ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/exotica/archive/exotica.9601

Internet Message Format | 1996-01-30 | 539KB

From: [e-mail]
Subject: Re:  4 Rooms
Date: 01 Jan 1996 01:12:09 -0500

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Couldn't agree more about "4 Rooms."  Aside from the wonderful music, I can't
remember the last time I went to a movie that was more of a roller coaster
ride than this one.  I'm still in hysterics from the final 3 seconds...

And my first purchase of the new year will be the soundtrack.

Preston Peek
VINYL LIVES!


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From: T P Uschanov <[e-mail]>
Subject: Re: Burt?!!!
Date: 01 Jan 1996 15:11:09 +0200 (EET)

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There's also a Bacharach home page. Don't remember the address, but
there's a link to it on mine.

T P Uschanov (Mr), University of Helsinki, Finland, European Union.
[e-mail] ---- http://www.helsinki.fi/~tuschano/
"Property is theft." (Pierre-Joseph Proudhon)



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From: [e-mail] (Johan De Vis)
Subject: Dick Dale
Date: 01 Jan 1996 20:37:43 +0100

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since Dick Dale's "Misirlou" was used in the film "Pulp fiction", it gets a
lot of air play here in Belgium. I think it is one hell of a song,
especially because it has this Ennio Morricone thing about it thanx to that
great trumpet. I was wondering if all of Dale's songs (as on the Rhino CD
"BEST OF-KING OF SURF GUITAR" - RHi75756) have that same sound?

- -johan




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From: [e-mail]
Subject: Re: The Exotic Trilogy
Date: 01 Jan 1996 13:46:26 -0500

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[e-mail] wrote:

> What Billy Mure records have people found to be good?  My faves are
> Hawaiian Percussion and Supersonic Guitars (both volumes!)  I have
> some other records of his which are just sort of mushy.  Are there
> other worthwhile guitarish Mure albums besides the ones I've mentioned?

Fireworks! is definitely one of my all-time faves... a splendid mix of both
"mushy" songs and ultra rockin' supersonic guitar songs (though I must admit
I have yet to find an album by Mr. Mure that's been disappointing.)


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From: [e-mail] (Lucien Samaha)
Subject: Greatest Film Score
Date: 01 Jan 1996 15:44:02 -0500

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>I guess they aren't really "Exotica", per se, but my two faves would
>probably be "Juliet of the Spirits" (Nino Rota) and "Danger:Diabolik"(Ennio
>Morricone).Also two of my favorite films!"Forbidden Planet"(Louis and Bebe
>Bardon) is a real contender, too, and perhaps more in the "Exotic" vein.

"Juliet of the Spirits" sure has my vote as well as does Danger Diabolik;
but, whereas the former is now abundantly available, (finally), the latter
doesn't seem to exist anywhere.  I look for it all the time, and also to
"The Tenth Victim".  Was Danger Diabolik ever issued??

lucien




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From: [e-mail] (Lucien Samaha)
Subject: Re: Greatest Film Score
Date: 01 Jan 1996 15:44:34 -0500

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>Rota not exotica?  Hardly.  The more I hear of the 3 Suns, the more
>those early Rota soundtracks seem to fit the same category, whatever
>you want to call it.  Much similarity in the cheesy arrangements.
>Listen to On A Magic Carpet and tell me it doesn't
>sound like Fellini music :) !
>
>The Rota soundtracks to La Dolce Vita, Juliet of the Spirits and 8
>1/2 run a close second for me to Bacharach's Casino Royale.  In the
>may or may not be exotica category, there's Walter Carlos' full score
>to A Clockwork Orange which is no less than amazing.


Actually, I'd like to add that the Lalo Schifrin "Mission: Impossible"
album is outstanding, although not exotica and although not a film score.
But wait, I saw yesterday the trailer for the MOVIE MISSION:IMPOSSIBLE due
for release in mid 96 starring no other than Tom Cruise. And what's so
cool, they kept the original greatest of all themes.  Too bad the Batman
folks didn't have a clue.

lucien




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From: [e-mail] (Lucien Samaha)
Subject: Ronnie Aldrich
Date: 01 Jan 1996 15:44:45 -0500

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>anybody know much about ronnie aldrich and his two pianos and orchestra?
>i just scored a thrift store copy of a record by him in perfect condition
>called "this way in" that is absolutely tweaked easy listening/light pop
>covers (absolutely essential "mcarthur park" that speeds up at the end
>and "mrs. robinson" that rocks as hard as the original sans vocal.) who
>is this man and what else has he done?

I've got a few Aldriches, but mostly for the sumptuously sixties album
covers and the usually really cheap prices.  I agree with your review of
the music, but I do have one LP on Phase 4, that has a great cover of VENUS
that I play when I DJ, and even the most reluctants get up and dance and
sing along....

lucien




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From: [e-mail] (Lucien Samaha)
Subject: another film soundtrack never issued
Date: 01 Jan 1996 15:45:28 -0500

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If we can manage to get Danger:Diabolik, another one of my faves that I've
been seeking out but can't manage to get any info on is the original "A
Bout de Souffle" or Breathless.  Supposedly the launch of the French New
Wave with Jean-Paul Belmondo and Jean Seberg directed by no other than
Godard, with music credits going to Martial Solal, whom I believe is still
alive (??).  Anybody know of anything on this great music??

lucien




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From: Brad Bigelow (via RadioMail) <[e-mail]>
Subject: "Breathless" music
Date: 01 Jan 1996 14:14:23 -0800

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<#     [e-mail] (Lucien Samaha) wrote:

>If we can manage to get Danger:Diabolik, another one of my faves that I've
>been seeking out but can't manage to get any info on is the original "A
>Bout de Souffle" or Breathless.  Supposedly the launch of the French New
>Wave with Jean-Paul Belmondo and Jean Seberg directed by no other than
>Godard, with music credits going to Martial Solal, whom I believe is still
>alive (??).  Anybody know of anything on this great music??

According to my trusty film encyclopedia, the music by Solal is a jazz
interpretation of Mozart's Clarinet Concerto, K.622.

Brad


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From: [e-mail] (Brother Cleve)
Subject: Re: Greatest Film Score
Date: 01 Jan 1996 17:50:50 -0500

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0n 1/1/96 [e-mail] (Lucien Samaha) wrote:

>"Juliet of the Spirits" sure has my vote as well as does Danger Diabolik;
>but, whereas the former is now abundantly available, (finally), the latter
>doesn't seem to exist anywhere.  I look for it all the time, and also to
>"The Tenth Victim".

Ah, yes, "The Tenth Victim". Really hard to find, especially in stereo. But
worth the hunt, even though the main title theme is repeated about 5 times,
and the fidelity is very low. The title track, with vocal by Mina, is
exhilarating, and there's lots of wild Elka organ throughout.

I heard a rumor last year that Rhino might be reissuing this, but it hasn't
appeared and I never heard anything more about it. So far, there is no
Italian (CAM) CD of it. Hopefully someday someone will put it out, and
remaster it to its full glory. The cover art can be viewed in the Jack
Diamond record gallery.

br cleve




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From: [e-mail] (ANITA SERWACKI)
Subject: Re[2]: Friends of Dean Mart
Date: 02 Jan 1996 10:43:58 -0500

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I'm a bit late on this topic since I've been away for the holidays.
I saw Friends of Dean Martinez live a few months ago and bought
their album on vinyl at the show.  The record's very good but
I highly recommend seeing them live if possible.  Better than
the recorded stuff, their live performance was hypnotic.

______________________________ Reply Separator _________________________________
Author:  "kevin king" <[e-mail]> at Internet


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> Has anyone heard any of the music by a band called the Friends of
> Dean Martinez (formerly the Friends of Dean Martin until legal
> issues arose)?  A review in the current issue of Option describes
> them with references to Esquivel, the Ventures, lounge jazz and
> spaghetti westerns.  Sounds interesting, but its on Sub Pop, the
> home of grunge (though also the home of Combustible Edison), so
> I'm a wee bit wary.

Believe it or not, I saw a video of theirs on MTV!  They are quite
good musicians.  The single (don't remember the name and it's the
only one I've heard) is decidedly, authenticallly exotic.  It's not
at all a rawk hybrid.  Very Denny influenced, loverly.  The above
mentioned references to the Ventures and Morricone are also
prominent.  No idea what the rest of the cd sounds like, though.

cheers!
kevin


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From: [e-mail] (Eric Drysdale)
Subject: Be a pepper!
Date: 02 Jan 1996 11:41:31 GMT

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Happy New Year, all.

Found a most unusual record this weekend.  Not exotica, but odd.   It's
called "The Original Cast Album: Dr. Pepper, the Most Original Soft Drink
Ever."  It seems to be an internal promo for Dr. Pepper sales managers (in
1974, before it was bought out by who, coke?  pepsi?)  packaged as a
faux-broadway soundtrack.  It's a beautiful gate-fold with "scenes" from the
"Musical", and an insert poster with images from the different campaigns.
It has an instrumental "Overture", and then 6 "scenes" from the musical,
which were each used as T.V. ads.  Then,  It features Eubie Blake, Doc
Watson, Anita O'Day and Muddy Waters singing their own versions of the Dr.
Pepper theme song.  All of them are excellent, and the music is unmistakable
as the work of Randy Newman.  As if that weren't enough, the one-sided album
features a very groovy moire effect on the blank  side, and the label is a
big Dr. Pepper bottlecap.

- -E


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From: [e-mail]
Subject: Reverse Exotica
Date: 02 Jan 1996 13:03:35 -0500

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>From: [e-mail]
>Date: Sat, 30 Dec 1995 9:29:51 -0500 (EST)
>To: [e-mail]
>Subject: Arabic Exotica?
>Sender: [e-mail]
>Precedence: bulk
>Reply-To: [e-mail]
>
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>
  Some of their work is relatively
>straight, fairly traditional, Arabic music (which I like), but much of it is a
>little skewed, mixing in Western "colors" and making wonderful use of electric
>and electronic instruments.

This is the kind of thing I always refer to as "Reverse Exotica", i.e.music
from farflung locales that would be considered "Exotic" over here,
appropriating western pop styles with the same enjoyably disorienting
effect as the home grown variety of Exotica. Hindi film music is an endless
argosy of this kind of thing, with the added bonus that there are usually
equally mind-bending visuals to go with the tunes!Incidentally, I'm no
authority on "filmi";if anyone has expertise to share on this subject, I'd
love to learn more.

>Most of this music is readily available on CD or cassette, which might actually
>make it less interesting to many of you.

I'm always happy to learn that something cool is readily available!The
aforementioned Hindipop is also widely available at indian
spice/video/convenience stores .Cassettes are usually pretty cheap, which
makes taking a chance a little less risky, although cassettes have got to
be the worst recording format ever.

