a mystery to me, but what made me sick was this pretentious mystery-mongering of referring to an "other list" and never saying which list exactely this was, as if it was some oh-so-important secret thing that bad boys like you are into, contrary to the other slowpokes from the exotica list who will never be able to catch up with it. And your comment only confirms it. Maybe you are just bored and try to beat out some revolutionary content out of a dullhead like James Hanswurst Last. Yeah, bad music is successful, how enlightening!
TONY ASHTON PASSED AWAY PEACEFULLY THIS MORNING (MONDAY 28TH MAY 2001) AT HOME. HIS WIFE SANDRA AND DAUGHTER INDIRA WERE AT HIS SIDE.British keyboard player and singer Tony Ashton was born in Blackburn, Lancashire, and first gained notice when he replaced Don Andrews in The Remo Four, a Liverpool Mersey Beat group. They played on George Harrison's Wonderwall soundtrack, then Ashton and drummer Roy Dyke quit to form Ashton, Gardner & Dyke in 1968, and the trio scored a hit with "Resurrection Shuffle" in 1971, then split up in 1972. Ashton joined Family for a year, and in 1976 was a member of Paice, Ashton And Lord, after which he went into production.
> I have a couple of interesting UK issue LPs by 'the super guitar of lightnin red' which are DL Miller productions. They are from the early 70s, and are self-conciously funky and twangy. They can get a bit much, but there are some great cuts ('caravan', 'america'). Some have a very vinnie-bell type sound, but I don't think the playing is good enough to be him.
...and interestingly these have come up on another list (no, not *that*
other list), so i thought i'd pass on a bit of info.
firstly:
The UK budget lable Gold Award has some cool Exploit records with breaks
and grooves. I have had 4 diffrent ones; Big Jim H, Purple Fox,
Lightnin' Red and Funky Junction. Mostly the records consist of covers
but there is almost always a groovin' cut or two by Leo Muller. All 4
records have the same studio band, the artists names are just made up.
and also:
Hi - yes, there's a small article on him inthe latest Mojo "collections"
due to the fact he is featured on "a break from the Norm" comp.
Apparantly he recorded as DL Miller and Betty George too. He recorded
countless albums in almost as many styles. Sadly, he passed away in
1985.
I can add that there's about 4 Big Jim H ones, the best track by far
being the cover of 'Jungle Fever', proper sleazy stuff, with moaning
etc, and he also recorded hawaiian albums, western themes etc under the
his real name (Leo Muller).
I think the Duke Grant hammond lps could also be him.
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Munich is always good for a surprise: Guess what: we have a real thrift shop now. the first one that I've ever seen in Germany, no, in Europe! And it's full of records. And today I carried 25 of them home, 50 c each.
Among them an album I have been looking for for 15 years: Latin Quarter "Modern Times" with "Radio Africa", a really sad and beautiful song, and the group's only hit. But the album contains some other nice pieces as well, "Toulouse", "America For Beginners", "Eddie" and No Rope As Long As Time". Extraordinary band - whatever happened to them?
(just to make Alan jealous:) Mystic Moods double album "Soft Touch", once again easy listening with diverse overdubbed (underdubbed?) sounds, like thunderstorm, frog pond, horse carriage, ship horn etc.
An incredible Columbian compilation from 1985 called "Llano Adentro" with original folkloristic music, distinctively different from similar stuff from Mexico and Cuba, sounds like the original latin equivalent of those great latinesque songs by Roy Orbison, like "Pistolero", really nice. Out on a label called Discos Perla, slogan: "disco es cultura"
A surprisingly great Samba double album, called "Quero Sambar" by an Orchestra Ipanema. Looked kind of cheap first, but is in fact quite jazzy and sounds amazingly good.
A "This is Raymond LefΦvre" sort of best-of album, the guy who composed the music for many Louis de FunΦs films. (Left a double album by him in the shop for you to find, Martin!)
"More Sex in Velvet" by Kookie Freeman & his Velvet Sound, also much better than it first looked.
A late album by Space, called "Deliverance". Not quite as great as their big hit "Magic Fly", but for 50 c I always like to check out, what happened to heroes of the past later. Hypgnosis cover.
A very strange disco album called "How Much, How Much I Love You" by Love and Kisses. I had to buy it for the cover alone: a naked girl on the back of a horse, taken in a soft David Hamilton style. Has only two songs, one on each side, but it isn't a Maxi single, it's an album and the songs are really 20 minutes each. I have always been looking for contemporary attempts to escape the usual song structure and go into composing an entire "opus" and this gets very close to it.
An album called "Munich Latin" and it really is a compilation with Latin bands from Munich from I guess around 1988 or so. Not a mindblowing record, but something for the Munichalia collection.
Well, all other albums are discoish stuff, that I don't want to bother you with, as except Jimmy B and Brother Cleve nobody in this list is really interested in disco. Just in short some highlights: "Guilty/Angel Eyes" 12"-45-medley by Lime, "Get Up!" 12"-45 by Technotronic, "Mind Warp" LP by Patrick Cowley (the first man who died of aids, even earlier than Klaus Nomi), "Can We Go" 12"-45 by Electric Mind and an album by a late 70s disco band from Tchecoslovakia, called "Discobolos", which is absolutely weiiiird.
George Duning's music brought charm and poignancy to such films as Picnic; Bell, Book, and Candle; Houseboat; Any Wednesday; The 3:10 to Yuma; and even Mr. Magoo's 1001 Arabian Nights. We hear from all those film scores on this program, which aired just a few days after Duning's death.
Film composer George Duning was born in Richmond, IN on February 25, 1908, later studying theory at the Cincinnati Conservatory of Music and composition under Mario Castelnuovo-Tedesco. After playing trumpet in a series of big bands, in 1939 he was tapped as the musical director for the NBC radio program "Kay Kyser's Kollege of Musical Knowledge," and during World War II served as conductor and arranger with the Armed Forces Radio Network. Following the war Duning signed on with Columbia Pictures, notching the first of five Academy Award nominations for his work on 1949's Jolson Sings Again; he also earned Oscar bids for 1953's No Sad Songs for Me, 1953's From Here to Eternity, 1955's Picnic and 1956's The Eddy Duchin Story, but never took home the prize. From the 1960s onward Duning focused primarily on television, writing scores for series including The Big Valley, Naked City and Star Trek; he died February 27, 2000 at the age of 92. ù Jason Ankeny
lousmith@pipeline.com
Ben Waugh <sophisticatedsavage@yahoo.com> wrote:
>
Looks like I'll be heading back after work. Elvis's
Kissin' Cousins ST actually contains George Duning's
ST to "The World of Suzie Wong." Anyone know anything
about this ST?
=====
"What I need is a shot of Drambuie and some clean sheets."
Subject: Re: (exotica) "Maori challenge Lego over use of culture"
Date: 02 Jun 2001 12:06:25 +0200
I read that in the paper today; these Maori sure are a very sensitive people. The disappointing part is, that the new Lego-series making use of these Maori names, doesn't have anything to do with Maori culture or Exotica.
"aniara" composed by karl-birger blomdahl. i've never heard of that. anyone
know anything about that composer or the film?
william in taipei.
==============
Odd that they included some of Aniara on that disc since it isn't a film but a Swadish Sci-Fi opera. Here's the allclassical.com description:
lousmith@pipeline.com
Aniara, Space opera of 2038
Composer Karl-Birger Blomdahl
Genre 20th/21st Century Opera
Date 1957 -1958
Description
Often billed a the first "Science-fiction opera, " the action of this opera by one of Sweden's most important composers takes place upon a spaceship named "Aniara, " filled with refugees from a ravished home planet named Dorisland. Their link with the outside is a device called the "Mima, " a kind of cosmic television which gathers images of wonders of the universe, but, having a soul, it returns in grief to the destruction of Dorisland. The ship is under the rule of Chefone and his enforcers, called "Space Cadets, " while the human element is provided by the lovely dances of the woman pilot, Ysagel, and the tender song of the officer called only the "Mimarobe." The Mima itself has a voice in some of the first electronic music to be heard in any opera. The story is pageant-like, showing highlights of over twenty years spend on the ship, for early in the voyage a harsh maneuver meant to avoid an asteroid left them without propellent to return to a proper course, so the entire s!
!
hip-board society is doomed to wander off in the wrong direction, dying during an endless journey. The music is often radical: basses pulse with the rhythm of "SOS, Aniara" in Morse code. Sometimes there is twelve-tone music, sometimes a harsh jazz idiom. Ysagel's music and the Mimarobe's song in adoration of her has a rare, crystalline beauty. Very rarely encountered in the repertoire, there is nevertheless a strange fascination in this widely varied score and its parade of hopeless characters. -- Joseph Stevenson
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Well being Colombian I do know what "Llano adentro" must be. The weird thing is that the slogan "El disco es cultura" was not used here. I saw it in some Argentinian Lps once, and maybe in some Venezuelan ones.
Anyway. Llano means plain. And it refers to a place shared by Colombia and Venezuela in the south east part of Colombia (southwest of Venezuela). Mzsica llanera is played generally by groups of four people: one plays harp, another a 4 string guitar (called 'cuatro'), another a 'maraca' (I don't know its name in English, a round thing full of seeds and the only percussion instrument featured) and the other one sings. It is really energetic and fast, and the singing is very passionate.
It is quite popular here. There is even a group that gets into local buses to play for the small change of the bored passengers. It is one of the most peculiar scenes you can get. A guy with a really big harp, dressed all in white and with a white straw cowboy hat, trying to get into the bus by its backdoor. And then when the playing gets going no one can get out because the corridor is blocked.
Here's a link with some real audio songs http://www.llanera.com/musica/index.html
Cheers,
Manuel
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I'm so grateful for this reply. This album is really special and without your post I wouldn't have the slightest idea what it is all about. In fact the cover shows a desert scene that could remind one of a sunset in Texas. Many of these singers look like cowboys. One or two songs have horse calls to illustrate the music, not unlike the bird calls of Martin Denny, but of course completely different at the same time. It looks as if we have here the country music of Venezoela and Colombia, no? A note on the cover says "hecho in Colombia por discos Philips".
To your interest, the groups featured on the album are:
Freddy Lopez (probably the best)
David Parales y su conjunto llanero
Luis Ariel Rey (who is featured on that homepage)
Elys Garcia
Anselmo Lopez, el rey de la bandola
Francisco Brizuela
La Rondalla Llanera
does any of these names mean something to you?
http://www.llanera.com/musica/index.html
this very well done homepage features some really nice sound samples and good info on the musicians!
So what does "llano" mean? First I thought "desert" but the photos all show rivers or lakes...
Mo
Manuel Kalmanovitz schrieb:
> Well being Colombian I do know what "Llano adentro" must be. The weird thing is that the slogan "El disco es cultura" was not used here. I saw it in some Argentinian Lps once, and maybe in some Venezuelan ones.