Insh'Allah!(sic)

Riviera




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From: [e-mail]
Subject: Re: "Breathless" music
Date: 02 Jan 1996 10:05:16 -0800

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<#     [e-mail] (Lucien Samaha) wrote:

>If we can manage to get Danger:Diabolik, another one of my faves that I've
>been seeking out but can't manage to get any info on is the original "A
>Bout de Souffle" or Breathless.  Supposedly the launch of the French New
>Wave with Jean-Paul Belmondo and Jean Seberg directed by no other than
>Godard, with music credits going to Martial Solal, whom I believe is still
>alive (??).  Anybody know of anything on this great music.

Some of the pop music included in "Breathless" is that of the great Sandy
Shaw. I doubt much of her music of that era (and sung in French) is in print,
but I have been able to locate used copies.



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From: "K. Schiele" <[e-mail]>
Subject: enoch light - disco...
Date: 02 Jan 1996 10:16:22 -0800 (PST)

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Hey all,

I recently scored a record by Enoch Light at a thrift store, it's called
"discoteque" (sp?), and I got it for $1.00.

I've never heard 'em, but bought it based on the repeated mention of them
on this list.

And to top it all off, my turntable is on the fritz - and I can't listen
to it right now.

Any comments?  Value (OK shape, not mint)?  Representative of their other
LPs?

Ken S.


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From: Jeff Swartz <[e-mail]>
Subject: HELP
Date: 02 Jan 1996 10:16:55 -0800

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HELP



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From: [e-mail] (Johan De Vis)
Subject: Re: Nuevo Surf/Spaghetti Groups
Date: 02 Jan 1996 20:47:02 +0100

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[e-mail] (Mike Ensley) wrote:

>And for you Incredibly Strange Music types, get Thee Shatners LP.  It's an
>album of Star Trek related surf tunes by guys who play decked out in
>original Trek uniforms.  It's brilliant.

could you please share the label & # & origin info of this one with us?

this reminds me of a 33 rpm 7" i once bought from norton records: "fuck you
spaceman!" (planet pimp records 001, 1992) with the mummies ("doin' the
kirk" :)  & the phantom surfers & best of all: a beautiful (but short)
accordeon version of the star trek theme by one alicia rose

Greetings from Johan
               [e-mail]          (home: Wivina 15, 1702, Belgium)

A HAPPY A HEALTHY NEW YEAR TO YOU !
======================================================================




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From: [e-mail]
Subject: Surf Trouble and My Email Wipeout . . . the thread that wouldn't die.
Date: 02 Jan 1996 10:56:37 -0800 (PST)

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Please pardon my tardy response, but I've been away.

>Kent wrote:
>
>>Get a Dick Dale, a Ventures and a good comp or two and you will have all the
>>surf you'll need.
>
>I couldn't agree more.  Well said.

And now I have all sorts of grief. ;)  I agree that there are all manner of
overlooked surf bands out there that could Watusi all over the Ventures whilst
simultaneously throttling Dick Dale and his blistered fingers.  Which is why I
concurred with Kent's "good comp. or two..." statements.  This whole surf con-
versation was in response to somebody's question about what is essential for
one to own when shopping for surf/hot rod/etc. and I feel that those are two
that are easily accesible to the uninitiated ear and will be easy to find at
the local shops.  From there one can certainly delve into lesser knowns like
the Frogmen, Pyramids, and journey out to bars to witness the new breed in
action.  Being a huge fan of surf, I would encourage everyone to check out the
genre with more than a cursory glance... but like Powerpop, surf in heavy
doses can make the ear tired and blur the lines between artists-- even with
such disparate sounds as Bruce Johnston vs. the Trashmen.  Dig them all, and
know that the "sound" can be mutated with amazing results... but there is a
delectable world of musical food out there, don't limit your palate.

All in my opinion of course.

Thanks for reading.


Kris



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From: [e-mail] (Mark Jung)
Subject: looking for a Buddy Ebsen LP
Date: 02 Jan 1996 13:10:02 -0600

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  A friend of mine's looking for a nice copy of "Buddy Ebsen Says Howdy"
(and the title says it all) - anyone got one they'd be willing to part
with?  There's a really frightening cut from it on the new "fake cowboy"
compilation from Rhino -
  Reply via e-mail, please -

thanks!
Mark

[e-mail]




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From: "Paco Ojeda_Gonzalez" <[e-mail]>
Subject: Thanks for surf recommendat
Date: 02 Jan 1996 14:30:19 -0500

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Mail*Link(r) SMTP               Thanks for surf recommendations!

As a response to my query, I received quite a number of recommendations for
surf music both through the list and directly to my e-mail address.

Many thanks to you all! And best wishes for the new year.

Paco Ojeda
Boston, MA



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From: "Paco Ojeda_Gonzalez" <[e-mail]>
Subject: My two cents on 4 Rooms
Date: 02 Jan 1996 14:26:59 -0500

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Mail*Link(r) SMTP               My two cents on 4 Rooms

br cleve writes:

> Has anyone in the group here seen the movie "4 Rooms"
> yet? I must recommend it, especially for the joy of
> hearing Combustible Edison and Esquivel in a movie
> theatre.

I loved the music, much more than the film itself... I'm afraid that in terms
of the overal film, I do side with most of the critics.

On the other hand, listening to the music was truly exciting. I'm going to get
the soundtrack to it.

> I got tingles up my spine listening to Miss Banquet's
> wild vocal over the cartoon opening credits (much like
> the delights from the Mirisch Corporation back in my
> youth).

My favorite such sequence is the one from the beginning of Blake Edwards' "The
Great Race," gorgeously scored by Mancini.

Are there any CD's available by Combustible Edison? I have been unsuccessful
in finding anything by them other than the soundtrack for the movie.

Paco



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From: Richard Favreau <[e-mail]>
Subject: Re: My two cents on 4 Rooms
Date: 02 Jan 1996 15:47:41 EST

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At 02:26 PM 1/2/96 -0500, Paco wrote:

>Are there any CD's available by Combustible Edison? I have been unsuccessful
>in finding anything by them other than the soundtrack for the movie.
>
>Paco
>
>
There's a CD called 'I, Swinger'.. Some time ago I downloaded a sample from
the following website which you may want to visit:


http://www4.ncsu.edu/eos/users/j/jpmckay/www/swank.html


Happy listening!

- --Rick



Richard Favreau
Charles Schwab & Co., Inc.
San Francisco, California

[e-mail]



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From: <[e-mail]>
Subject: Message-ID: <[e-mail]>
Date: 02 Jan 1996 15:56:37 EST

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     to help announce and promote our version of lounge music cum spy music
     cum cocktail music entitled SHAKEN NOT STIRRED we have given a whole
     bag o' prizes to the Space Age Bachelor Pad Music site on the WWW.
     they have set up a contest that any and all can play.  it's very fun
     and very cheeky (at least we hope so).  play it often, play it to win,
     play it for fun and profit.  Space Age Bachelor Pad Music on the World
     Wide Web: http://www.interport.net/~joholmes/index.html

     pass this information on to every one you know, including those folks
     in the fourth estate.
     ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
     David Greenberg
     [e-mail]
     HIFI/Rykodisc Shetland Park 27 Congress St. Salem MA 01915
     ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~





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From: "Bryan Stewart" <[e-mail]>
Subject: New CD releases
Date: 02 Jan 1996 16:53:48 -0500

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For those who will have nothing to do with CDs, skip this message.  For the rest
of us, here are a few reissues I have heard about.  I have already mentioned
some of these with a couple of you.

Scamp/Caroline will issue two-fers of Martin Denny's "Exotica/Exotica, Vol.II"
and "Forbidden Island/Primitiva" in the spring of 1996.  It will have new liner
notes written by Denny himself.  I personally liked the "Afro-desia" release,
but some others may have a different opinion.  To each his own.

BMG/RCA of Germany has released the following CDs from their 'Living Stereo'
series:

"The Other Chet Atkins" (RCA-29854)
"Esquivel, his Piano & Group - 4 Corners of the World"  (RCA-2985)
"More music from Peter Gunn, composed & conducted by Henri Mancini"  (RCA-29857)
"The Blues and the Beat" - Henri Mancini  (RCA-26047)
"Hello Blues" - Floyd Cramer  (RCA-29859)
"Town & Country" - The Browns  (RCA-29851)
"Prez" - Perez Prado  (RCA-26052)
"Oh Johnny" - Johnny Restivo  (RCA-29858)
"Sweet & Savage" - Los Indios Tabajaras  (RCA-29852)

There is also an audiophile sampler that tests the stereo separation of your
speakers.  The catalogue # is (RCA-27306).  If anyone has more info on these,
let me know.  I don't know how good they are so....

Bryan




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From: [e-mail]
Subject: Abdel Halim Hafez
Date: 02 Jan 1996 16:22:06 -0500 (EST)

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One Arabic singer not very well know over here, Abdel Halim Hafez, recorded a
lot of songs with an unusual mix of styles in them.  "Qariat el Fengan" begins
with the usual dramatic violins, adds what sounds like moog synthesiser (being
played in a manner not unlike Sun-Ra's), and moves into a Hawaiian sounding
passage, very uptempo passages with lots of percussion, etc.  "Fatet Ganbena"
sounded unbearably sweet to me the first time I heard it, but eventually I got
to enjoy the quirkiness of the transitions.  "Hawel Teftakerni" (by Baligh
Hamdi) has a wonderful psychedelic beginning.

The largest (legit.?) distributor of Arabic music in the U.S. is Rashid Sales
Co., 191 Atlantic Ave., Brooklyn, NY 11201.

Lately I've been listening over and over to an instrumental version of a song
Magida el Roumi (a Lebanese singer) sings.  It has a keyboard that sounds very
much like a duck, and yet it also has haunting melodies passing in and out of
it and is rhythmically quite good.  I find it strangely compelling.