>
> Anyway. Llano means plain. And it refers to a place shared by Colombia and Venezuela in the south east part of Colombia (southwest of Venezuela). Mzsica llanera is played generally by groups of four people: one plays harp, another a 4 string guitar (called 'cuatro'), another a 'maraca' (I don't know its name in English, a round thing full of seeds and the only percussion instrument featured) and the other one sings. It is really energetic and fast, and the singing is very passionate.
>
> It is quite popular here. There is even a group that gets into local buses to play for the small change of the bored passengers. It is one of the most peculiar scenes you can get. A guy with a really big harp, dressed all in white and with a white straw cowboy hat, trying to get into the bus by its backdoor. And then when the playing gets going no one can get out because the corridor is blocked.
>
> Here's a link with some real audio songs http://www.llanera.com/musica/index.html
I recently heard / saw what looked like an old (early 60s) tv-performance by LOS ZAFIROS. This 5 piece vocal sang in spanish and they probably originate from latin America. The Tune was brilliant, as it had a advanced great doowop style arrangement in the top class style. I wonder who could know something about them.
Also I recently got an album by Harald Winkler (guitar) and The Norman Candler Orchestra, LOVE ME WITH ALL YOUR HEART, this is early 70s beautiful big arrangements of pop hgits of the day. I wonder what else Harald Winkler AND also The Norman Candler Orchestra could have released.
The Jackie Mittoo album on Universal Sound/Soul Jazz records is incredibly great, a mix of early Rocksteady/Reggae/Soul instros, mostly Hammond and Rhodes leads. DonÆt knock it until you heard it!
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Here's a clip of that bit I recalled during the Guantanamera conversation. Ain't the web great - no mater how trivial or idiotic, it's in there somewhere!
Turns out it was a Mike Nesmith routine.
Poke around his graphics-heavy site if you've got the bandwidth and time http://www.videoranch.com
lousmith@pipeline.com
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Francis Bebey, novelist and musician: born Douala, Cameroon 15 July 1929; married (two sons, one daughter); died Paris 28 May 2001.
Francis Bebey was a one-man poet, playwright, storyteller and novelist and an accomplished musician.
In 1968 he won the Grand Prix LittΘraire de l'Afrique Noir for his novel, published a year earlier, Le fils d'Agathe Moudio (translated as Agatha Moudio's Son, 1971). From then on, he did not stop writing. Some of his other publications dwelt extensively on traditional African music, including Musique de l'Afrique (1969, translated as African Music: a people's art in 1975) and Le Roi Albert d'Effidi (1976, published as King Albert, 1981).
In his own musical creation there is that deep African rhythm that no other African had attempted to make a permanent feature. His discovery and use of the ndewhoo, as he called the fantastic pygmy one-note flute, and the sanza or the thumb piano, are a clear example of this. These two instruments embellished most of his recordings from the mid-1990s onwards.
Bebey was born in 1929. After education in his native Cameroon, and in France and the United States, he spent most of his working life with Unesco's Information Services in Paris and rose to become the head of the music department before retiring in 1974 to consecrate his life to creative writing. He combined his writing skills with composing music.
I first met him in 1980 after a concert in the northern French city of Rouen. His voice then still reverberates in my mind. He was a good conversationalist; a polyglot, he glided over the language barrier that usually confronts the African intellectual, and sang in English, French and Douala.
His quest for more knowledge, even in his retirement, was typified in his mΘlange of rhythms from all corners of the world. He blended original African rhythms with those of Latin America, Asia, Europe and everywhere he went. But even so, his "African roots" permeated all his recordings.
One French critic described Bebey's art as a blend of superb classical guitar technique, a wonderfully expressive voice and suddenly melancholy melodies, and this combination can be heard distinctively on "Ethnic Covenant", "Etum! Etum! Etum!" and "Dibiye". Songs like "Mbira Dance", "Canto Bantou", "La Condition Masculine", "Akwaaba" and "Lettre α ma bien-aimΘ" are often deceptively simple lullabies, with the thumb piano and one-note pygmy flute creating the tinkling sound of seeds, murmuring in the forest and gently running water.
He was not a commercial musician, but his soothing baritone voice, his well thought-out, poetic lyrics and perfect blend of sound made him a first-class composer, musician and artist by any standard.
He was hardly ever without humour. He would transform a melancholic situation into a cheerful moment. Each time I visited Bebey in his home in Paris, we spoke about Africa. He was a real connoisseur of the continent, who did not mix up historical facts and reality. He was a man who always saw Africa and Africans at the top of everything they did and a man without an iota of complex.
Bebey's novels demonstrate his close observation of society's strengths and weaknesses. He was close to his readers. But, even if he was a man of letters, it is music that runs in his family. His son, Toups, made a number of recordings with him and recently released his first album. His elder son, Patrick, composes songs for Francophone artists based in France, and his daughter, Kiddy, edits a French children's magazine, Planet Jeune.
Speaking of les herbes des provence Nederlands... Ton sent me this cute report... of course the German authorities run amok, but they can't stop it due to the fabulous contract of Schengen...
Venlo, Netherlands.
Dutch authorities plan to open two drive-thru
shops next year where "drug tourists" can buy marijuana and
hashish. The officials want to make it easier on Germans who flock
to the Dutch border town for drugs by opening two coffee shops
with drive-thrus selling drugs such as marijuana and hashish.
Drug tourists draw street dealers selling illicit harder drugs,
creating "an environment that generally makes ordinary people
feel unsafe," said a Venlo spokeswoman. She couldn't say
exactly what the shops will offer, but she said they would not
be like Amsterdam cafes where visitors can enjoy a cup of
I love the Lil' Markie record! I never thought I'd see/hear of another copy! I guess I wanted to believe mine was the only one in existence. But better yet I want to believe there are others. It seems to me like Little Marcy was the inspiration, except there doesn't seem to be any kind of weird puppet action. Still, the idea of an adult trying to sound like a child singing about being a drug addict at age 3 is pretty jaw-dropping. Why did you kill me mommy? indeed!
Mr. Unlucky
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Subject: (exotica) Brother Cleve & His Lush Orchestra
Date: 07 Jun 2001 17:59:35 +0200
Way coool. Got a copy of House Industries mag #25 in the mail today with an incredible full page Andy Cruz painting of Br. Cleve's very own band on the cover, standing in front of a vermilion colored 2001-type of monolith declared as the road sign of a House Casino Hotel with "its original shareholders" in front, which apparently are Andy Cruz, Br. Cleve etc., you name it...
And there's a CD with music by Brother Cleve & His Lush Orchestra that you can buy for 125$. 125$? Yes, 125$. It comes along with a set of House Industries fonts called Las Vegas...
Also I (uhumm!) got a copy of Combustible Edison's "The Impossible World" CD today and for the first time in my life I listened to it! I can't believe how this could happen, it's so unlikely. I mean, I listen to this kind of music half of my life, I'm in the same mailing list with one of the band members and the cover designer of the CD is a friend of mine... and still it could happen that this album didn't get in my way until this very day.
It's a great album, not a bit dated... wow, I can't believe what I missed! But of course you all know this anyway, so I better shut up and keep on listening...
BTW: Brother Cleve, is there any chance to listen to the material of that House Ind. CD for less than 125$?
Just a quick response to say the High Llamas have more than 3 albums (and I hear more Beach Boys than Beatles in their [his?] stuff):
1992 Santa Barbara
1994 Gideon Gaye
1996 Hawaii
1998 Cold & Bouncy
1999 Snowbug
2000 Buzzle Bee
lousmith@pipeline.com
Moritz R <tiki@netsurf.de> wrote:
>
Since there are 3 albums out now by the High Llamas, it's time to mention this eminent soft pop band again. I knew "Cold And Bouncy" for quite a while and always enjoyed it. The other two albums are called "Buzzle Bee" and "Snowbug", I think I like "Buzzle Bee" the best, although the music of all three albums doesn't sound that different, because the musical range of this band is slightly narrow. Maybe this is because all songs are composed by one person, who I think is the band leader, Sean O'Hagan. In a postive way you could say, the High Llamas found their style, they know what they want and the listener is rewarded by some nice song lyrics for what s/he might miss in musical diversity. I'm not saying that if you have heard one song, you've heard them all, no not at all, not that similar. It's more the general way these songs are made, their rhythm, their harmonies, their attitude, that makes them all sound very - homogenous, to say the least. Their sound reminds one a bit !
!
of the Beatles and as a matter of fact at least one album of theirs was mixed in the Abbey Road Studios. I also recognize a proximity to the later and more melodic and soft works of the band XTC, as in their best album of all times, Unsuch. The High Llamas are British and you can hear it, but they develop their very own version of exoticism with a couple of strange instruments, that they use to lend from their friends.
> Since there are 3 albums out now by the High Llamas, it's time to mention this eminent soft pop band again. I knew "Cold And Bouncy" for quite a while and always enjoyed it. The other two albums are called "Buzzle Bee" and "Snowbug", I think I like "Buzzle Bee" the best, although the music of all three albums doesn't sound
There's also 'Gideon Gaye' and 'Hawaii', and a remix album, the title of
which i've forgotten offhand...
Haven't heard the remix album, but the others are all very good.
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I guess it's a little silly to chime in with a late "me too" post, but oh well... Me too! Don't forget "Hawaii" (2-disc version)! That's the only one I have. For some reason, I felt like it was the only High Llamas album I needed, and it sounds like maybe I was right. Very nice, anyway, especially from this list's perspective. Actually, moreso than the Beach Boys or Beatles, I heard echos of post-Abbey Road, 70s British art pop like 10CC or Supertramp. Which was pretty disconcerting for me (having revolted against that sort of thing in the late 70s). But I guess that provided the "challenging your tastes" fun factor that's part of this little game.
Though I still refuse to reconsider Supertramp.
m.ace mace@ookworld.com
http://ookworld.com
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Some more useful beginner comps (I have no idea of current availability):
Of course, there's Ultra Lounge Volume 1: "Mondo Exotica" on Capitol. Ultra-Lounge went on and on with volume after volume built around increasingly tenuous themes (I'm floitin' wit' controvoisy here, ain't I? (imagine that line delivered by Bugs Bunny... I spent a lot of time with Cartoon Network's weekend-long Bugs marathon last weekend and haven't quite recovered)), but this one is a well-focused "gateway drug" to classic exotica.
Less heralded, but equally worthwhile is "Music For A Bachelor's Den, Volume 2: Exotica" from DCC. Includes fine tracks by less-hyped artists, such as Frank Hunter, South Sea Serenaders, Sunny Lester, Irv Cottler. The other "Bachelor's Den" volumes are good too.
Rhino's "Cocktail Mix" series has good stuff. Volume 1, "Bachelor's Guide To The Galaxy" is loaded with primal Space Age Pop (compiled by former list member Irwin Chusid).
And as mentioned, RCA's "History Of Space Age Pop" discs are loaded with, er, Space Age Pop.