- --Rudy


-------------------------------------------------------------------------------

From: [e-mail] (don cephus)
Subject: Re: Abdel Halim Hafez
Date: 02 Jan 1996 14:31:22 MST

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At 04:22 PM 1/2/96 -0500, [e-mail] wrote:
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>
>One Arabic singer not very well know over here, Abdel Halim Hafez, recorded a
>lot of songs with an unusual mix of styles in them.  "Qariat el Fengan" begins
>with the usual dramatic violins, adds what sounds like moog synthesiser (being
>played in a manner not unlike Sun-Ra's), and moves into a Hawaiian sounding
>passage, very uptempo passages with lots of percussion, etc.  "Fatet Ganbena"
>sounded unbearably sweet to me the first time I heard it, but eventually I got
>to enjoy the quirkiness of the transitions.  "Hawel Teftakerni" (by Baligh
>Hamdi) has a wonderful psychedelic beginning.
>
>The largest (legit.?) distributor of Arabic music in the U.S. is Rashid Sales
>Co., 191 Atlantic Ave., Brooklyn, NY 11201.
>
>Lately I've been listening over and over to an instrumental version of a song
>Magida el Roumi (a Lebanese singer) sings.  It has a keyboard that sounds very
>much like a duck, and yet it also has haunting melodies passing in and out of
>it and is rhythmically quite good.  I find it strangely compelling.
>
>--Rudy
>
>



-------------------------------------------------------------------------------

From: [e-mail] (don cephus)
Subject: Re: My two cents on 4 Rooms
Date: 02 Jan 1996 14:30:59 MST

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At 03:47 PM 1/2/96 EST, Richard Favreau wrote:
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>
>At 02:26 PM 1/2/96 -0500, Paco wrote:
>
>>Are there any CD's available by Combustible Edison? I have been unsuccessful
>>in finding anything by them other than the soundtrack for the movie.
>>
>>Paco
>>
>>
>There's a CD called 'I, Swinger'.. Some time ago I downloaded a sample from
>the following website which you may want to visit:
>
>
>http://www4.ncsu.edu/eos/users/j/jpmckay/www/swank.html
>
>
>Happy listening!
>
>--Rick
>
>
>
>Richard Favreau
>Charles Schwab & Co., Inc.
>San Francisco, California
>
>[e-mail]
>
>
>



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: New CD releases
Date: 02 Jan 1996 17:36:06 -0500

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Thanks for the plug on the new Scamp releases - boy news travels quickly!  By
the way there's even more Denny two-fers after these coming.  I have just
recently logged on to this Exotica chat page so I haven't read anything about
the "debate" alluded in your message concerning "Afro-Desia".  Let me just
say for those wondering about the sound -  Mr. Denny greatly approves of the
CD noting that it's the first time anybody got the sound right (i.e. the mix
between the harsh tones of the primitive instruments with the more rounded
ones of the vides and piano).  All previous CD incarnations he felt were
"smoothed over" and the sound "softened".  He especially loves how the tsetse
fly sound (which by the way was someone putting a reed in their mouth and
moving between two microphiones) was properly brought out.  Mr. Denny
remarked how he never intened that track to be commercially palatable, he
wanted the sound to be as un-nerving as a fly buzzing around your head does
get!  And just to dispell the idea a lot of us have that the Japanese always
seem to get reissues right - the Japanese  29 track comp "The Exotic Sounds
Of Martin Denny" features the "Afro-Desia" track "Ma'Chumba" with the right
and left stereo channels mistakenly reversed!

As for the BMG releases - I have picked up the Esquivel "Four Corners" and as
the Esquivel specialists on this chat line will I'm sure confirm this doesn't
rank as one of his best albums.  It does however include 3 extra tracks
"Granada", "Guadalajara" and "I Love Paris" - to keep with the geographic
theme.

Regards
Ashley


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: New CD releases
Date: 02 Jan 1996 19:13:00 -0500

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Bryan wrote:
> BMG/RCA of Germany has released the following CDs from their 'Living Stereo'
> series:
>
> "The Other Chet Atkins" (RCA-29854)
> "Esquivel, his Piano & Group - 4 Corners of the World"  (RCA-2985)
> "More music from Peter Gunn, composed & conducted by Henri Mancini"  (RCA-29857)
> "The Blues and the Beat" - Henri Mancini  (RCA-26047)
> "Hello Blues" - Floyd Cramer  (RCA-29859)
> "Town & Country" - The Browns  (RCA-29851)
> "Prez" - Perez Prado  (RCA-26052)
> "Oh Johnny" - Johnny Restivo  (RCA-29858)
> "Sweet & Savage" - Los Indios Tabajaras  (RCA-29852)

The Blues and the Beat is great!  It includes a few bonus tracks from
Uniquely Mancini and one from The Big Band Sound Of Henry Mancini.

The liner notes mention a few other BMG cd releases that may be of
interest:  Chet Atkins' Teensville (intriguing cover) and The Three
Suns' Twighlight Memories.  Any opinions on either of these?

kevin


-------------------------------------------------------------------------------

From: "DaveL"  <[e-mail]>
Subject: Re: The Music of Peter Gunn
Date: 02 Jan 1996 19:31:06 -0600

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Johan De Vis writes:

> so i checked cdconnection; i found a Henry Mancini cd entitled "Peter
> Gunn", but i'm not sure if it is the soundtrack or just another cheap
> compilation, as it is on the budget label Laserlight (#15412); anyone
> familiar with this cd?

This is _not_ Peter Gunn the soundtrack, but a misleadingly-titled compilation
on, as you mention, an ultra-budget CD reissue label. It's actually not bad for
$6.72 or whatever cdconnection has it for; if I was at home I'd be able to list
the tracks, but it seems to me that it has one or two from Peter Gunn &
something from Mr. Lucky along with ten or twelve others. (Anyone?) I'd keep
looking for the actual soundtrack to the show - it's great! The Laserlight comp
may actually be something of a disappointment to many on this list.

Incidentally, didn't someone, maybe br cleve, say something recently about RCA
having deleted the Peter Gunn CD (along with the follow-up) _and_ Mr. Lucky!?
Oh, and BTW, as long as we're discussing Mancini: you owe it to yourself to
search far and wide for the "Experiment in Terror" soundtrack LP. The title cut
is absolutely amazing! I suppose I could throw in a mention for "Arabesque" as
well(!), and the first "Pink Panther"... (Don't get me started.)

dave


                     /\\ \\ \\ \\
                    /  \\ \\ \\ \\         arouet records
                   /    \\ \\ \\ \\
 ZING! ZING! -----------// // // //------> [e-mail]
                    \  // // // //
                     \// // // //          fnast! image



-------------------------------------------------------------------------------

From: [e-mail] (Lucien Samaha)
Subject: 10th victim
Date: 02 Jan 1996 21:01:02 -0500

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bcleve 1/1/96:       "Ah, yes, "The Tenth Victim". Really hard to find,
especially in stereo."

I forgot to mention that this fantastic film is available in video and is a
must for any Sixties fanatic.  You can at least enjoy the music that way.

lucien




-------------------------------------------------------------------------------

From: Brad Bigelow (via RadioMail) <[e-mail]>
Subject: "Experiment in Terror"
Date: 02 Jan 1996 18:20:00 -0800

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<#     "DaveL"  <[e-mail]> wrote:

>Oh, and BTW, as long as we're discussing Mancini: you owe it to yourself to
>search far and wide for the "Experiment in Terror" soundtrack LP. The title
>cut is absolutely amazing!

Even better is Laika and the Cosmonaut's remake of this cut on their
"Instruments of Terror" CD.  One of my personal top 5 faves.

Brad Bigelow
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail] (Jack Diamond)
Subject: Fave Film/TV soundtracks
Date: 02 Jan 1996 20:48:45 +0000

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Bernard Herrman-Day The Earth Stood Still
Henry Mancini-Touch of Evil
Pierro Piccioni-10th Victim
Quincy Jones-In Cold Blood
Henry Mancini-Peter Gunn             The creator of an original sound
Henry Mancini-More Music From Peter Gunn
Pete Rugolo-Richard Diamond         (no relation)
Henry Mancini-Arabesque
Henry Mancini-Experiment in Terror
Johnny Mandel-I Want To Live
Sid Ramin-Stiletto

I know there are more ;)
Jack




-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Verushka/Morricone?
Date: 03 Jan 1996 01:39:16 -0500

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Has anyone heard of a movie called Verushka/Poesia de una Donna?  The
soundtrack was by Morricone.  I wonder if the name refers to the 60's
mod model.  The only other film I know with her is Antonioni's
Blow-Up which has a truly amazing, if not exotica, jazz rock
soundtrack by Herbie Hancock (probably my favorite outside of exotica
and classical (any Nyman work for Greenaway)).

Any idea of what this Morricone soundtrack is like?

kevin


-------------------------------------------------------------------------------

From: [e-mail]
Subject: BMG releases
Date: 03 Jan 1996 02:40:19 -0500

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>Bryan wrote:
>> BMG/RCA of Germany has released the following CDs from their 'Living Stereo'
>> series:---
>The liner notes mention a few other BMG cd releases that may be of
>interest:  Chet Atkins' Teensville (intriguing cover) and The Three
>Suns' Twighlight Memories.  Any opinions on either of these?

Both thumbs up in my book. Chet Atkins' "Teensville" has a peculiar tune
called "Boo Boo Stick Beat"that features a rythym section of mailing tubes
being banged together."Twilight Memories" is a "re-recorded-in-stereo
greatest hits" sort of thing. It features their dynamic interpretation of
"Delicado" as well as the Three Suns signature tune, "Twilight Time" and a
bunch of other fine selections,with arrangements by Charles Albertine.

iCiao!

Riviera




-------------------------------------------------------------------------------

From: T P Uschanov <[e-mail]>
Subject: Re: Capitol neglect
Date: 03 Jan 1996 13:25:10 +0200 (EET)

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On Tue, 2 Jan 1996 Jon Johnson wrote:

>      I agree that the Louis Prima collection is solid, but think Capitol could
> do better by *another* guy who made them a lot of money.  I run a record store
> and the Collectors' Series Prima disc is a consistant seller.  Capitol should
> take note of that fact and put out either a second volume, a more
> comprehensive 3-disc boxed set or--very unlikely--a serious re-issue program
> of the original albums.

But Bear Family already has a CD box set of every side Louis, Keely and
Sam Butera made for Capitol. Eight solid discs!

- -tp


-------------------------------------------------------------------------------

From: "Desmond K. Hill" <[e-mail]>
Subject: obscure adventures with Jean-Jacques Perrey
Date: 02 Jan 1996 22:20:14 +0000

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        New Year & a new subscription to the exotica-list. Forgive my
        inexperience, but I'd like to request the assistance of elder
        members to cast a reflective glance backwards. 'Am trying to
        uncover data regarding the obscure composer Jean Jacques Perrey.
        Born in France in 1929, he came to prominence when Edith Piaf
        organised a trans-Atlantic crossing on his behalf. Relocating
        to New York in 1960, Perrey was one of the first Moog musicians,
        creating weird beatnik electronic jams, before inventing what
        he himself called, 'a new process' for generating rhythms
        utilizing musique concrete sounds. This was evident on albums
        like 'The In Sound From Way Out' & 'Kaleidoscopic Vibrations:
        Spotlight on the Moog' apparently, in collaboration with
        Gershon Kingsley (one of Cage's accolades of the 1960s).

        Can anyone possibly ellucidate further? The little material
        I've absorbed by Perrey has intrigued all listeners & am eager
        to hunt more. In particular 'am attempting to locate places,
        (ideally in the U.K.) where I might purchase vinyl recordings
        of any of Perrey's solo experimental works, which might lie
        close to 'exotic' but a little distanced from 'exotica'. 'Is
        this the right place?' I wonder.

        Any suggestions gratefully received. Is there a news group for
        example which might offer assistance?

        regards,
        des

        Desmond K. Hill

        ?(._. )  ( ._.)?   (._. )  ( ._.)?

        Writer & researcher
        For television, radio, print & electronic-media

        Voice: [phone]
        E-mail: [e-mail]
        Address: 18 Victoria Street, Summerhill, Newcastle upon Tyne.
        NE4 7JU England




-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Re: Be a pepper! (FORWARDED MESSAGE)
Date: 02 Jan 1996 13:35:29 -0700 (MST)

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<# TO REPLY TO THE ORIGINAL SENDER OF THIS MESSAGE, SEND EMAIL TO:
<#
<#    Bruce Rhodewalt <[e-mail]>

Eric Drysdale wrote:
>
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>
> Happy New Year, all.
>
> Found a most unusual record this weekend.  Not exotica, but odd.   It's
> called "The Original Cast Album: Dr. Pepper, the Most Original Soft Drink
> Ever."  It seems to be an internal promo for Dr. Pepper sales managers (in
> 1974, before it was bought out by who, coke?  pepsi?)  packaged as a
> faux-broadway soundtrack.  It's a beautiful gate-fold with "scenes" from the
> "Musical", and an insert poster with images from the different campaigns.
> It has an instrumental "Overture", and then 6 "scenes" from the musical,
> which were each used as T.V. ads.  Then,  It features Eubie Blake, Doc
> Watson, Anita O'Day and Muddy Waters singing their own versions of the Dr.
> Pepper theme song.  All of them are excellent, and the music is unmistakable
> as the work of Randy Newman.  As if that weren't enough, the one-sided album
> features a very groovy moire effect on the blank  side, and the label is a
> big Dr. Pepper bottlecap.
>
> -E

Well, that sounds almost as nice as my "Music to Drink
Bubble Up By!" album from 1961, with radio promos ("We
take a kiss of lemon, a kiss of lime!").  "Operating on
the sound principal that if one jingle is good, eight good
jingles must be great, Bubble Up proudly presents a
take-home 8-pack of eight great melodies."  Includes
"Bubble Up Cha Cha Cha" (of course), "Lemon-Lime Merengue"
and "Down by the Old Bubble Up Stream."

Bruce
__________________________________________________________

      |    |    |   /     |     Tiki Publishing
- --  --     |    |  |      |     http://www.tikipub.com
    |      |      /       |     Bruce Rhodewalt, Owner
    |      |      \       |     78-365 Highway 111, #241
    |      |    |  |      |     La Quinta, CA 92253
    |      |    |   \     |     619/342-3418
  --     --   --   --   --


-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Re: 4 Rooms
Date: 02 Jan 1996 20:13:40 -0800

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At 8:04 PM 12/31/95, Brother Cleve wrote:
>Has anyone in the group here seen the movie "4 Rooms" yet?

I saw it on opening day here in L.A. and I've been waiting to see the
comments on this list.

I have to say the best thing about it is the soundtrack. It may be an aural
illusion, but it seems that the editing on the soundtrack in the film
varies significantly from the CD. I like the CD very much, but it seems
that maybe the versions in the film run longer, or something (maybe the CE
members on the list can fill us in). And was I napping when the "Bewitched"
theme was played? I don't remember hearing it or seeing it in the credits.

But other than that, here are some ups & downs:

UPs
The entire Robert Rodriguez segment with Antonio Banderas and the two kids
(except for some weird editing choices at the climactic moment) - great
direction, a very funny narrative and a funny cameo by Marisa Tomei

Lili Taylor's performance in the Allison Anders section (and Madonna's
pretty good too)

The camera work and editing in the Tarantino section (especially the ending)

As Br. Cleve said, the Mirisch-style opening

Ummmm ...

DOWNs
The terrible continuity (the four sections had to be in a different order
when they were shooting - my theory is when the producers [or QT] saw how
bad the Anders section was they stuck it in front hoping we'd forget it by
the end)

Tim Roth's performance, from the horrible opening "prologue" on

Quentin Tarantino's dialogue, out-of-control direction, and "acting" "style"

The only thing I can say about Allison Anders (whose "Gas Food Lodging" is
really great) is that maybe she was trying to parody or pastiche a "Love
American Style" structure - or maybe they edited out the parts that made it
coherent

..............
Anyway, everybody should see it. I didn't hate it. The Rodriguez section
and the final minute of the film banked enough goodwill for me (if not my
boyfriend) to leave the theater smiling. And maybe Robert Rodriguez will
make another comedy (although his next film, "From Dusk To Dawn," produced
and featuring Se=F1or Quentin Tarantino, doesn't seem to be it).

kjm




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Arabic Pop Exotica
Date: 02 Jan 1996 14:29:46 -0500 (EST)

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> I lived for a while in Egypt (mid-80s) and I am a big fan of the classics
> (Oum Kalthoum) as well as Egyptian pop ("Lo Laaki" was the pop sensation
> when I was there), but I'm kind of out of touch except for Ann Dudley's
> "Songs from the Victorious City" and the earnest Real World recordings. Any
> info on Egyptian/MidEast pop would be greatly appreciated by me.

When I say Arabic pop music, I am including Oum Kalthoum.  "New Sound" which I
think was initiated with "Lo Laaki" is still dominant in Egypt, as far as I
know.  I have not lived in any Arabic countries, so I don't know these things
first hand.  I have picked a lot up from a helpful Arabic grocery store
proprietor who sells tapes as well as pita bread.  I liked "New Sound"
initially, but it doesn't seem to be changing at all.  Very monotonous.

I like some of the things I hear from the Gulf states.  Mohamed Abdu in Saudi
Arabia is good, although I find his studio recordings a little too slick.  I
also like Saleh Abdel Gafor, an Iraqi singer who made the first recording of a
song which later became a hit throughout the Arabic world.  (I don't know the
title.)

For the most part, I am catching up to things from the 30's through the 70's.
I mentioned George Wassouf, a Syrian singer.  Some of his live recordings
(presumably bootlegs) are pretty manic.  Some of these singers come to sing at
the casinos in Atlantic City, NJ.  I had a chance to see Wassouf there a couple
summers back.

- --Rudy



-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: New CD releases
Date: 03 Jan 1996 00:10:30 -0500

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On 1/2/96 "kevin king" <[e-mail]> wrote:

>The liner notes mention a few other BMG cd releases that may be of
>interest:  Chet Atkins' Teensville (intriguing cover) and The Three
>Suns' Twighlight Memories.  Any opinions on either of these?

Haven't heard the Atkins, but IMHO "Twilight Memories" is one of the 3 Suns
best efforts, up there with "Fever & Smoke", "Moovin' & Groovin'" and "A
Swingin' Thing". I'd be very interested to know what the bonus tracks are.

br cleve




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Beatnick with a C
Date: 03 Jan 1996 08:54:00 -0500

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DX felt compelled to point out that I spell Beatnik BEATNICK.

I really do no (oops! know) how to spell Beatnik, DX.  There is a reason I
used a C.

The name was is use when I assigned it to myself.  So I modified it.

It is not all that uncommon.  For example, Jack Diamond spells Diamond
DYEMUND.

Do you feel better now that I have explained why I use a C in Beatnik?

Thank you for your keen observation and valuable contribution to the exotica
mailing list.


-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Mysterious Soundtracks
Date: 03 Jan 1996 11:39:38 -0500

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Here are some soundtracks I would like to see (on CD):

"Legend of the Lost" (1957).  Yes, this is the John Wayne-Sophia Loren film.  I
found the soundtrack to mysterious and, in my opinion, exotic.  I did not catch
who did the score for the film in the opening credits.  Does anyone know?

"Fall of the House of Usher" (1960).  Nothing beats Vincent Price.  Music by Les
Baxter.  Strange, strange mood sounds.  Soundtrack was released on American
International Records.

"The Pit and the Pendulum" (1961).  Vincent Price again.  One of my favorites!!
A classic!!  Superior to the new, crappy remake.  Music, again by Les Baxter on
American International Records.  I preferred it slightly over "House of Usher".

I remember when I saw both of the Roger Corman films, they had a plug for
obtaining the original motion picture soundtrack (on LP) in the end credits.
Does anyone know who owns the soundtracks and masters to American International?
I'd like to see them released on CD.

Bryan


-------------------------------------------------------------------------------

From: Aaron Oppenheimer <[e-mail]>
Subject: Re: 4 Rooms
Date: 03 Jan 1996 10:54:34 -0500

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Hi all,

I thought I'd respond to a couple of comments about the flick. A few little
spoilers follow. This isn't an official band statement or anything, just
some inside info from me, your personal friend.

At 08:13 PM 1/2/96 -0800, Kevin Martin wrote:

>illusion, but it seems that the editing on the soundtrack in the film
>varies significantly from the CD. I like the CD very much, but it seems
>that maybe the versions in the film run longer, or something (maybe the CE
>members on the list can fill us in). And was I napping when the "Bewitched"
>theme was played? I don't remember hearing it or seeing it in the credits.

Fill you in I can. A lot of editing went on after the soundtrack album was
delivered to Elektra. Several scenes were removed from Alex Rockwell's and
Allison Anders' rooms (including the scene with 'Bewitched'), and some of
the new music written for Alex' and Robert Rodriguez' rooms was either
edited (streched or shrunk) or replaced with music from 'I, Swinger'. In the
latter case, the 'Swinger' music was what was used as the 'temp' music when
the film was originally edited, before we wrote anything new.

Most of the music we wrote for the film as it was last March is on the
soundtrack record; if you hear something on the record that you don't
remember from the film, it probably fell victim to the editing process.

>The terrible continuity (the four sections had to be in a different order
>when they were shooting - my theory is when the producers [or QT] saw how

The original script has the film structured the way it ended up. The only
continuity problem I can think of is when the kids in Robert's room call
room 409 and ask about needles; we've already seen that scene from the other
side when Seymour answers the phone in Alex' room. Two comments: The
directors knew about this from the start and didn't care (Pulp Fiction, for
example, is full of that sort of thing, done on purpose), and also it's
implied that the whole game in Alex' room is starting over when the real
Theodore shows up at the end of the segment, so maybe it makes sense that
someone would call later and ask about needles. Whatever.

>Tim Roth's performance [was terrible], from the horrible opening "prologue" on

I liked it, but that's just me.