Single artist comps... Capitol's 2-disc sets devoted to Les Baxter and Martin Denny. The Esquivel comps on Bar-None and RCA. A couple of Yma Sumac comps floating around out there from some label or other (as well as album reissues of these various artists).
"Incredibly Strange Music" Vols. 1 & 2. Based on the books that set a lot of this off. Not so focused on exotica, but they'll give you a lot of tangents to shoot off on.
The "Jungle Exotica" discs on Strip document the raunchier side of things.
Scamp's "Sound Gallery" and "Music For TV Dinners" volumes are dynamite intros to "library music."
The "Easy Tempo" series on Right Tempo will ease you into the Italian film soundtrack scene.
Drifting further from classic exotica, Arf Arf's "Only In America" remains a genius comp of oddball records.
For the "soft pop" we tend to go on about, the "Sunshine Days" series on Varese Sarabande is an easily available source. I don't even know how many there are now.
Me out of gas. For even more ideas go to Johan's mighty Disquarium:
AZ, Well, there are a lot of lps here, and a lot of them can be had cheap -- save for places like Dusty Groove -- but you can score some good cheap lps all over the place, it's just a matter of taking the time to hunt them down and being willing to get your hands really dirty. What we call the "south side" has a lot of thrifts that can yield some great things. I'm actually constantly surprised at the vinyl I come across.
There used to be a great record store on the "south side" near Midway airport called Frank's. He was this really cool guy who knew everything about records. He would challenge you to put on a record from the store without showing it to him, and then he would try to guess the artist and date of its release, and he almost always got it right. He would spend his free time thrifting records and his house became so full his wife was like, Me or the records. So he opened a store. And, he would sell records for unbelieveably cheap, and was incredibly picky about condition, so you could get even more incredible deals. Plus he was really into soundtracks and jazz and strange things. I built a huge foundation of my soundtrack collection just through him. I found out at some point that some of the local used record stores would go buy records at his store and then sell them for way marked up prices in their stores -- you know, like when exotica became very trendy, these stores were buying
up everything Frank had and selling them to the hipsters for a lot. The sad news is that he decided that since he wasn't making enough of a profit, he decided to switch to record fairs only -- well I mean sad for those of us who knew about his store.
Mr. Unlucky
Oh, and why ISN'T Casino Royale and James Bond film anyway? whoever posted that it was somehow special that people in this group think it is, when it is?
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The Jazz Record Mart is the place downtown that sells pretty much only jazz. Their CD selection is great, their LP selection is so-so and sometimes the prices seem not exactly in line with condition. They also have 78s though, which is pretty cool if you ask me. They also do mailorder too. I think the site is <http://www.jrm.com>.
I also agree about Hi-Fi. One of the owners is in a group called Cattivo, who do a variety of things from bossa to pop, with back-up singers, and sometimes pretend to be from Italy. He tells me the basement is full up of old classical records -- you have to ask and they'll maybe let you go rummage around. They're also good about soundtracks and soul, but it's a heavily trafficked area, so they move an awful lot of vinyl. I'm still mad about the pile of Saba records they picked up and kept for themselves!
Another record store here with a notorious rep is called Beverly. There used to be two of them, but now there's just one. They not only deal in vinyl but costumes too! The now-closed store used to have weird costumes and wigs and things scattered amongst racks of old dusty vinyl. It was very peculiar but always a really great treat to go there. The other store is in a part of town called Beverly. But they're really strange about pricing. They do this thing where they set like this baseline of prices, and then round them out as they go up, like $10, $15, $20, like that. Also they seem pretty, uh, I'd say, inconsiterate about condition. Another problem is that they do this thing where they'll have covers to certain records separate from the vinyl itself, but then they'll lose the vinyl in the stacks. I've had some bad times there, finding great albums but then they wouldn't be able to find the vinyl. Still, considering their silly pricing system, I have found an awful lot of amaz
ing records there, especially when looking for some really hard to find items. They do a lot of mail order as well -- I think you call them up with a list and they spend a few hours looking around for the things you want.
Mr. Unlucky
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I'm embarrased to say I'm in the same boat - haven't yet kicked in for
Combustible Edison album either. Are there any plans to release a
"greatest hits" or somesuch comp for those of us interested in getting started?
-Kevin
Moritz R wrote:
> Also I (uhumm!) got a copy of Combustible Edison's "The Impossible World" CD today and for the first time in my life I listened to it! I can't believe how this could happen, it's so unlikely. I mean, I listen to this kind of music half of my life, I'm in the same mailing list with one of the band members and the cover designer of the CD is a friend of mine... and still it could happen that this album didn't get in my way until this very day.
> I'm still trying to figure out what happened to make Mo zoom in out of
> nowhere with a review of the High Llama "oeuvre".
That's really easy to explain: I borrowed a couple of CDs from a friend for my insatiable home burning factory and I happened to pick all the Llama records he had. Of course it was stupid to assume that the first Lamas album I knew should be the first they ever made. Looks like there's more behind that man O'Hagan than I thought. Thanks to everybody for the info!
and some of us like anything with good music on. If you want to get some essential music quickly you can't walk to thrift shops and yard sales for years to find all the original albums, especially since we all bought them away anyway a long time ago. I guess by this time we have given Randy too many tips for compilations; I think the idea of asking was to reduce the number of choices, not to get a full report of anything that's availbale in record stores these days. Maybe it's easier to sort out what he should not buy, like Stephen did. I recommend, if possible, to give a listen to the CD before you buy it, and not just to the first two tracks; some comps start really nice and the rest of the CD is a lot of boring elevator music.
Subject: Re: (exotica) Brother Cleve & His Lush Orchestra
Date: 08 Jun 2001 10:26:37 EDT
In a message dated Thu, 7 Jun 2001 11:14:52 PM Eastern Daylight Time, bag@hubris.net writes:
<<
At 11:24 AM 6/7/01, JB wrote:
>the voice of Liberace furnished by yours truly ( "and now, we return to the
>classsicssss" ), the cha cha of Liberace furnished by Byron in Oregon I
>believe (right Byron?)
Yes, I was glad to contribute what I could. Thanks for sharing the info
about how that cut came together. You did an excellent job...I could have
sworn that was actually him!
clarification: I furnished the Liberace voice as a pre-recorded item. It was NOT, repeat NOT me!...also from Mo's post saying the Brother Cleve Lush Orchestra was on the cover of House Industries....that is the actual House Industries crew, it is not a band. And Cleve's CD does not cost $125.00 American. The Vegas Font Program complete with Clip Art costs that much. And you get the CD as a bonus along with the Font Program...JB/couldn't possible mimic Liberace...or....could I?
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<DIV>Has anyone heard the recent Bugaloos compilation CD reissue on the Vivid label?</DIV>
<DIV> </DIV>
<DIV>I was wondering how the remastering / sound quality is.</DIV>
<DIV> </DIV>
<DIV>DustyGroove has it in stock this week if anyone's interested.</DIV>
<DIV> </DIV>
<DIV>Thanks!</DIV><br clear=all><hr>Get your FREE download of MSN Explorer at <a href="http://explorer.msn.com">http://explorer.msn.com</a><br></p></html>
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Just released - a CD of elephants in the Thai jungle playing specially designed musical instruments. The elephants improvise the music themselves. The Thai Elephant orchestra was co-founded by Richard Lair of the Thai Elephant Conservation Center in Lampang and performer/composer Dave Soldier. Most of the profits will go to the Conservation Center. The CD includes a twelve page color booklet that details the project
Subject: Re: (exotica) Soft Pop: The High Llamas/Tindersticks
Date: 09 Jun 2001 03:09:54 +0800
High Llamas
>1992 Santa Barbara
>1994 Gideon Gaye
>1996 Hawaii
>1998 Cold & Bouncy
>1999 Snowbug
>2000 Buzzle Bee
And incidentally, before 'Santa Barbara', there was also the fun, but less polished 'Apricots', a mini-album.
>Maybe tomorrow someone can give us an overview of the five records put out
>by the Tindersticks.
Alan, I'm sure you were joking, but after disliking them at first, I now rather like Tindersticks, so I hope everyone will forgive me...:
The group are sometimes very heavily influenced by Lee Hazlewood, to the extent that they lift small phrases from songs (e.g. 'a marriage made in heaven', available on the US version of 'Curtains' lifts the opening to 'Sand').
1) 'Tindersticks' first album (1992) - I find this a little aimless, but with some great, slightly country-ish pop songs hidden in there - 'city sickness', 'marbles', 'her' and the cool, twangy 'Paco de renaldo's dream'.
2) 'Tindersticks' Second album (1994), I'm very keen on - dark, emotional, spooky pop. 'My sister' is a standout track.
3) 'Nenette et boni' soundtrack (1996) - many people's favorite Tindersticks album, just because it features less vocals, and more atmospheric instrumentals. Duplicates some material from the second album.
4) 'Curtains' (1997) - This took time to grow on me, but I like it - dramatic instrumental pop. The prominent violin sound can be rather jarring, and not much of this could be described as 'easy listening'. It's good though.
5) 'Simple Pleasure' (1999) - at only 10 tracks, probably their shortest effort, but really very enjoyable. It has a very clean production, and is much less murky sounding than 'Curtains'. It's also more soul-influenced, with prominent use of backing singers.
jonny
http://www.psychedelicado.com
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If you want to know more, check out the eminent Tiki book "The Book of Tiki" by the #1 Tiki capacity Prof. Dr. Sven A. Kirsten, who got his own tiki mug recently, sculpted after his portrait.
Subject: Re: (exotica) the last real primitives...
Date: 08 Jun 2001 15:49:31 -0400
I have this and highly recommend it. The next release will be an "Easy Listening" CD by the TEO - they'll make some effort, probably through editing and careful instrument/performer matching, to create more atmospheric/ambient pieces.
Last year was the North American Frogs - this year is the Thai Elephant Orchestra - what's for next year?
Another fun project that involved David Soldier was the CD he made with Komar & Melamid called The People's Choice Music. The music was designed based on survey research and has 2 tunes: The Most Wanted Song (a musical work that will be unavoidably and uncontrollably ôlikedö by 72 ▒ 12% of listeners)
and The Most Unwanted Song (fewer than 200 individuals of the worldÆs total population will enjoy this)
http://www.diacenter.org/km/
lousmith@pipeline.com
Moritz R <tiki@netsurf.de> wrote:
>
truly exotic:
http://www.mulatta.org/Thaielephantorch.html
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Subject: Re: (exotica) the last real primitives...
Date: 09 Jun 2001 09:34:52 +0200
Great CD, great concept. The whole CD was downloadable a couple of weeks ago. Sorry, I can't
find the URL just now. The last track seems out of place, since it's an 'avant-garde' electronic piece.
Somehow I can't picture those elephants tweeking synthesizer knobs.