Aaron

~~~~~~~~~~~~~~~~~~
Combustible Edison
[e-mail]                        PO Box 381245 Cambridge MA 02238
http://www.subpop.com/bands/combustible/html/index.html   Stay Fabulous!



-------------------------------------------------------------------------------

From: Brad Bigelow (via RadioMail) <[e-mail]>
Subject: Rare Surf:  The South Bay Bands
Date: 03 Jan 1996 18:40:04 -0800

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<#     Brad Bigelow (via RadioMail) <[e-mail]>
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With the discussion of surf on the list in the last week, the arrival in
my mailbox of volumes 1 and 2 of AVI's compilation, "Rare Surf:  The South
Bay Bands" was timely.

These are, flat out, two fantastic CDs.  Almost none of this stuff could be
touched before outside the most exclusive and pricey surf collectors circles.
Both are a great deal--25 cuts on vol1, 28 on vol2.  The quality and variety
of selections is astonishing, particularly when you look at the 14-year-old
faces of the Nocturnes on Vol 2.

If you like surf or instrumentals, check these out.

Brad Bigelow


-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: Mysterious Soundtracks
Date: 03 Jan 1996 22:32:04 -0500

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On 1/3/96 "Bryan Stewart" <[e-mail]> wrote:

>Here are some soundtracks I would like to see (on CD)
>"Fall of the House of Usher" (1960)...
>"The Pit and the Pendulum" (1961)...

>I remember when I saw both of the Roger Corman films, they had a plug for
>obtaining the original motion picture soundtrack (on LP) in the end credits.
>Does anyone know who owns the soundtracks and masters to American
>International?
>I'd like to see them released on CD.

I checked a few discographical sources (old Schwann catalogs and the
Soundtrack Price Guide) and found no mention of these tracks being
released. Nothing under Les Baxter. Also, the Schwann's of the early-60's
don't list an American International label in their index; a cursory check
shows that the label doesn't show up until 1971("Dr.Phibes","Three in The
Cellar", "Wuthering Heights"). Maybe it took them that long to get a label
operating. Most of the AIP film tracks (esp. the biker ones) were on Tower
(or its parent, Capitol) or Buena Vista (the beach party epics, undoubtedly
due to Annette's contract with Uncle Walt).

br cleve




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Rare Surf: The South Bay Bands
Date: 04 Jan 1996 00:11:43 -0500

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In full agreement, in fact anything AVI has put out has been excellent.
Ashley


-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Re: 4 Rooms
Date: 03 Jan 1996 21:58:07 -0800

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At 10:54 AM 1/3/96, Aaron Oppenheimer wrote:

>I thought I'd respond to a couple of comments about the flick. A few little
>spoilers follow. This isn't an official band statement or anything, just
>some inside info from me, your personal friend.
>
>At 08:13 PM 1/2/96 -0800, Kevin Martin wrote:
>
>>The terrible continuity (the four sections had to be in a different order
>>when they were shooting - my theory is when the producers [or QT] saw how
>
I noticed the phone call, but I thought the same thing you did; that wasn't
part of the problem with continuity. What I felt was the worst lapse (of
several) in continuity was that, after the Rockwell "room," Tim Roth has
his tie askew as it was in the Anders' room, and makes several comments as
though he'd just left that "room."

There were others, but they'd be spoilers.

Thanks, Aaron, for the fill-in flash.

kjm

======================================================================
======================================================================

"I know I don't have any talent,
And I know all I have is a body,
And I am doing my bust exercises ...
Oh, the hell with them ... let 'em droop!"

                                  - Jennifer, _Valley_of_the_Dolls_




-------------------------------------------------------------------------------

From: <[e-mail]>
Subject: Message-ID: <[e-mail]>
Date: 03 Jan 1996 17:58:01 EST

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     >BARBARELLA on CD

     more information from anyone please.

     ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
          David Greenberg
          [e-mail]
          HIFI/Rykodisc Shetland Park 27 Congress St. Salem MA 01915
     ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~





-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re[2]: Capitol neglect
Date: 03 Jan 1996 11:15:27 PST

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     >But Bear Family already has a CD box set of every side Louis, Keely
     >and Sam Butera made for Capitol. Eight solid discs!

     Wonderful. It takes a German company to do justice to an American
     artist when their original label is still around.

     Yeah, as a fan of rockabilly, surf, garage and some psych, I'm
     familiar with this attitude (with uncountable numbers of Euro-reissues
     and comps of American music in my collection) but it is still WRONG.

     I'm not putting down the Bear Family box set, but A) it ain't
     available everywhere and B) it is not cheap. Capitol could easily
     reissue all that stuff and give it a budget price as there are no
     advances to the artists and there would be little to no cost for
     advertising and marketing. Hell, with all the amazing stuff that the
     photoshop program does, they could scan the original artwork off the
     albums themselves at the cost of a few hours time of a graphic artist.

     Basically, major labels suck eggs (rotten ones).




-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Re:  Re[2]: Capitol neglect
Date: 04 Jan 1996 05:46:39 -0800

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> I'm not putting down the Bear Family box set, but A) it ain't
> available everywhere and B) it is not cheap. Capitol could easily
> reissue all that stuff and give it a budget price as there are no
> advances to the artists and there would be little to no cost for
> advertising and marketing.

While I can't argue that the discs are expensive, they're certainly available
everywhere, since you can mailorder them directly from Bear Family (it's worth
it just to get on their mailing list for the catalog).  Most Bear Family sets
are also available from on-line service such as cdconnection.com.

With the money-grubbingness that Capitol has shown, I'd have to guess that they
don't think there is sufficient money in a Louis Prima box set to make it worth
their while.  And straight up reissues probably wouldn't sell in sufficient
quantity to fund the resources being moved off of other projects.

Does anyone know if the cost structuring in Germany is different than here -
allowing, for example, Bear Family to license American material at royalty
rates that are lower than the actual owner of the material would have to pay
here in the USA?

- -dx


-------------------------------------------------------------------------------

From: [e-mail]
Subject: All Apologies
Date: 03 Jan 1996 11:11:25 -0500

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My apologies to the list for blasting DX "in public".  He pointed out my
"error" in private so I should have scolded him in private.

Sorry for any violation of proper etiquette.


-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: OK.  What gives?  Am I BRANDED? (FORWARDED MESSAGE)
Date: 03 Jan 1996 10:17:02 -0700 (MST)

<# Replies to this message will go to:
<#     Lazlo Nibble <[e-mail]>
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<# TO REPLY TO THE ORIGINAL SENDER OF THIS MESSAGE, SEND EMAIL TO:
<#     "WTW2201" <[e-mail]>

Last week, I donated my two cents to the "exotica" mailing lists concerning
cleaning vinyl, investing in records without covers, and the hidden value of
"inner sleeves."  As I only subscribe to "exotica-digest," I have not seen my
postings included in any of the four most recent issues of exotica-digest.

Have I been edited in the highest order?  Is my server screwy?  If ANYBODY
got my message, relieve my mind and reassure that I did write SOMETHING and
that it went SOMEWHERE last week.

I didn't save the messages and I simply don't have the time to rewrite my
advice in my usual verbose writing style.  Apologies to those who missed out.

Bill Wynne
[e-mail]


-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Re: Be a pepper! (FORWARDED MESSAGE)
Date: 03 Jan 1996 10:12:42 -0700 (MST)

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<# TO REPLY TO THE ORIGINAL SENDER OF THIS MESSAGE, SEND EMAIL TO:
<#    Bruce Rhodewalt <[e-mail]>

Eric Drysdale wrote:
>
> <# Replies to this message will go to:
> <#     [e-mail] (Eric Drysdale)
> <# To respond to the list, please mail your message to [e-mail].
> <# For help unsubscribing, say "HELP" in a message to [e-mail].
>
> Happy New Year, all.
>
> Found a most unusual record this weekend.  Not exotica, but odd.   It's
> called "The Original Cast Album: Dr. Pepper, the Most Original Soft Drink
> Ever."  It seems to be an internal promo for Dr. Pepper sales managers (in
> 1974, before it was bought out by who, coke?  pepsi?)  packaged as a
> faux-broadway soundtrack.  It's a beautiful gate-fold with "scenes" from the
> "Musical", and an insert poster with images from the different campaigns.
> It has an instrumental "Overture", and then 6 "scenes" from the musical,
> which were each used as T.V. ads.  Then,  It features Eubie Blake, Doc
> Watson, Anita O'Day and Muddy Waters singing their own versions of the Dr.
> Pepper theme song.  All of them are excellent, and the music is unmistakable
> as the work of Randy Newman.  As if that weren't enough, the one-sided album
> features a very groovy moire effect on the blank  side, and the label is a
> big Dr. Pepper bottlecap.
>
> -E

Well, that sounds almost as nice as my "Music to Drink
Bubble Up By!" album from 1961, with radio promos ("We
take a kiss of lemon, a kiss of lime!").  "Operating on
the sound principal that if one jingle is good, eight good
jingles must be great, Bubble Up proudly presents a
take-home 8-pack of eight great melodies."  Includes
"Bubble Up Cha Cha Cha" (of course), "Lemon-Lime Merengue"
and "Down by the Old Bubble Up Stream."

Bruce
__________________________________________________________

      |    |    |   /     |     Tiki Publishing
- --  --     |    |  |      |     http://www.tikipub.com
    |      |      /       |     Bruce Rhodewalt, Owner
    |      |      \       |     78-365 Highway 111, #241
    |      |    |  |      |     La Quinta, CA 92253
    |      |    |   \     |     619/342-3418
  --     --   --   --   --


-------------------------------------------------------------------------------

From: Henk Rijks <[e-mail]>
Subject: Russ Meyer Soundtracks
Date: 04 Jan 1996 17:10:53 +0100

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<#     Henk Rijks <[e-mail]>
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Just spotted two double cd's with soundtracks of all Russ Meyer movies
(Super Vixen et.al.) Great artwork ;-) but does anyone know more
about the music? Is it worth buying?
Regards, Henk


========================================================================e-mail: [e-mail]             snail: OZ Voorburgwal 129/II
        [e-mail]            1012 EP Amsterdam,The
Netherlands
========================================================================


-------------------------------------------------------------------------------

From: Henk Rijks <[e-mail]>
Subject: The Theremin Home Page
Date: 04 Jan 1996 17:20:28 +0100

<# Replies to this message will go to:
<#     Henk Rijks <[e-mail]>
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This is a multi-part message in MIME format.

======================================================================
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Just spotted some neat Theremin stuff on the web. Here's some links:

http://www.vuse.vanderbilt.edu/~jbbarile/theremin.html
http://www.he.tdl.com/~Enternet/teci/teci.html
http://www.emf.net/~mal/theremin.html
http://sunsite.unc.edu/id/theremin/
http://www.ccsi.com:80/~bobs/theremin.html
http://www.kcrw.org/c/ra.html
    RealAudio Interview with Steve Martin
         Recorded on August, 28, 1995. You must have the RealAudio player
    to listen to this interview.

http://www.users.interport.net/~ufu/oddmusic/
=============================================================================
e-mail: [e-mail]             snail: OZ Voorburgwal 129/II
        [e-mail]            1012 EP Amsterdam,The
Netherlands
=============================================================================

======================================================================
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="theremin.html"

<BASE HREF="http://www.vuse.vanderbilt.edu/~jbbarile/theremin.html">

<html>

<HEAD> <TITLE>The Theremin Home Page</TITLE> </HEAD>

<body bgcolor="ffffff" vlink="000080">

<center><img src="Pictures/thertitl.gif" alt="The Theremin Home Page"></center>
<br>

<hr>
<dl>
<dt><b><font size=+1>The Theremin</font></b>
<dd>Invented in 1918 by Leon Theremin (1896-1993), this unique instrument is still popular today in experimental music circles.  The theremin is played by waving one's hands near two metal antennae: one for pitch and the other for volume.  The antennae vary the frequency of two oscillators.  To create the sound, a fixed oscillator is mixed with the variable pitch oscillator and their difference (or beat frequency) is amplified.
</dl>
<center>This page is dedicated to the Leon Theremin and his wonderful contributions to electronic music.</center>
<p>
<br><img src="Pictures/theremin1.gif" align="right" alt="Theremin Player">
<h1><b>Table of Contents:</b></h1>
<ul>
<li><a href="TBuying.html">Theremin Availability</a>
<li><a href="TBuilding.html">Projects and Schematics</a>
<li><a href="TParts.html">Where to Find Parts</a>
<li><a href="TPubs.html">Publications and Films</a>
<li><a href="TRecordings.html">Known Theremin Recordings</a>
<li><a href="TBands.html">Bands Currently Using Theremins</a>
<li><a href="TExhibits.html">Theremins on Exhibit</a>
<li><a href="TPerform.html">Performances and Broadcasts</a> <img src="Pictures/new01.gif" align=top alt="new">
<li><a href="TOtherLinks.html">Other Theremin Links</a>
<li><a href="TPeople.html">Contributors to The Theremin Home Page</a>
<li><a href="Tnewsgroup.html">alt.music.makers.theremin is here!</a>
<img src="Pictures/new01.gif" align=top alt="new">
<li><a href="photos.html">Photo Gallery</a> <img
src="Pictures/new01.gif" align=top alt="new">
</ul>
<br clear=all>
<p>
<center><b>To anyone who sent me e-mail between Nov. 27 and Dec.
1</b><br>
I lost all my mail in a crash, and I didn't quite get all the
information added to the pages yet.  If you don't see something you
sent in listed, please contact me again.  I'm very sorry for the
inconvenience.
<p>
- -Jason
</center>
<p>
<hr>
<br>
<center>You are visitor number <img src="http://cain.telalink.net/cgi-bin/counter?theremin?&width=5" alt="counter"> since August 9, 1995.</center>
<br>
<center><b><i>Comments or suggestions?  Send e-mail to: <a href = "mailto:[e-mail]"><address>[e-mail]</address></a></i></b></center>
<hr>
<center>
<table border=3>
<tr>
<td width=300 align=middle>
<a href="http://www.vuse.vanderbilt.edu/~jbbarile/jbbarile.htm"><img src="Pictures/wakko.gif" align=middle alt="wakko.gif"></a>
<a href="http://www.vuse.vanderbilt.edu/~jbbarile/jbbarile.htm">Jason's home page</a><br>
</td>
<td width=300 align=middle><i>Last Change: 12-1-95, 10:00am</i><br></td>
</tr>
</table>
</center>
</p>
</body>
</html>

======================================================================



-------------------------------------------------------------------------------

From: Jon Johnson <[e-mail]>
Subject: Re: Bubble-Up/Kingston Trio 7-Up Commercials
Date: 04 Jan 1996 11:33:58 -0500

<# Replies to this message will go to:
<#     Jon Johnson <[e-mail]>
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<---- Begin Included Message ---->

Well, that sounds almost as nice as my "Music to Drink
Bubble Up By!" album from 1961, with radio promos ("We
take a kiss of lemon, a kiss of lime!").  "Operating on
the sound principal that if one jingle is good, eight good
jingles must be great, Bubble Up proudly presents a
take-home 8-pack of eight great melodies."  Includes
"Bubble Up Cha Cha Cha" (of course), "Lemon-Lime Merengue"
and "Down by the Old Bubble Up Stream."

Bruce
<---- End Included Message ---->
     On Capitol's new Kingston Trio boxed set there are a couple of radio
spots the group did in 1960 for 7-Up.  The spots were set-up as mini-programs,
hosted by a guy named Ken Carpenter.  They had a bit of the group and Ken
doing a little light comedy and finished with the Trio playing a song with
lyrics extolling the virtues of 7-Up.  The first song is "With You, My Johnny"
with different lyrics and the second is "Corey, Corey" with appropriate 7-Up
lyrics.  Each spot is a little over two minutes in length.
                                  --Jon Johnson
                                    [e-mail]




-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Capitol...again
Date: 04 Jan 1996 12:37:27 -0500

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I didn't mean to provoke a firestorm of hostility against Capitol.  While some
of what they do may leave a lot to be desired, I don't think they "suck a lot of
rotten eggs".  If I felt that strongly about it, then I would not buy any of
their products.  They are who they are and nobody has to like it.

In regards to Bear Family, I appreciate the fact that someone out there is even
releasing some of this stuff.   There are some Germans out there who know what
kind of music they like and it ain't German!  If I want something bad enough,
then I will have to pay the price and go to imports.  Otherwise, I do without.

That's just my opinion.
Bryan


-------------------------------------------------------------------------------

From: T P Uschanov <[e-mail]>
Subject: Re: Mysterious Soundtracks
Date: 04 Jan 1996 19:08:38 +0200 (EET)

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> Here are some soundtracks I would like to see (on CD)
> "Fall of the House of Usher" (1960)...
> "The Pit and the Pendulum" (1961)...
> I remember when I saw both of the Roger Corman films, they had a plug for
> obtaining the original motion picture soundtrack (on LP) in the end credits.
> Does anyone know who owns the soundtracks and masters to American
> International? I'd like to see them released on CD.

Don't know, but Rhino released the OST of 'A Little Shop of Horrors' on
vinyl around a decade ago -- I have it at home, in fact. I can't remember
who they say they licenced it from, though.

- -tp


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Soundtrack question...
Date: 04 Jan 1996 09:50:02 -0800 (PST)

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All this talk about finding obscure film music set my mind to racing.  I took
a cinema class a few years ago and one of the short films shown was called
"Toys" (this was not the Robin Williams feature)... it was a great little an-
imation piece in which some anxious little kids are gawking at a display win-
dow in a toy store at Christmas time.  The toys start to move via stop-motion
animation-- doing fun toy things until the G.I. Joes and other war toys start
to engage in battle, the whole scene (Barbie, stuffed animals etc. included)
degenerates into a pretty viscious statement regarding what kids learn from
the toys we give them.  Heavy handed but effective... the inital fun-toy
sequence is set to some ultra cool go-go music.  I remember looking in the
credits and talking to the professor about who did the music, but had no
luck.
The sound was somewhere between Tijuana Brass and Hal Blaine's solo work.
Very "Laugh-In", with zany trumpets and sock-o drumming... if anybody out
there recognizes this film *and* knows where the music was from I'd be in-
terested in knowing.  Thanks in advance for any leads.

            Apologies for this lengthy tangent,

                    Kris.



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Re[2]: Capitol neglect
Date: 04 Jan 1996 12:49:43 -0500

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>Does anyone know if the cost structuring in Germany is different than here -
allowing, for example, Bear Family to license American material at royalty
rates that are lower than the actual owner of the material would have to pay


Nope. Actually royalty rates are higher in Germany which benefits especially
the writers & artists. Usually in licensing deals, the labels involved work
out a master rate between themselves. Usually the master owner asks for as
much money as they can up front. The licensee asks for the cheapest rate etc.

Sometimes what holds up US re-releases is that the original contracts have no
provisions for current CD, etc. technology, so the label could just carry on
paying el cheapo artist royalties (5-6%?) or re-negotiate with heirs & such.
People hurt the most are the artists who weren't that big to begin with and
may not be aware or have the resources to get the accounting straightened
out.

You have to realize at modern US labels, unless you've been there forever,
the majority of people there have no idea what's in the catalogue and/or
vaults. The catalog product manager may know a bit more, but is probably
reliant on people from the outside providing information and/or yelling at
them (as I'm sure someone is re: Dean Martin & Capitol).

When I was working at EMI Canada as the Canadian product manager, I really
tried to re-release all this great Canadian stuff from the 60s as all the
tapes & stuff were in the vaults, but because no one else there had ever
heard of these artists, I couldn't get it past the various marketing/legal
people. Years after I left, they apparently dusted off my proposal and are
sort of working on it. Funny, eh?

Ralph Alfonso


-------------------------------------------------------------------------------

From: Bruce Rhodewalt <[e-mail]>
Subject: Re: Bubble-Up/Kingston Trio 7-Up Commercials
Date: 04 Jan 1996 09:51:56 -0800

<# Replies to this message will go to:
<#     Bruce Rhodewalt <[e-mail]>
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Jon Johnson wrote:
>
> <# Replies to this message will go to:
> <#     Jon Johnson <[e-mail]>
> <# To respond to the list, please mail your message to [e-mail].
> <# For help unsubscribing, say "HELP" in a message to [e-mail].
>
> <---- Begin Included Message ---->
>
> Well, that sounds almost as nice as my "Music to Drink
> Bubble Up By!" album from 1961,
>...
> Bruce
> <---- End Included Message ---->
>      On Capitol's new Kingston Trio boxed set there are a couple of radio
> spots the group did in 1960 for 7-Up.
>...

Oh, my God: A sub-genre!

__________________________________________________________


      |    |    |   /     |     Tiki Publishing
- --  --     |    |  |      |     http://www.tikipub.com
    |      |      /       |     Bruce Rhodewalt, Owner
    |      |      \       |     78-365 Highway 111, #241
    |      |    |  |      |     La Quinta, CA 92253
    |      |    |   \     |     619/342-3418
  --     --   --   --   --


-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Re: Bubble-Up/Kingston Trio 7-Up Commercials
Date: 04 Jan 1996 10:17:32 -0800

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> Oh, my God: A sub-genre!

Actually, if the sub-genre is advertising records, then there are several
subcategories of that.  Most of what's been discussed so far are direct
advertisements (e.g., jingles), but there are also quite a few original
cast albums from stage shows put on at conventions.  I have several of
these, including albums about plumbing fixtures (American-Standard's
"The Bathrooms Are Coming"), cars (Rambler's, Nova's, VW's), and others.

The casts generally featured unknowns, though occasionally a pre-fame
celelbrity turns up.  Hal Linden, of Barney Miller fame, is in the cast of
the AMC Rambler extravaganza.

- -dx


-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Psychedelic Percussion
Date: 04 Jan 1996 20:26:43 +0100

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i'm looking for the Hal Blaine/ Emil Richards "Psychedelic Percussion/
Stones" cd (innerspace records); can anyone help me? i'm willing to get any
avail. euro cd for you if you wish;
thanx!

Greetings from Johan
               [e-mail]          (home: Wivina 15, 1702, Belgium)

A HAPPY A HEALTHY NEW YEAR TO YOU !
======================================================================




-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Capitol, hollywood and vine
Date: 04 Jan 1996 15:40:20 -0500

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For all complaints to Capitol, go to:

                      http://hollywoodandvine.com/

or e-mail Robin at:

                      [e-mail]

I hope you all feel better.

Bryan


-------------------------------------------------------------------------------

From: Jeff <[e-mail]>
Subject: Adventure in Time
Date: 04 Jan 1996 12:31:37 -0700 (PDT)

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My beautiful and lovely girlfriend knew exactly what I wanted for
Christmas, and she got me a giant stack of old exotica/percussion/misc
LPs, including The Music from Peter Gunn, Dick Hyman's "Mirrors", and