Moritz R wrote:
> truly exotic:
> http://www.mulatta.org/Thaielephantorch.html
>
> Just released - a CD of elephants in the Thai jungle playing specially designed musical instruments. The elephants improvise the music themselves. The Thai Elephant orchestra was co-founded by Richard Lair of the Thai Elephant Conservation Center in Lampang and performer/composer Dave Soldier. Most of the profits will go to the Conservation Center. The CD includes a twelve page color booklet that details the project
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> Great CD, great concept. The whole CD was downloadable a couple of weeks ago. Sorry, I can't
> find the URL just now. The last track seems out of place, since it's an 'avant-garde' electronic piece.
> Somehow I can't picture those elephants tweeking synthesizer knobs.
>
> Moritz R wrote:
>
> > truly exotic:
> > http://www.mulatta.org/Thaielephantorch.html
> >
> > Just released - a CD of elephants in the Thai jungle playing specially designed musical instruments. The elephants improvise the music themselves. The Thai Elephant orchestra was co-founded by Richard Lair of the Thai Elephant Conservation Center in Lampang and performer/composer Dave Soldier. Most of the profits will go to the Conservation Center. The CD includes a twelve page color booklet that details the project
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From a NYTimes article about computer-animation studio Pixar's new headquarters:
Perpendicular to the atrium and at opposite edges are two broad corridors. And running off these avenues are networks of office pods creating a labyrinth of high-tech spaces. The decorations mirror the sensibilities of those who work there. In the animators' wing, for instance, an eccentric kind of design competition seems to be under way.
One cluster of offices has set up its own rock 'n' roll stage. A South Seas theme dominates another area, complete with tiki torches and bamboo hutches.
Mr. Lasseter, Pixar's creative director, dressed in one of his trademark aloha shirts, was moving rapidly down one of the main corridors, heading from one meeting to another. ``Hey, have you seen the Love Lounge yet?'' he asked. ``Great. Let's go.''
He took a zigzag course toward the building's southern wing, passing under some ``Phantom of the Opera''- type chandeliers, around a pool table and through a grove of tree trunks used as snack tables. Finally, Mr. Lasseter pushed open the door of a corner office belonging to Andrew Gordon, an animator. It looked like any of the other dozens of offices in the complex: white walls, about 10 feet square, dominated by a desktop computer. ``Is anyone in the Love Lounge?'' Mr. Lasseter asked.
Mr. Gordon stood up from behind his desk, reached for a 1940's vintage smoking jacket hanging from a hook on the wall and slipped it on. Then he bent over and unlocked a small, white door half hidden near the floorboards along one edge of his office. To get through the door, you need to crawl on hands and knees before emerging into a strangely festooned crawl space about the size of a restaurant booth.
The walls and the low, irregular ceiling were stainless steel, probably because the crawl space had been put in to provide access to an air- conditioning unit. Benches covered with tasseled pillows have been installed along two of the walls, with a fold-up cocktail table in between. Every nook and cranny around the walls is filled with glassware, liquor bottles or bric-a-brac. A string of multicolored lights hangs overhead.
``Welcome to the Love Lounge,'' Mr. Lasseter said. ``The specialty of the house is Pimm's Cup.''
Sure enough, Mr. Gordon appeared with two icy glasses brimming with a rosy liquid and placed them atop official Love Lounge cocktail napkins. (There are also Love Lounge matchbooks and T-shirts.) A video monitor provides a view of the corridor to see if anyone is approaching. Distinguished visitors are invited to write their names on the wall with an indelible marker. Among the names are Michael Eisner, Roy Disney and Randy Newman.
The space was discovered shortly after the headquarters was first occupied, and it didn't take long for Mr. Gordon and others to begin decorating it and for its legend to grow.
Quietly, at first, and then with gradually rising force, the sound of a prewar swing orchestra began to purr out of small speakers. A woman crooned about love and moonlight. Mr. Lasseter swirled the ice cubes in his Pimm's Cup, which chattered noisily in the enclosed space. Mr. Gordon poked his head in again. Another drink?
Mr. Lasseter smiled and shrugged slightly, as if to say, well, why not?
``It's a pretty good place to come to work,'' he said.
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Another "known" record that's been well covered previously (see Issue #17 of Cool & Strange Music Magazine, for one), but hey, I lucked into my own copy, so I get my own 2 cents on it.
Some of these old records we find aren't really as exciting as we might like them to be, so we perhaps rationalize them or alter our expectations in order to increase our enjoyment. Or concentrate on the favorite cuts and ignore the stinkers. Or go all ironic until the irony negates itself out of existence.
But this is not one of those records.
This is a wonderful, quirky, unique powerhouse of a record. All percussion, all the time, with some scattered vocalizing over top. As it started off, I thought, "Oh yeah, it IS pure percussion." After a couple of minutes, I began thinking, "Errm, this could get a little boring." But after a couple of cuts, I tuned in to Chaino's groove, and... it was a groove the rest of the way. It's not a simple pound-pound-pound affair... there is subtlety, there is nuance. He has a unique groove and phrasing to what he does. At the same time, there is an air of primitivism to the affair. This is not a smoothy session, no, plenty of rough energy burning here. There are birdcalls, but hard, threatening birdcalls. And of course, there is the legendary "Jungle Chase" (I sure hope those folks got away from those mean ol' lions). In an odd way, I can imagine this record coming from the early 80s -- that terrific little period of anything-goes, DIY, post-punk eclecticism. It has the sort of energy th
at was floating around at that time.
So, yeah, you could say I like this record.
How do Chaino's other records compare?
Anyone know of similar records by other artists?
I'll note: Art Blakey - "Orgy In Rhythm" Vols. 1 and 2 (Blue Note). Drums, drums, drums. A 1957 session led by Art Blakey with three more jazz drummers; Sabu heading the Latin percussion section; piano, bass and Herbie Mann on flute. Done off the cuff, but nicely structured. Disciplined, but loose. Lots of horsepower driven with intelligence. Blue Note reissued it a few years ago as a 2-on-1 CD. Tipped to it by absent list-pioneer, Tony Wilds. And thanks again for that. Excellence.
m.ace mace@ookworld.com
http://ookworld.com
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If anyone gets to this show before I do, I'd love to hear a report!
lousmith@pipeline.com
'THE LP SHOW' With installations by John Zorn, Thurston Moore, DJ Spooky, and Christian Marclay (whose piece involves 80 identical Tijuana Brass LPs), this show of more than 2500 weird and wonderful album covers is not just for vinyl junkies. Organizer Carlo McCormick focuses on the LP sleeve as a popular, often anonymous, and now all but extinct art form lovingly preserved by collectors, over 50 of whom are listed as contributing curators. Along with their accumulations of Hawaiian, Japanese, and Christian ventriloquist albums, there are surveys of work by graphic artists from the '30s to the present, including Frank Kozik, Art Chantry, and Foetus. OPENS SATURDAY, THROUGH AUGUST 17, Exit Art, 548 Broadway, at Prince Street, 966-7745.
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In a message dated Tue, 12 Jun 2001 9:04:46 AM Eastern Daylight Time, "Nathan Miner" <nminer@jhmi.edu> writes:
<<
Found a few interesting LP's this weekend, haven't listened to them yet:
Enoch Light: "The Private Life of a Private Eye" - includes titles like Harlem Hot-Shot in a Hurry and Mess in Morocco. Can't possibly be as good as I'd like it too.............
It is pretty good...I found it a few years back while I was into Crime Jazz heavily (and exclusively for this list's purpose---back in '94 when i was unaware of this movement) and still own it...Its right up there with his two or three top LP's
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>>This is a wonderful, quirky, unique powerhouse of a record. All
>percussion, all the time, with some scattered vocalizing over top. As it
>started off, I thought, "Oh yeah, it IS pure percussion." After a couple of
>minutes, I began thinking, "Errm, this could get a little boring.".<
>
>It's funny that you did that little intro about how the records we find are
>often better in the anticipation than in the actual hearing. You claim
>this isn't such a record.
>I think it qualifies myself.
I'm a little unclear here... are you saying you've also listened to the record and found it disappointing, or are you saying I'm in denial about rationalizing it myself?
I'll assume the latter for the moment (there's nothing to dispute about the former, of course).
No, my adjustment to the record wasn't one of those rationalization deals, but just getting oriented to his groove. Kind of like the first time you listen to, say, Blind Willie Johnson, and it takes you some time to find your feet.
Also, the vocalizing on the opening track, "Jungle Chase" is so outrageous (aye, Ben, despite the liner note misdirections, something like "Jungle Whoopie" would be a more apt title) you can't really take in the music. If the whole album were like that track, I think I would find it kind of tedious.
But overall, I find it pretty interesting. The grooves breathe, he has unique phrasing. Rather than being a simple "pound-pound" affair, it has an atmosphere that sort of reminds me of James "Blood" Ulmer or Ronald Shannon Jackson... that late 70s/ early 80s Coleman-schooled scene. Except simpler and rougher.
>Another way to describe some of the records
>we're looking for is "I love the IDEA but I wonder if I'll enjoy the record".
>I like the fact that this is nothing but percussion. I like that people
>made records like that. But I've never heard one that actually sustained
>my interest past one play, if that far.
It can go astray pretty easily. But I like to hear it attempted at least. Rhythm all on its own has a purity and power that I can really enjoy. When you bring in tonal instruments with melody and harmony, the percussion gets hobbled into a subservient role pretty quickly. At the least, it's a different perspective that's good to try now and then.
>Once upon a time I liked drum
>solos. Now not so much.
At this point in time, I find it hard to imagine many things funnier than a rock drum solo. The 70s had to be the golden age for funny drum solos, with all those 'everything and the kitchen sink' drumkits. Don't forget the gong!
But getting back to expectations... I think I prefer to have my expectations defied and have the music smack me around and challenge my tastes. Chaino was a bit like that... from everything I've heard, I expected the album to be more of a busy pounder, but it turned out to be a bit more subtle, which I rather preferred. Unfortunately, our expectations are probably more often simply let down. Best to try to avoid expectations.
m.ace mace@ookworld.com
http://ookworld.com
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I went along on Saturday, and I must say it was quite amazing. The show is HUGE, with loosely related LP covers stacked four or five high in a huge strip around all of the walls. There is one wall of 'Whipped Cream' covers, with a few spoofs thrown in; next to it is a set of 'sound of music'-related LPs. Seeing all these LPs together was really remarkable. Many, if not most of the LPs would seem familiar to listmemembers- from their own collection and from the 'Incredibly Strange Music' books. It was also interesting to see which new covers were deemed to be interesting enough to mix in - e.g. Air's Premieres Symptomes, several Smiths singles and albums... It is free to get in. Also, there seems to be a bar in the gallery- superb!
There is a website people can check out - www.exitart.org
jonny
www.psychedelicado.com
>If anyone gets to this show before I do, I'd love to hear a report!