Persuasive Percussion vol.3 (Enoch Light). What perfect gifts, huh?
Anyway, I also recently picked up an LP at a local thrift store for 20
cents called "Adventure in Time". It's REALLY weird. most tracks are just
improvisational drum beats; pretty abstract. A couple of tracks are
really frightening; there's one called "The Minute" in which some lady
reads a Poe-like poem over weird drums and noises. There's also a track
called "Whoo Doo Voodoo", which is more weird music with people moaning
and screaming. Not exactly for children under 12.
Anyway, a few of the other tracks are just cool, swingy jazz tunes.
Overall pretty good. Has anyone ever heard of this?
     _      __  __   ___              _
 _  | |___ / _|/ _| | _ ) ___ _  _ __| |      .---------------.
| |_| / -_)  _|  _| | _ \/ _ \ || / _` |      | [e-mail] |
 \___/\___|_| |_|   |___/\___/\_, \__,_|       `---------------'
                              |__/




-------------------------------------------------------------------------------

From: Norman Nithman <[e-mail]>
Subject: More Exotic LP Scans
Date: 03 Jan 1996 21:36:26 -0600 (CST)

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Scanned in 3 more LP covers.  First, I've got "Got A Date With You In Havana"
(Aamco ALP 305) featuring a sultry latina by the harbor.  I also scanned
a couple of the shots from the cover of ISMII - namely Les Baxter's
"Space Escapade", featuring a couple of spacemen guzzling blue liquid served
to them by some moodmaidens with a large spring on their heads, and "Music
to Work or Study By" with the Melachrino Strings.  All are 480x480 jpegs.

The titles are:

havana.jpg
spaceesc.jpg
workstud.jpg

and are being posted to alt.binaries.pictures.misc.

Norm


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Moriccone
Date: 04 Jan 1996 21:20:11 -0500

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As with just about anything Rhino touches it was a masterful job, and a labor
of love.  To go through all the trouble of getting those tracks licesed!
Phew!!  While thematically I prefer the first disc to the second, it just
happens that that is the way Morricone progressed in terms of his style and
so Rhino did achieve an apt representation of what was available.  And by the
way the sound quality of the discs is superb especially compared to some of
the Italian CD's of Morricone's stuff available.
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Re[2]: Capitol neglect
Date: 04 Jan 1996 21:43:44 -0500

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In response to the Capitol backlash that appears to be growing.  I can fill
some people in on way some things are the way they are.  As with any company,
record company or whatever, there are costs of projects involved with respect
to marketing, production, warehousing, legal and royalty matters etc. that
for a company of Capitol's size are much higher than for a company like (in
the examples used) Bear Family.  Believe me the Capitol people I have dealt
with are very hip to some of the projects that they have allowed companies
like Scamp/Caroline to do and have been extremely supportive.  It's the folks
at Capitol and Liberty that we all have to thank for allowing the Robert
Mitchum "Calypso Is Like So..." and upcoming Martin Denny projects I am
working on to get reissued - you'd be surprised how many of them are into
this stuff and they are extremely pleased that these projects do see the
light of day.  Understand that there are certain thresholds in terms of unit
sales that need to be reached for a project to have life.  I can think of
several projects I would personally love  to do but realize potential sales
would not support the production and marketing investments.  It's for this
reason that Capitol and other labels do allow independents and even other
majors to license their material.  These labels are to be thanked for
allowing it - and if the stuff is not available then there is as much to
blame to be laid on any label currently in business whose job involves
reissues.
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Sub-genre thread>>>Industrials
Date: 04 Jan 1996 22:49:36 -0500

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As dx's post points out, industrial shows are a somewhat scarce but wonderful
world.  I collect these things--I currently have 15 different shows--and I'd
love to have more.  Anyone with anything to sell, swap, or send cassettes of
along these lines, please e-mail me--and I'll share what I have if you're
interested.
Some of the companies that put on shows and pressed souvenir albums include:
General Electric, Woolworth, GM, ABC Radio, Life Magazine, Colgate Palmolive,
Money Magazine, American Motors, Exxon. . .
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail] (zark)
Subject: Re: Surf top 5 CD's?
Date: 05 Jan 1996 02:17:59 -0500

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Hi folks,
Well, I'm no expert, but since I figger I know a bit o' what our tastes here
on the list
are like, I thought I'd suggest a few REALLY GREAT surf-type things.
Now, this list is based on the fact that we like Exotica...that's why we're
all here, right?
Unfortunately, a lot of this new stuff leaves me cold.  What I DO like is
atmosphere, and these bands, songs and comps have it in spades!

OLD STUFF...
*THE  CHANTAYS  "Space Probe"  This is a spacey as any o' the songs on
Ventures in Space, sounds like Joe Meek was at the wheel... actually a lot
of their other stuff is great, but this happens to be my FAVE surf song of
all time.  Just heard a pretty good version (by the Revelaires, I think) on
that AVI South Bay comp.
*THE ASTRONAUTS "The Hearse"  Song #2, by a neck.  Moody and drivin'.
*The LEGENDS of SURF GUITAR COMP.     Recommended already, and I couldn't
agree more. The best surf comp available at the crappy record store chains
B.P.F. (Before That Movie)...
*BELAIRS/EDDIE and the SHOWMEN/CHALLENGERS One big happy family of surf music!

NEW STUFF
*PHANTOM SURFERS  There is nothing on earth today that sounds more authentic
than these boys (well, then there's Billy Childish...)  They know their shit
and are creative enough with their schtick that it doesn't bore.  In fact,
it quite rocks!
*BILLY CHILDISH  Britain's #1 Beat man!  Kicks everybody's ass, can play
both Strychnine AND Comanche as if he was born to play 'em( and I think he
was!) .
Records under names like THEE MIGHTY CAESARS, THEE MILKSHAKES, THEE
HEADCOATS, etc...
*SATAN'S PILGRIMS  Another good new band... I can't believe it!  They even
cover "Let's Go to the Beach" by Larry and the Loafers!  I like these guys.
*ART CHANTRY is the Estrus house designer. He's not a surf band, but his
covers are the ONLY ones I've yet seen that manage to rip off old stuff in a
way that doesn't rob it of its dignity. Come to think of it, a lot of bands
can't do that nowadays, either.  Anyways, next time you see a new record
that makes you say "Is this NEW, impossible! It looks so GOOD!"  Look for
the art credits. It's probably Mr. Chantry.

That's all for now.  If it's classic-type gas you want for your atmosphere,
give some o' that stuff a try. Bye for now.
 I promise not to be a stranger,
[e-mail]
Fidelity...high!
Seven Zark-Seven
[e-mail]



-------------------------------------------------------------------------------

From: [e-mail] (Caressa Bennet -- Atty-Caressa Bennett - Washington )
Subject: Bubble Up
Date: 04 Jan 1996 16:03:17 EST

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 To:    exotica,         Inet


I just saw where someone has released an album of various sixties
artists doing Coke commercials.  Sub-genre, indeed.

Michael Bennet




-------------------------------------------------------------------------------

From: [e-mail] (zark)
Subject: Re: Moriccone
Date: 05 Jan 1996 02:40:10 -0500

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Ashley wrote:
>As with just about anything Rhino touches it was a masterful job, and a labor
>of love.  To go through all the trouble of getting those tracks licesed!

Amen!

> While thematically I prefer the first disc to the second, it just

I agree, the 60's were the time for Morricone.   Most of the songs on Disc 1
were culled from Westerns, and most of those are represented on a bitchin'
(and inexpensive ) RCA comp called Legendary Italian Westerns.  At about 10
bucks (here in Boston, anyways,) it has nary a clunker on it and plenty of
twangy guitar, trumpets and wailing voices to satisfy any exoticat or
kitten's cravings.
But, and it's a BIG but, the tracks on Disc 1 that appear for the first time
on legit CD are, in my estimation, worth the price of admission.
NAVAJO JOE...  Tribal drums and a very YMA SUMAC-ESQUE female vocal
accompained by a male and female chorus make this a MUST for any serious
exot-o-phile!
THEME FROM In the GARDEN of DELIGHTS  An Uber-Twangy guitar, Trumpet, vocal
chorus and harpsichord make up what Morricone must have composed as a
soundtrack to speeding across the Italian countryside in a Hot-Rod Lamborghini.
There's more neat stuff, but those songs kicked my little ass and made the
hairs at the base of my neck stand.
There's also a neat electronic piece for a film called L'UMANOID.
By the way, if anyone has the vinyl for Navajo Joe, Malamondo, or Garden, or
ANY Morricone stuff (60's ) please let me know.  I dig him big, and would
gladly trade fairly important records to get a hold of some good Ennio wax!
Bye!
[e-mail]
Fidelity...high!
Seven Zark-Seven
[e-mail]



-------------------------------------------------------------------------------

From: [e-mail]
Subject: [none]
Date: 05 Jan 1996 08:10:27 -0700 (MST)

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RE: the soundtrack for Godard's Breathless.  The main
themes from the soundtrack are available on a budget CD
that includes themes from three or four other French New Wave
films.  It's fairly widely available here in Quebec.  I keep
giving my copies away as gifts, so I don't have one and can't
provide a track listing.

I have the second of the Russ Meyer double CD comps, and it's
fine if you're anxious to relive the soundtrack of 1970s porn
films.  But be careful . . . it has lots of dialogue and panting and
groaning, and shouldn't be played in your office if you're expecting
interruptions
======================================================================
Will Straw
Associate Professor, Graduate Program in Communications/
Director, The Centre for Research on Canadian Cultural
Industries and Institutions
3465 rue Peel, Montreal, Quebec H3A 1W7

Phone: [phone]; Fax: [phone]
http://www.facl.mcgill.ca/gpc/crccii/crccii.html



-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Enoch Light
Date: 05 Jan 1996 11:28:10 -0500

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What can anybody tell me about "Persuasive Percussion" and (or) "Provacative
Percussion"?  I have seen the CDs floating around the store for awhile.  What is
it similar to?  Are they both good, or is one better than the other?  I know
that they came out around 1959-60 and were part of a "percussion" series that
Light had released.  Are they worth getting?  Please let me know your opinions.
Bryan


-------------------------------------------------------------------------------

From: Norman Nithman <[e-mail]>
Subject: More Exotic LP Scans
Date: 03 Jan 1996 21:36:26 -0600 (CST)

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Scanned in 3 more LP covers.  First, I've got "Got A Date With You In Havana"
(Aamco ALP 305) featuring a sultry latina by the harbor.  I also scanned
a couple of the shots from the cover of ISMII - namely Les Baxter's
"Space Escapade", featuring a couple of spacemen guzzling blue liquid served
to them by some moodmaidens with a large spring on their heads, and "Music
to Work or Study By" with the Melachrino Strings.  All are 480x480 jpegs.

The titles are:

havana.jpg
spaceesc.jpg
workstud.jpg

and are being posted to alt.binaries.pictures.misc.

Norm


-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Re: Moriccone
Date: 05 Jan 1996 10:18:19 -0700 (MST)

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> As with just about anything Rhino touches it was a masterful job, and a labor
> of love.

How does the set compare to the two Morricone Film Music compilations that
Virgin put out a while back?  (I already own the Virgin discs; is there a
lot of duplication between the those and the Rhino release?)

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Billy Mure
Date: 05 Jan 1996 20:42:50 +0100

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Mark Freitas <[e-mail]> wrote:

>What Billy Mure records have people found to be good?  My faves are
>Hawaiian Percussion and Supersonic Guitars (both volumes!)  I have some other