>lousmith@pipeline.com
>'THE LP SHOW' With installations by John Zorn, Thurston Moore, DJ Spooky, and Christian Marclay
(whose piece involves 80 identical Tijuana Brass LPs), this show of more than 2500 weird and
wonderful album covers is not just for vinyl junkies. Organizer Carlo McCormick focuses on the
LP sleeve as a popular, often anonymous, and now all but extinct art form lovingly preserved
by collectors, over 50 of whom are listed as contributing curators. Along with their accumulations
of Hawaiian, Japanese, and Christian ventriloquist albums, there are surveys of work by graphic
artists from the '30s to the present, including Frank Kozik, Art Chantry, and Foetus. OPENS
SATURDAY, THROUGH AUGUST 17, Exit Art, 548 Broadway, at Prince Street, 966-7745.
--
tell us about your favorite songs!
http://musicaltaste.net
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>Ahhh... still looking for that one. Is that the one with "Maria" &... "Wave"
>I think, both on that German "Mission Impossible and more" anthology? If so,
>the string writing impressed me, very angular & not so... lush &
>"beautiful." Gotta keep looking.
Yes, that's the one. I'm coming in late on this one, but people might be interested to know that 'Piano Strings and Bossa nova' was reissued in the late 60s as 'Insensatez', which I managed to pick up recently. And yes, it is quite wonderful, remarkably clean sounding, and with a superb energy which IMO is missing from many early 60s bossa nova-themed jazz recordings.
Re: Walter Wanderley, I recently picked up 'kee Ka roo' from 1967, which I enjoyed very much. I also enjoyed 'Popcorn' with Luiz Henrique very much. I have a bunch of his albums on Philips and Capitol and Verve. To me, the Verve ones are far, far better - better sound, better arrangements. But I haven't yet given them all the time they deserve.
jonny
www.psychedelicado.com
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Subject: (exotica) Ramsey Lewis - Mother Nature's Son
Date: 13 Jun 2001 00:35:20 +0800
I picked up Ramsey Lewis's 'Mother Nature's Son' recently, and it strikes me as the best record I've bought for some time. It is an album of covers from the Beatles 'white album', recorded in the late 60s, and on the cadet label. Anyway, IMO, it's an orchestral pop masterpiece, the kind of thing I had wanted for ages. Almost every track is an outstanding blend of thick strings, electric piano and really nice drum beats, with the added bonus of some moog effects. Standout tracks are 'dear prudence', 'julia', 'cry baby cry' and 'back in the USSR', but the whole thing is really pretty excellent, with even the most well known songs sounding very fresh.
I have a perception that Ramsey Lewis is perceived to be a hack, yet I really like all the records I have by him, particularly the ones from the late 50s and the late 60s stuff on Cadet. Much of the late 60s stuff was produced by Richard Evans, who produced the incredible Dorothy Ashby records, amongst other things.
Does anyone else have any strong feelings on Ramsey Lewis?
jonny
www.psychedelicado.com
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There is a website people can check out - www.exitart.org
================
Thanks for the review, Jonny! Looks like a definite must-see for those in the NYC region. I took a look at the website and found a list of the people who contributed covers:
LP Curators
Charlie Ahearn The Analogue Society-Lamay Photo, Tiffany Anders, Delphine Blue, DJ Steve Blush Seconds, Dan Brown, Robbie Busch, Laura Cantrell WFMU, Dave Cirilli, Michael Connelly, Julie Covello a.k.a. DJ Shakey WFMU, Dennis Dermody, dj $mall óhange WFMU, Spencer Drate, Walter Durkacz, Luis Fernandezn, Jack Fetterman, Finyl Vinyl, Jesse Fischler Shrine Music, Kenny G WFMU, David Garland WNYC, Gerb Vinyl Preservation Society, Coleman Hasie, Erik Hanson, Nicholas Hill WFMU, Stephen Holman, Mark Ibold, M. Henry Jones Psychedelic Solution, Jacaeber Kastor, Jutta Koether, Eric Kohler, Kevin Krich, Steve Lafreniere editor Index magazine, Marcus Lambkin Plant, Joseph Lanza, Paul Major Parallel World, James Marshall Hound Archives, Bob Nickas, Deb Parker Beauty Bar and Barmacy, Freddie Patterson Boogaloo Omnibus Productions, George Petros, Peter Principle, Chris and Heather's Record Roundup Chicago, Fabio Roberti Ear Wax Records WFMU, Bill Rouleau RushMor Records Milwaukee, Anita S!
!
arko, Rafael Sanchez, Michael J. Schnapp, Matt E. Silver, Andy Somma, John Stanier, Matt Sweeney, Jeremy Tepper, J. G. Thirlwell, Stephen Vitiello, Rob Weisberg WFMU Transpacific Sound Paradise, Norman Weisberg, Sioux Z., Maria Zastrow & Pete Shore
lousmith@pipeline.com
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Subject: (exotica) Richard Cheese at Chatini Bar this Friday
Date: 12 Jun 2001 15:26:41 -0700 (PDT)
This Friday 6/15 Richard Cheese will do a guest chat at Chatini Bar, at 9PM EST/ 6PM PST.
http://www.chatini.com
Richard Cheese, lounge singer extraordinaire, discusses his latest CD "Lounge Against The Machine," in which he converts some of the most popular and harsh alternative rock songs into lounge music. Richard Cheese is the not-so-subtle lounge-singer alias of writer/actor/comedian/singer Mark Jonathan Davis, who created a Dr. Demento request favorite with "The Star Wars Cantina." The Los Angeles-based Davis has made appearances on NewsRadio, Batman: The Animated Series, and The Late Show with David Letterman. For the Richard Cheese project, Davis assembled a big band and recorded lounge covers of '90s alternative rock hits. The resulting album, "Lounge Against the Machine," will knock you flat on your back gasping for air with laughter. You can hear outtakes from "Lounge Against The Machine" on cdnow.com, and visit Cheese's website at richardcheese.com. On Friday our DJ Chez Whitey will be spinning Cheese's tracks at http://radio.chatini.com. Until then tune in for hundreds of hours of retro standards and question marks streamed at 128K.
Chatini Bar (chatini.com) is a growing community of exoticats (and freaks rounded up off the street) interested in retro lounge culture (and various and sundry other things). We mix masterful cocktails, spin incredibly strange music, and meet online to share in the neverending adventure of late 50's, early 60's lounge culture, its revival, and its remaking. Join in!
Ford Baxter
Bar Manager
P.S. Please send suggestions for future guest chats to bartenders@chatini.com. Currently we are working on getting the Tiki Tones in, and retro artist Shag (shag-art.com) will be chatting in July.
MEXICO CITY (AP) -- Amalia Mendoza, one of Mexico's most famous singers of mariachi and ranchera music, died Monday after suffering from a progressive paralysis of the lungs. She was 78.
Mendoza was famous for songs such as ``Echame a mi la Culpa'' (``Put the Blame on Me'') and ``Amarga Navidad'' (``Bitter Christmas'').
Born in the town of San Juan Huetamo in 1923, she was part of a family of noted musicians.
Subject: (exotica) Perry Como article from today's NYTimes
Date: 13 Jun 2001 14:40:32 -0400
June 13, 2001
CRITIC'S NOTEBOOK
A Posthumous Hit Parade for Ever-Serene Perry Como
By STEPHEN HOLDEN
Tranquillity is one musical quality that has earned scant critical respect in the annals of American pop. For decades, terms like Muzak and elevator music have been affixed contemptuously to sounds deemed too soft and complacent to be taken seriously in a culture obsessed with upward mobility and the grinding friction it produces.
When the fledgling record industry nearly collapsed during the Depression, it wasn't the soothing voices of crooners like Rudy Vallee and Russ Columbo that revived it but the jittery pulse of swing. The behemoth of today's multibillion-dollar record industry didn't evolve from the chirpy, smiley pop of the Mitch Miller era but from the upstart rock 'n' roll that overran it.
Musical calm prevailed only during the decade that began with the end of World War II and faded with the wake-up call of "Rock Around the Clock." Those years, during which millions of Americans settled in suburbs to nest, coincided with Miller's ascendancy as the creative head of Columbia Records and with the reign of Perry Como at the rival RCA Victor as American pop's soft-spoken Mr. Nice Guy.
No one before or since the heyday of Como, whose death in May at 88 deprived American pop of its last genuinely serene voice, made an easygoing contentment appear to be everyone's natural birthright. The vocal embodiment of carefree fairway Saturdays in the stretched-out sleepy summer of Eisenhower's America, the singer and television personality whose theme song gently invited the world to "Dream along with me," Como distilled the sunny side of those not-so- fabulous 1950's.
To commemorate his death, Collectables Records, one of the country's largest independent reissue companies with a catalog of more than 1,500 titles, recently released 10 of Como's RCA Victor albums and one extended-play compilation for the first time on CD. They can be ordered online at www.oldies.com. Como was not quite a great singer. His crooning lacked the jazz underpinnings and richness of his principal role model, Bing Crosby. He conveyed none of Frank Sinatra's volatile sexuality, swinging adventurousness or complicated personal involvement with his material. The reptilian and insinuating Dean Martin exuded far more personality than Como.
But at the peak of his popularity in the mid-1950's, Como was a cultural deity, trusted by millions, and radiated the same quiet dignity as that other Italian-American symbol of heroic achievement ennobled by modesty, Joe DiMaggio. Strolling out onto the television soundstage on a Saturday night, clad in a sport shirt and sweater vest, this onetime barber conveyed the even-tempered affability of a man utterly secure in his identity and talent and remarkably unspoiled by fame. Como's aura of being completely at home in the world was leavened with a playful, easily tickled sense of humor. Detached but not cold, he suggested that the difference between being a small-town barber and a wealthy pop star was simply a matter of luck and that he would be equally happy in either role.
Much like Crosby, Como was neither a connoisseur of great songs nor a psychologically probing interpreter of lyrics. Although he could push his smooth baritone voice up to medium volume, his crooning never aspired toward the operatic. In the same way that he stood back and took an amused pleasure in his celebrity, Como seemed never to question that a song needed only his appealingly mild-mannered vocal signature to put it over. If his phrasing was actually quite formal, his understatement made him seem the king of casual.
Like most pop stars of that era, Como recorded the catchy commercial fluff chosen by his label. His first No. 1 hit, "Till the End of Time," in 1945, was a bland pop adaptation of Chopin's Polonaise in A flat major. His second, the next year, was a tortured stentorian ballad, "Prisoner of Love" (originally a hit for Columbo), whose masochism Como undercut by softening its confession of romantic enslavement into a declaration of dignified, unshakable devotion.
No matter what the ballad, the common denominator of Como's crooning was his quietly authoritative assertion of this devotion, the seemingly matter-of-fact commitment of an eternally and happily married man. When a lyric like that for his 1953 Rodgers and Hammerstein-penned hit, "No Other Love," happened to match his vocal personality, the result could be quite eloquent.
When novelties regularly topped the pop charts, Como recorded more than his share, beginning with the faintly racy "Dig You Later (A Hubba-Hubba-Hubba)" and continuing with "Chi-Baba, Chi-Baba (My Bambina Go to Sleep)," "Bibbidi-Bobbidi- Boo" and "Hoop-De-Doo." The silliness culminated in the mid-1950's with "Papa Loves Mambo," "Ko Ko Mo" and "Hot Diggity." Many of Como's biggest 50's hits, including "Wanted," "Round and Round" and "Catch a Falling Star," were childlike ditties that didn't really qualify as outright novelties. In his respectful, irony-free embrace of a playful pop simplicity, Como anticipated pop's ultimate nice guy of the rock era, Paul McCartney.
Content to ride a stream of hit singles up the pop charts, Como never aspired to be a serious album artist. Although he recorded numerous LP's, they generally lacked the cohesiveness, sophistication and brilliant arrangements of Sinatra's and Nat (King) Cole's finest work.
Like Patti Page, his female counterpart in the 50's pop pantheon, Como stood for cultural homogenization. In much the same way that Ms. Page, who was born in Oklahoma, all but erased the regional twang from country music and helped make country a national style, Como played down the ethnic attributes of Italian ballad singing, replacing a Mediterranean passion with a neighborly all-American bonhomie. Like his Italian-American pop peers, however, from time to time he would acknowledge his roots by recording an Italian song.
It is easy enough in today's climate of strident identity politics and niche markets to condemn as na∩ve and even vaguely fascistic the bland assimilative pop culture that Como, Ms. Page and other mainstream pop singers symbolized. But in the 1950's, the promulgation of such a culture seemed like the most natural and practical way to heal the wounds of war, embrace the returning armed forces, welcome immigrants and create a proudly unified front against the threat of Communism.
As that artificial cultural ideal crumbled in the 60's and a do-your-own-thing ethos refuted the previous decade's conformist values, tranquillity was out and speed was in. Rock's highly amplified technology quickly rendered Como's brand of crooning obsolete. American pop's last truly calm voice found himself shouted out of the arena.
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Did anyone happen to read or, better yet, save this recent article from the NYTimes. It discussed the use of herbs in refreshing alcoholic beverages suitable for the summer season. Unfortunately the article is no longer available for free at the NYTimes website. I'd like to concoct some of the recommended libations, but don't have the recipes.
Cheers,
lousmith@pipeline.com
May 23, 2001, Wednesday
SIPS; Cool Is Better Than Numb
By AMANDA HESSER
Source: The New York Times
Section: Dining In, Dining Out/Style Desk
Lead Paragraph:
IT was a mildly warm afternoon, one of the last before we drop off into the three-month inferno. I was sitting at the bar at Pastis, and ordered a Sazerac. The barman muddled wedges of lemon with pink Peychaud bitters and sugar.
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I found this recipe for do-it-yourself Parfait Amor. It won't be the same as Bols or Marie Brizzard, but what are you gonna do? This recipe doesn't mention the purple vegetable dye - for the proper effect I think you'd want to mix some in. The recipe also doesn't seem "citrusy" enough - if I tried doing this, I'd add a bit more.
lousmith@pipeline.com
Parfait Amour
A French Aphrodisiac Liqueur
Ingredients
6 in. cinnamon stick
1 tbsp. fresh thyme
1/4 vanilla bean
1 tsp coriander seed
1/2 tsp mace, powdered or crushed
dehydrated peel of 1 small lemon
2 1/4 cups of vodka, or your favourite spirit
225g good honey (heather, acacia or 'mountain')
1 1/4 cups water
Crush the dry ingredients in a mortar and pestle or a spice grinder as finely as possible and add to the vodka. Leave for 15 days (you might wanna shake it now and then) and filter. Dissolve the honey in the water over gentle heat. Allow to cool and mix with the spiced spirits. Bottle and label.
Recommended dose : 2 fl. oz. before bed
"Br. Cleve" <brcleve@mindspring.com> wrote:
> sadly, Parfait Amour is very very difficult to find (unless you live in
France). It is made by Marie Brizzard. Beg at your local packy.
br cleve
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>And has anyone got or heard Gone with the Wave? Is it a surf soundtrack or just a Lalo LP?
I have this. It's a surf soundtrack, but it doesn't sound like any of the other Lalo soundtracks I own.
It's very pleasant, but for some reason doesn't really have the kind of 'bite' that a lot of his other stuff has. It's relatively early (62 or 63, i think), and on the colpix label.
I made a CD of the album, and I remember when I used Napster, people used to feverishly queue up to download a track from this album called 'breaks bossa nova'. They obviously figured that this would be a perfect combination of Schifrin, breakbeats and bossa. I think they were probably disappointed though - breaks refers to the surfers' waves, and the song is a pleasant but rather tame bossa.
Most of the album is laid back, small combo jazz, with some nice guitar work. Pleasant, but probably not worth paying what people are likely to charge for it.
jonny
www.psychedelicado.com
--
tell us about your favorite songs!
http://musicaltaste.net
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>Yes but first let me ask you is that the Ramsey Lewis with the alternating
>colored squares on the cover?
No, 'mother nature's son' has a cute photograph of Ramsey, decked out in trendy late 60s gear, sat at the piano, surrounded by rabbits, animals, moss and trees.
Aside from the 'Wade in the Water' and other late 60s stuff people are enthusing about, I was surprised at how much I enjoyed the early (56-59) jazz combo records I have, 'swingin' and 'down to earth'. I never normally get into this kind of record, but the sound and performances were great, with a very cool deep bass sound.
Both 'Mother nature's son' and 'Another Voyage' feature Charles Stepney as arranger/conductor; whether this is instead of or as well as Richard Evans, I'm not sure, but does anyone know anything else about Mr Stepney?
I don't know much about Richard Evans except that
a) there is a picture of him on the back of one of my LPs, and he does indeed appear to be black and
b) I remember reading an article about 'Afro Harping' on Luxuriamusic.com which revealed that the Millionnaire (spinning tonight at Bar d'O in NYC, incidentally) was once taught by him (although apparently he didn't realize how cool he was then)
jonny
www.psychedelicado.com
PS. sign of the times: I was able to pick up Esquivel's 'exploring new sounds'/'strings aflame' cd yesterday used for just $6.99. It still sounds great- not as exciting as it did a few years ago, but great.
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Subject: (exotica) [obits] Vince Charles, Marcelo Fromer, Ralph A. Miller
Date: 14 Jun 2001 10:54:53 -0400
Vince Charles
LOS ANGELES (AP) -- Vince Charles, a Caribbean-born steel drummer who performed with both Neil Diamond and Herb Alpert and the Tijuana Brass, died June 3. He was 55.
Charles played what he called ``Caribbean contemporary,'' a mix of jazz, reggae and calypso.
He was born on the island of St. Kitts and grew up in the Virgin Islands. He was introduced to the steel drums by his musician brother, Valentine and went on to master the instrument, which is made from 55-gallon oil drums and can produce dozens of tones.
His professional career spanned nearly four decades and included appearances at the New York World's Fair in 1964-65 and Canada's Montreal Expo in 1967.
After moving to Los Angeles, he went to work for Herb Alpert and the Tijuana Brass.
After an appearance on Diamond's 1973 ``Serenade'' album he became a regular member of the singer's band three years later.
He also performed with his own group, Vince Charles and Friends, and recorded three albums, ``Mixture 44,'' ``Soliloquy'' and ``Caribbean Christmas.''
Marcelo Fromer
SAO PAULO, Brazil (AP) -- Marcelo Fromer, the lead guitarist for the pioneering Brazilian rock group Titas, died Wednesday from injuries he suffered in a hit-and-run accident. He was 39.
Doctors at Sao Paulo's Hospital das Clinicas declared him brain dead and removed his life support equipment.
Fromer was hit by a motorcycle while he was jogging. Doctors said he had massive head injuries.
Fromer is a founding member of Titas, which was hugely popular in the 1980s. The band appealed to a generation exploring new freedoms after more than two decades of military dictatorship.
The band's hits included ``Lugar Nenhum,'' ``Comida,'' ``Desordem'' and ``Homen Pirata.''
Fromer was also a gourmet cook and he worked periodically as a food columnist for the Estado de Sao Paulo newspaper. He also wrote a cookbook titled, ``What Are You Hungry For?''
Ralph A. Miller
ORMOND BEACH, Fla. (AP) -- Ralph A. Miller, a research chemist who helped bring the world Spaghetti-Os and Chunky Soup, died Saturday after a long illness. He was 73 and suffered from heart problems.
Miller also helped develop Prego spaghetti sauce as a chemist at Campbell's Soup Co.
He retired from Campbell's in 1991 as vice president of product research and development after 41 years with the Camden, N.J.-based company.
Miller was instrumental in developing some of the company's most popular products. The company introduced Spaghetti-Os in 1965, the Chunky Soup brand in 1970 and Prego in 1981.
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Subject: (exotica) nyc record sale at ARCHIVE OF CONTEMPORARY MUSIC
Date: 15 Jun 2001 23:24:03 +0800
I get the digest of this list, so I'm not sure if this has been posted already, but:
A friend forwarded me the info below; if you're in NYC, you might want to check it out.
cheers,
jonny
www.psychedelicado.com
THE ARCHIVE OF CONTEMPORARY MUSIC
54 White St., NYC, 10013
we're on the ground floor, 3 blocks south of Canal St, right off Broadway in fashionable Tribeca. Take the A, C, or E trains to Franklin Street or the N&R to Canal St.
www.arcmusic.org
THE ARCHIVE OF CONTEMPORARY MUSIC
invites you to our
HEAT RASH
Summer Record and CD sale.
Sunstroke Saturday June 16, 2001 11 am. to 6 pm.
Dad-Day Sun Day June 17, 2001 12 pm. - 5 pm.
Our sales are an essential part of our operating budget
so come on by and BUY!
Admission is free!
Over 10,000 items for sale
CDs are NEW donations from record companies, NOT used, returns or defects!
Most of the recordings for sale are pop & rock.
Most LPs are $1 - $3. Collectible LPs are priced below book value.
Hundreds of CDs are priced at $1 to $5 each.
Just released NEW & HOT CDs are $6 - $10.
Videos - most just a buck. NEW cassettes $ 2.00 ea, 12 for $20.
Summer Specials
Signed LPs such as "Saturday Night Fever" LP signed by John Travolta (one left)
Rare & early Beastie Boys releases & singles * Tons of classical LPs from the Jerry Bach collection (author of 'Fiddler on the Roof') * 100s of classic, unopened LPs (Aretha, Troggs, Smiths) * Rare classic rock & psychedelic posters * Incredible African & world-music releases * Vintage punk, new wave & classic rock LPs * Sinatra white label releases o rare & wonderful Soundtracks * tons of music books
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>think I've seen somewhere. Che, RollerCoaster, Cincinnati Kid, etc etc
>aren't worth bothering with in the funky soundtrack stakes so does anyone
>have suggestions for more Lalo goodies?
>
>I love "Whole Lalo Schifrin Goin On".
>
>AZ
I second that suggestion for the above album. I love the Planet of the Apes TV show theme "Ape Shuffle" which you can find on a few comps here and there.
The Liquidator has an intriguing Shirley Bassey "Goldfinger" rip-off.
Sol Madrid is largely Latin influenced and has a good chase-themed track.
I would say those two are good ones if you want to flesh out your Schifrin collection, though agreeably I think Mannix and Mission: Impossible and Enter the Dragon are tops.
Mr. Unlucky
Get 250 color business cards for FREE!
http://businesscards.lycos.com/vp/fastpath/
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>In a message dated 6/15/1 1:49:00 PM, ronnie.edgar@lineone.net wrote:
>
>>I love "Whole Lalo Schifrin Goin On".
>
>as do I....anyone familiar with "Towering Toccata"? Saw it once or twice,
>think Cleve may have played it years back, but can't recall if its good . It
>has CTI written all over it and I am hesitant when it comes to CTI...After
>all it IS the spawner of "Fuzak"...JB
>
towering toccata has a few funky grooves, and is well recorded as with all CTI stuff, but there isn't a single track that is unmarred by an appalling cheesy middle-8. the CTI album to go for is 'black widow' which has two tracks that you can play from beginning to end without wincing : 'jaws' and 'quiet village', both excellent. there's also a 7" single with both of those tunes.
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<DIV></DIV>>But I suspect that getting this as a kid from your parents,
<DIV></DIV>>you didn't get that 'special' attachment that made it so special
<DIV></DIV>>(the one 'intended to be inserted where the sun don't shine')
<DIV></DIV>>No wonder you were disappointed...
<DIV> </DIV>
<DIV> </DIV>
<DIV>and what special attachment might that be?? Should I take this as a slam?? What gives? just giving my opinion of the thing. or SHould I have looked at the auction??? is there something sexy going on here??</DIV>
<DIV> </DIV>
<DIV>love</DIV>
<DIV> </DIV>
<DIV>jonny </DIV>
<DIV> </DIV>
<DIV>who doesnt normally stick things in his arse</DIV><br clear=all><hr>Get your FREE download of MSN Explorer at <a href="http://explorer.msn.com">http://explorer.msn.com</a><br></p></html>
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In a message dated Sat, 16 Jun 2001 10:29:54 AM Eastern Daylight Time, Stilgloria@aol.com writes:
<<
Well, I finally broke down and purchased a CD burner. Not for the computer,
but for my stereo components. I want to burn from CDs and records in my
collection and make compilations for my friends and for myself. I got it
about three weeks ago, and have been afraid to hook it up. Isn't that stupid?
I even bought the blank CDs, making sure they weren't for the computer. The
reason I haven't set it up is the sales people keep telling me I need better
cables than the cables that ship with the player. They say that the CD's will
burn fine, but if I play them back on the CD burner, they won't sound great.
My tuner isn't the newest, so I can't buy the digital cables. But there are
cables that I can buy, I guess along the lines of monster cables. Does that
sound right to you? Are there people out there who can advise me? Should I
just hook it up with the cables that it shipped with and see how it sounds? I
don't know why I'm so darn hesitant to hook it up, but I'd better hurry
before my warranty runs out. LOL
Gloria
The short answer probably is a diagnosis of technophobia. I have a touch of it as well. I also recently purchased a free-standing CD-R maker. I am now doing both CD copying and vinyl recording. With CD's its easy. You simply follow the directions letter for letter. For recording just individual tracks first select the track you want to record on your left player. Then press low or high speed recording. then press play on the left one...it will do its job automatically. For vinyl its a little trickier. You need to cue up the track on the turntable..With most consumer models that's next to impossible. It would behoove you to get a direct drive table so you could cue it up manually. Then you must select "analog" from your digital/analog option button on the right hand CD recorder. Each time you select an option it takes the maching a moment or two to set itself up. Then its just like recording an album track to cassette. You get the needle on the record, and just before it starts!
the first sound, hit "record" o
n your right hand CD recorder. If you can time a cassette this is even more accurate. The ONLY problem, and not a huge one, is that when you cue up a track on a CD-R recorded from vinyl, it does not "instastart" like a straight CD does. It will start playing wherever you pressed record while you were waiting for the track to begin....Hope that helps...JB
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Subject: (exotica) Re: Returned mail: Host unknown (Name server: contentrepublic.com.exoticaxmission.com: host not found)
Date: 19 Jun 2001 10:12:58 EDT
When I was 17'. Can anybody identify it please?=20
"It Was A Very Good Year" from the Broadway musical "The Fantastiks" circa 1966 or so...Frankie did it..Jimmy Durante did it...Its been done many times
over..Not a bad song for sentimental looker-backers
>>
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Subject: Re: (exotica) Bring yourself a smile this Friday.....
Date: 21 Jun 2001 18:44:10 +0200
Lou Smith schrieb:
> At 09:38 AM 6/15/01 -0400, Nate wrote:
> >Everyone have a great weekend - and Alan, is your documentary available on
> VHS yet?!?!!?
> >
> VHS?!? I want DVD with all the extra features - director's commentary,
> outtakes, bloopers, the "making of" documentary of the documentary.
> The works.
I know some counter examples. On the DVD of Gladiator f.i. there was a good docu about the Roman games. The outtakes and director's comments often are interesting, at least if you have a deeper interest in the whole process of filmmaking. Plus: DVDs offer subtitles for those of us who are not graced to be born in the land of the free.
Saw "Paris Blues" the other day, starring Paul Newman and Sidney Poitier as two americans trying to make it in the jazz scene of Paris in the early 60s. What flipped me out was one long sequence with Louis Armstrong and band entering that jazz club and playing a wild jam session with the others. Absolutely crazy. This must be the best jazz sequence I've ever seen in a film. Nice film anyway.
> I have a theory that *because* exotica music was so often finely
> engineered for pop appeal, that in some ways it's a BETTER mirror of
> its age than some hypothetical Pure Art.
This is definitely 100% true. To me the distinction between "serious" art and "light" entertainment is an old-fashioned one. So called serious art often enough just uses theoretical justifications of its own absolute value simply because it wouldn't attract anybody otherwise. Pop and entertainment on the other hand take their bath in the masses and have to prove their value by sales, which is a good prove, because nobody would waste precious money on something that s/he doesn't really like. I'm not saying that the taste of the masses never fails, but as any artist can tell you, it's much harder to win the approval of the masses than to be hailed by a few self-crowned specialists who just judge the value of art by claimed theories.
As for my own introduction to the world of exotica music, I can only assure you, I would never have listened to it, if I was not really fascinated by it and I would never have kept listening to it over the years, if I would not really love it. And this love of exotica includes all aspects that exotica has: the sheer beauty as well as the fine intentional and unintentional violations of good taste at the border to Kitsch; in fact I like art that is not one-dimensional. It's a delicate game with dazzling elements, a dangerous walk at the edge of the abyss.
Subject: Re: (exotica) Re: Kitsch? Never got Kitsch!
Date: 21 Jun 2001 18:02:06 +0200
this list is really strange: I get this Re: Kitsch mail by Ross, but I definitely never got a Kitsch mail before that. Does this mean, I don't get certain exotica mails or did you carry a private conversation to the list at a certain point?
> ..... is it by group approval that the list is set up to send replies to
> the original poster, rather than to the group at large?
I don't like it either. I'm not sure if it can be changed though. The list owner is living in a different dimension and cannot be contacted.
> if you want to follow up on a thread, you have to open the
> original post, copy the text you wish to include in your follow-up, close
> that message window, fish out a new blank email, address it to the list,
> paste the text you copied into the new post.......
you definitely use the wrong browser. all you've got to do, like when you use Netscape, is to click answer, click quote (if you haven't set that automatically) and change the address. Only that last command could be avoided if the list was set in a different way. If you forget it, your mail is sent directly to the sender and not posted which happens all the time to most of us.
Subject: Re: (exotica) some Thrift Store finds, etc.
Date: 21 Jun 2001 13:49:25 EDT
<- "Business Unusual" comp. From 1978: throbbing gristle, robert rental, the
cabs etc. some great stuff here>
You found this at a thrift store?!? Now that's what I call a score! I remember finding a bunch of early experimental stuff (Zoviet France, TG, obscure German indrustrial comps) at a garage sale pre-eBay (ah those were the days...), but that was the only time in 1* years of garage-saling/thrifting. You did good.
-DavidH
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Subject: Re: (exotica) It's the music that matters
Date: 22 Jun 2001 10:10:14 +0200
Edward schrieb:
>
> Good is just not the same as enjoyable.
>
Yes and no. Any musical or artistic or other experience is embedded in a complex context of time and space, personal data, historic situation, mood, comparison, pre-occupation, fear etc. etc. It is only natural, that even people who apparently share the same taste yet come to controversal ratings of seemingly same things. Because due to context these same things really are not the same. It is very hard if not impossible to see a thing "as is". And only to see a thing "as is" would mean to see "the truth". But we can't escape our memories. We can try to become free from the known, but I guess we will never make it.
It's not only the music that matters, but also the listener.
> I don't have a problem with that. but it ain't very democratic.
I'm so grateful you make this connection between democracy and art. pop is indeed the art of democracy, whereas the so called high or serious art is really the art of the bourgeoisie.
Subject: Re: (exotica) the way out price for children
Date: 23 Jun 2001 09:36:02 +0200
"m.ace" schrieb:
> Well, it's not so impossible. Last year I found (...) and Brass Ring's "The
> Dis-Advantages Of You" for a dime
That one is pretty cool isn't it? I bought it once for the cover only, but then was surprised how good the music was. I think I was first tuned in to the Brass Ring by Alan...
I've just stumbled across this book listing. Has anyone seen it? It's a bit pricey - but is it worth it??
(And what's this amazon.com "sourcing fee"???)
Lou
lousmith@pipeline.com
Hula Dancers & Tiki Gods
by Chris Pfouts
List Price: $39.95
Our Price: $39.95 + $1.99 sourcing fee
Hardcover - 208 pages (January 1, 2000)
Schiffer Publishing, Ltd.; ISBN: 0764312472
Editorial Reviews
Book Description
The dream of pure freedom in the South Pacific islands has never died on the mainland; sometimes it's more of an ache than a dream. Over time and through the mill of popular culture, the dream has been distilled into two enduring images: the hula dancer and the tiki god. This book displays over 500 color images of collectible hula dancers and tiki gods with which readers can have a little exotic fun and maybe catch a tropical thrill along the way. The hula dance provided an escape in its original culture, and here the dancers are shown in sections devoted to flat images, three-dimensions, crank girls, and Hollywood's versions from the twentieth century. The tiki gods that 1960s surfers wore for luck around their necks may have deeper meanings as well, and became the most important symbol of cool adulthood that mainland youngsters could imagine. Here lamps, figures, posters, and souvenirs all come together for entertainment and enjoyment. All dreamers of tropical pleasures will!
!
covet copies of this book to linger over. And the values guide will bring them quickly and happily back to reality. , 540 photos, 8 1/2" x 11", Price Guide --------------------------------------------------------------------------------
Customers who shopped for this item also shopped for these items:
> I've just stumbled across this book listing. Has anyone seen it? It's a bit pricey - but is it worth it??
> This book displays over 500 color images of collectible hula dancers and tiki gods
doesn't sound too bad, no?
> The tiki gods that 1960s surfers wore for luck around their necks may have deeper meanings as well,
some surfer type from Australia talked to me in Bali about my Hawaiian tiki that I wore, and told me that these Hawaiian Ku gods represent the "consciousness of the body" (or so), shown by the way the "hair" grows from the head down to the back of the figure... these deeper meanings may in part be urban american legends from the 60s...
>
> Customers who shopped for this item also shopped for these items:
>
> Tiki a Go-Go by Walter Foster
anyone know what this is?
> Aloha Spirit by Douglas Congdon-Martin
> Tiki Drinks by Adam Rocke, Shag (Illustrator)
> Taboo by Martin McIntosh, Sven Kirsten
Mo
--studio R
senses for a senseless world
http://moritzR.de
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For those who want to experience a bit of Brooklyn Exotica:
19TH ANNUAL CONEY ISLAND MERMAID PARADE Pray for no rain, and expect lots of changes at this year's famed aqua-pagan "art parade" and fleshfest. Nonprofit parade founders Coney Island, U.S.A.ùapparently in an effort to avoid festival and fiscal chaosùwill set up camp at the virgin Brooklyn Cyclones baseball stadium for a "$10 Platinum Deluxe Version." The package includes a special kickoff procession at 1:30, costume judging (Hector Camacho Jr. is King Neptune), and other pre- and post-parade entertainment, beginning at 10 a.m., 'til 4:30. (Having a seat and a place to pee may make this worth it for you; waiting outside on a desolate Surf Avenue for the parade to start may make you want to piss on the stadium.) After exiting the ballpark at 2:15, the free parade floods out onto Surf Avenue as usual, from West 16th Street to West 10th Street, butùand this is sadùit won't go onto the Boardwalk. The traditional ramble down to the beach at 4:30 continues, as will the antique car s!
!
how. SATURDAY AT 10 A.M., PARADE AT 2:15, Coney Island, Brooklyn, 718-372-5159, 718-449-TIXS, www.coneyisland.com. (Zimmerman)
June 30 19th Annual Coney Island Mermaid Parade Surf Avenue and West 16th Street, Brooklyn, 718-372-5159 Take note, there are some considerable changes for Coney's famous day of aquatic revelry and bare flesh: Parade organizer Coney Island USA is presenting the parade along with KeySpan Park. The parade assembles in the stadium's parking lot, and judging takes place inside the stadiumùwhere you pay $10 to sit and watch. Fortunately, all this happens before the actual parade, which is still free and still on Surf Avenue.
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Subject: Re: (exotica) off-topic note for web wranglers
Date: 27 Jun 2001 15:45:43 -0400
>Microsoft's latest version of Internet Explorer incorporates >a "feature" called Smart Tags: IE finds keywords in
This is actually a part of Windows XP and can operate in more than just a browser. Reports have been unclear about whether IE6 on an older version of Windows would have the feature but it appears that it wouldn't work. Or maybe it would since Microsoft is not giving up much info. They claim that Smart Tags will be disabled by default, requiring you to turn it on, but people who would create something like this can't really be trusted. If they keep this up we'll all be on Linux.
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I absolutely love Alvino Rey, and own the 'greatest hits' album on Dot which James mentioned.
I a few other things by him; here are the ones which haven't been mentioned:
- 'My reverie' on Decca from the early 60s is quite superb, one of my favorite LPs ever. This is a very different Alvino Rey sound to that you hear on the Capitol releases. He plays with a spooky vocal group called the Jordanaires, and produces a really superb otherworldly sound. 'flamingo' from this is particularly fantastic, but the whole LP is great. Very gentle, but really amazing. Not everything has to be over-the-top weird or funky, right?
- 'By request' is, incredibly, the only CD of Alvino's work available, to my knowledge. The recordings are from the 40s, and some of them feature the King Sisters. The last track 'Nighty night' is particularly nice, with some great singing from Yvonne King. It's a very nice disc, but it seems very strange that there hasn't been a compilation of his later work.
There was a nice article on Alvino in 'cool and strange music' issue 13.
cheers
jonny
www.psychedelicado.com
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http://musicaltaste.net
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Chico O'Farrill, Musician and Leader in Afro-Cuban Jazz, Dies at 79
by BEN RATLIFF,NYTimes
Chico O'Farrill, the composer, arranger and onetime trumpeter who was one of the primary creators of Afro-Cuban jazz, died on Wednesday in Manhattan. He was 79 and lived in Manhattan.
In one of the happiest career-restoration stories of popular music, Mr. O'Farrill received more recognition in the last six years of his life than ever before, thanks to a series of albums produced by his record manager and producer, Todd Barkan, for the Fantasy label. They were "Pure Emotion" (1995) and "Heart of a Legend" (1999) ù both nominated for Grammy Awards ù and "Carambola" (2000). As his 18-piece big band, conducted by Mr. O'Farrill with his son at the piano, became a success, with a weekly engagement at Birdland in Manhattan for the last three years, his name jumped from footnote to boldface.
Mr. O'Farrill's obscurity stemmed from his unassuming personality but also from his perfectionism. He was willing to serve as a writer and arranger, in the 1940's and 50's for Dizzy Gillespie, Machito, Count Basie and Stan Getz, among others. Later, after living and recording in Mexico, he was an arranger for American television commercials.
But he said the big band was his instrument; if he could not make big- band records with the appropriate time, care and money, then he would not have a bandleader's career. And he almost did not.
Arturo O'Farrill was born in Havana to an upper-middle-class family; his father was from Ireland and his mother had a German background. His parents sent him to military school in Georgia, where he learned to play trumpet and heard big-band jazz for the first time. His parents, horrified that he was consorting with black musicians instead of pursuing a career in law, did not share his excitement, although his father arranged for Mr. O'Farrill to study arrangement with the Cuban composer Felix Guerrero.
He plunged into Havana's nightlife, which was teeming with American jazz, and played trumpet with several dance bands, including Orquesta Bellemar, Armando OrΘfiche's Lecuona Cuban Boys and Los Newyorkers. At the time he was mainly interested in jazz.
In a recent interview he recalled that he found Cuban music boring. "There was only one phrase that repeated itself ad infinitum," he said. "Same over and over. There was no richness, and no notes to go to." He did not grasp the possibilities of fusing jazz with Afro-Cuban music until he arrived in New York in 1948.
It was the watershed moment for the fusion of bebop and Afro-Cuban music, or Cubop, as it came to be called. The bandleader Machito had been in New York since 1938, playing big-band Cuban music, and was beginning ù with the help of the arrangers RenΘ Hernßndez and Mario Bauzß ù to add more and more modern jazz to it.
Mr. O'Farrill, who had studied arranging in Cuba, used his knowledge in a job with the Benny Goodman band, writing "Undercurrent Blues," a popular number for Goodman's bebop-inspired ensemble. (It was Goodman who bestowed the nickname Chico.) But most of Mr. O'Farrill's work, as he recalled, was ghostwriting for ghostwriters, writing arrangements for arrangers like Walter (Gil) Fuller, Quincy Jones and Billy Byers, who already had too much work on their hands.
Soon he connected with the impresario Norman Granz, who helped put together a Machito recording session including Charlie Parker, Flip Phillips and Buddy Rich. "The Afro-Cuban Jazz Suite," the piece they recorded on Dec. 21, 1950, was Mr. O'Farrill's first masterpiece as a composer, an ambitious work that took the graduated crescendo of Latin big-band music and applied to it a classical sense of contrasting themes and sophisticated harmony. That became the beginning of an association with Mr. Granz's record labels Clef and Norgran, and the LP's recorded between 1951 and 1954, including the original "Afro-Cuban Jazz Suite" as well as a quieter sequel, "The Second Afro-Cuban Jazz Suite," were recently reissued on a two-disc set, "Cuban Blues: The Chico O'Farrill Sessions," on Verve/Universal.
He worked with Gillespie as well, writing "The Manteca Suite." In 1955 Mr. O'Farrill left New York, ducking marital and legal trouble, ending up back in Cuba and, two years later, Mexico. He stayed in Mexico City until 1965, recording albums there with Cuarteto D'Aida, the pianist and singer Bola de Nieve and the percussionist Gφrardo Rodriguez. He also composed another of his major works, "The Aztec Suite," for the trumpeter Art Farmer, as well as "Six Jazz Moods," a 12-tone piece.
Returning to New York, he made records with Miguelito Valdes, Cal Tjader, Count Basie, Gato Barbieri, Dizzy Gillespie and others. He became frustrated that he was generally called on only to write or arrange Afro-Cuban jazz when he had a background in most major styles of the music. In 1975 he rejoined Machito and Gillespie for an album, "Afro- Cuban Jazz Moods."
After 1975, for 20 years, the only recorded music he made was for television commercials. He arranged a few pieces for David Bowie's 1993 album "Black Tie White Noise," but did not return to recording until 1995, with "Pure Emotion."
He was featured in a Jazz at Lincoln Center program in 1995, which included a piece commissioned for him, featuring Wynton Marsalis. And he was a part of the recent Latin- Jazz film "Calle 54," directed by Fernando Trueba.
In March he stopped leading his band at Birdland, leaving the conducting chores to his son, Arturo, who survives him along with his wife, Lupe, and a daughter, Georgina, of Los Angeles.
The mixture of jazz and Afro-Cuban music, Mr. O'Farrill once said, is "a very delicate marriage. You can't go too much one way or the other. It has to be a blend. But you have to be careful with how different styles come together. Otherwise music labeled Latin jazz could end up being like Glenn Miller with maracas, or Benny Goodman with congas. Latin jazz is much deeper than that."
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I have both Gentle People albums. The first is definitely more to my taste. One song has a sample which I'm pretty sure is from the Peter Thomas Sound Orchester version of Marcos Valled 'Gente', featured on the same 'easy listening' polydor double LP which was mentioned a few weeks ago (the same one which features the Gunter Kalleman choir's 'Daydream'). There are also lots of nicely layered string samples; the whole thing is very atmospheric.
The second, 'simply faboo' isn't bad, but the production isn't quite as nice and dreamy, and I think there's more of an 80s influence, with more vocals.
I just got a bargain collection of 3 italian LPs from ebay. Umiliani's 'today's sound', Cabilido's three - 'Yuxtaposition' and the Paolo Achenza trio - 'do it'.
The Cabildo's Three looks particularly interesting- 'imprisoned for more than 25 years and used for movie soundtracks, background music, commercials, station breas etc... the compositions of this album were suddently 'set free' thanks to the interest of an admirer named Gerardo Frisina...' Has anyone heard this?
cheers
jonny
www.psychedelicado.com
--
tell us about your favorite songs!
http://musicaltaste.net
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