>records of his which are just sort of mushy.  Are there other worthwhile
>guitarish Mure albums besides the ones I've mentioned?

I liked "Pink Hawaii" (Strand SL/SLS 1070)
        "Supersonics in flight" (RCA LSP-1869)
- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Greatest Film Score
Date: 05 Jan 1996 20:43:00 +0100

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my favorite is Angelo Badalamenti's music for "Twin Peaks"; ok, not exactly
exotica, but with some references to space age pop IMHO; second would be
any "spaghetti" by Ennio Morricone, though I only know the obvious ones.
- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: enoch light - disco...
Date: 05 Jan 1996 20:43:09 +0100

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[e-mail] wrote:

>I recently scored a record by Enoch Light, it's called "discoteque"
>Any comments?  Value (OK shape, not mint)?  Representative of their other
>LPs?

from the 10 or so Enoch Light LPs I have, I like that one the least of all,
together with these, which are not bad, but not of his best ones:

Command performances vol. 2             Command RS 915 SD
Discotheque vol. 2                      Command RS 882SD
Stereo 35 mm                            Command RS 826 S.D.

However, the following are truly great IMHO: very inventive, inspired,
adventurous, even crazy :)
in descending order of greatness:

Provocative stereo sounds of our time   command rssd981
        (this is a dbl compil of his best stuff from all the command series)
Provocative percussion volume 2         command rs810sd
Persuasive percussion volume 3          Command RS 817 SD
Vibrations                              RS-833 SD
Persuasive percussion                   Command 800
Persuasive percussion volume 4          Command RS 830 SD
Provocative percussion                  Command RS 806 SD

This is not a complete list at all, far from it; there must be tens of
others around.
- -johan






-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Russ Meyer Soundtracks
Date: 05 Jan 1996 20:43:37 +0100

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Henk Rijks <[e-mail]> wrote:

>Just spotted two double cd's with soundtracks of all Russ Meyer movies
>(Super Vixen et.al.) Great artwork ;-) but does anyone know more
>about the music? Is it worth buying?

my answer would be a loud and big NO! it really sucks: no imagination, very
tame, very cliche', not even interesting for EASY easy lovers, IMHO
- -johan




-------------------------------------------------------------------------------

From: Robert Baldock <[e-mail]>
Subject: Surf Sites
Date: 05 Jan 1996 18:28:33 +0000 (GMT)

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To throw in a tiny cent's worth -

Two relatively new sites have sprung up recently:

http://www.del-fi.com

and

http://www.astroman.com

The Del-Fi site is especially tasty!


Robbie


-------------------------------------------------------------------------------

From: Robert Baldock <[e-mail]>
Subject: Xmas Treats
Date: 05 Jan 1996 18:29:31 +0000 (GMT)

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Hi all -

Hope you all had a wonderful Christmas & New Year!

My Xmas was fairly tedious but there was one major highlight... I completed
the inheritance of strangeness from my parents (having been given Enoch
Light's "Spaced Out" and Tony Mottola's "Guitar Factory" last February),
my mum gave me

Perrey & Kingsley's "Kaleidoscopic Vibrations"

and

Perrey's "Moog Indigo"

- - ah joy!

I hadn't heard these since childhood and boy are they disturbing records!
Serious mind scramblers...

One thing - this "Moog Indigo" has a different (and less interesting)
cover than the one I've seen in ISM and on websites... it's just a yellow
square with a purple border...  I presume this is a reissue?

Oh, and New Year's eve had a highlight of strangeness on TV - those of
you in the US will have missed "Songs of Praise - ... ON ICE!".  Bizarre.

More soon!


Robbie


-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: Russ Meyer Soundtracks
Date: 05 Jan 1996 16:20:44 -0500

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>Henk Rijks <[e-mail]> wrote:
>
>>Just spotted two double cd's with soundtracks of all Russ Meyer movies
>>(Super Vixen et.al.) Great artwork ;-) but does anyone know more
>>about the music? Is it worth buying?

Guess I'm going to be the voice of dissent around here. I really like
these. As a long time fan of Meyer, having seen almost every one of his
films a kazillion times, I've loved the music in them since my first
viewings. I love having the capability of throwing 'em on the turntable (I
got the vinyl version) whenever the mood hits. I do think they may be a
little long, and they were obviously mastered from the films themselves
(which is weird for 'Vixen', since there was a track released for that),
but IMHO there are lots of highlights, especially the themes to "Faster
Pussycat"  and "Lorna", the 'Small Town" rap, and the overall cartoonish
music to the Super-Ultra-Vixens era. But maybe it's just because I'm so
familiar with the films - a lot of it probably doesn't mean a lot if you
aren't.

 And the packaging is great.

bodaciously,
br cleve




-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: P5 Couples
Date: 05 Jan 1996 20:07:34 -0500

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Just got this cd and excellent pop it is, I *must* say!  Very
different from This Year's Girl (no sampling, not as funky), and
exotica it may or may not be.  The self-description  "a collection of
some Bacharach-ish syncopations and AABA's..."  is accurate enough.
But I'd add Mendes-ish (vocals) and Mancini-ish.  One of my favorite cuts ends
with a transition from Odd Couple theme bounciness to a Pink Panther
jazz swank!!!  A great, great cd - but a forewarning emphasis on
*pop*.

kevin


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Enoch Light
Date: 05 Jan 1996 21:38:14 -0500

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Bryan inquired about the Persuasive and Provacative Percussion CD's.

Bryan, I don't think you can go wrong with either one.  Good, basic Space Age
Pop instrumentals.  Each offer lasting favorites which feature an unusually
inventive use of percussion, woodwinds and brass.  Stereo component
manufacturers used these to demonstrate the capabilities of their products!

I prefer the first, it has Miserlou and a completely wacked out version of I
Love Paris.

Speaking of Enoch Light, anyone ever checked out Permissive Polyphonics?  It
came out a couple of years after Spaced Out.  Thick, glossy gatefold cover
under the Project 3 label.  A Radio Shack product.  It promises "Escapism
through the turned-on sounds of today".  Similar to Spaced Out, it features
moogs, organs, an electric sitar and harpsichord, and, of course, that cheesy
vocal group.  There is a gospel cover of Let It Be that is just so out of
left field that I'm not quite sure what to make of it.  Marrakesh Express and
Scarborough Fair are a couple of favorites.  Fun to put on a tape that you
make for a friend.

MrB




-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: Re: Enoch Light
Date: 05 Jan 1996 21:06:36 -0800 (PST)

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i think those are two of enoch light's finest efforts and while i still
think they should be gotten on vinyl rather than cd, first and foremost
they should be gotten! - ricardo wang

On Fri, 5 Jan 1996, Bryan Stewart wrote:

> <# Replies to this message will go to:
> <#     "Bryan Stewart" <[e-mail]>
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> <# For help unsubscribing, say "HELP" in a message to [e-mail].
>
> What can anybody tell me about "Persuasive Percussion" and (or) "Provacative
> Percussion"?  I have seen the CDs floating around the store for awhile.  What is
> it similar to?  Are they both good, or is one better than the other?  I know
> that they came out around 1959-60 and were part of a "percussion" series that
> Light had released.  Are they worth getting?  Please let me know your opinions.
> Bryan
>


-------------------------------------------------------------------------------

From: "Desmond K. Hill" <[e-mail]>
Subject: on the trail of Jean-Jacques Perrey
Date: 05 Jan 1996 18:18:27 +0000

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        Just a quick word of thanks to those who shared their
        interests in Jean Jacques Perrey.

        Unfortunately I'm still attempting to locate UK stockists
        where I might purchase vinyl recordings of any of Perrey's
        solo experimental works.

        Is there anywhere that anyone can recommend, as a stockist
        of reissued exotica?

        All suggestions gratefully received.

        regards,
        des




-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Administrivia (comix-biz, exotica, klf, orb, ztt)
Date: 05 Jan 1996 13:56:35 -0700 (MST)

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Sorry if anyone sees this more than once, but you know the drill...

I've recently sorted out the way majordomo handles addresses not actually
subscribed to these lists, so you won't be seeing any more "FORWARDED
MESSAGE" nonsense.  As part of this I've uncovered a cache of older
messages that were bounced to me because they were posted from addresses
not obviously subscribed to the list; those messages will follow this
posting as appropriate.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Moriccone
Date: 06 Jan 1996 11:49:25 -0500

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My memory may not serve me well but I believe the Virgin release concentrates
more on the later period lush instrumental compositions.
Ashley


-------------------------------------------------------------------------------

From: Jeff <[e-mail]>
Subject: Enoch Light : still alive?
Date: 06 Jan 1996 08:49:48 -0700 (PDT)

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Does anyone know if Enoch Light is still alive? If he is, what is he
doing nowadays?
Any additional info on this interesting man would be greatly appreciated.
     _      __  __   ___              _
 _  | |___ / _|/ _| | _ ) ___ _  _ __| |      .---------------.
| |_| / -_)  _|  _| | _ \/ _ \ || / _` |      | [e-mail] |
 \___/\___|_| |_|   |___/\___/\_, \__,_|       `---------------'
                              |__/



-------------------------------------------------------------------------------

From: Jeff <[e-mail]>
Subject: Command Records - what happened?
Date: 06 Jan 1996 08:57:55 -0700 (PDT)

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What happened to Command records? It seems that they were a pretty
dominant label a few years ago, but I don't think they're around anymore.
I have a Dick Hyman LP on Command, but it also has the ABC logo on it (as
in the TV network). Does anyone know if ABC bought Command?
The Provocative Percussion CD re-release says practically nothing about
Command at all. The CD releases are on Varese, a label I'm not familiar
with. Does anyone know how/why Varese handled the reissues?

Thanks,
Jeff


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Another major joins the trend...
Date: 06 Jan 1996 13:34:28 -0500

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Just a note to say I am no longer using the AOL address viktrola deciding=
 instead to get this list thru my ISP. I haven't posted much but a few might=
 remember me....
On to news, Capitol has finally decided to dig into its vaults and release 3=
 exootica collections.The series is called "Ultra Lounge" and the volumes=
 are "Mondo Exotica" feat. Martin Denny, Les Baxter, Bas Sheva, Yma Sumac,=
 and a few more. "Mambo Fever" has John Buzon, Jackie Davis, moore Yma=
 Sumac, and many others. "Space-capades" feat. David Rose, more Les Baxter,=
 Alvino Rey, and much more. List will probably be 13 to 15.98
On the Rhino front, got a copy of the sampler...very good sound..Volume One=
 will definitely be the best with the cheesy vocal collection of Volume=
 Three destined to be forgetable.
Enough for now...if you would like complete track listings for the Capitol=
 releases..drop by my lounge at the address below and head for the=
 bandstand.=20

viktrola@nai,net

            http://www.chaoskitty.com=20
"where chaos and lounge meet the great bhuddah kitty"

@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@ chaos never died @@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@




-------------------------------------------------------------------------------

From: Joseph Holmes <[e-mail]>
Subject: New York Times and SABPM
Date: 06 Jan 1996 14:14:17 EST

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The Sunday, January 7, 1996, New York Times is running an article by Eric
Asimov on Space Age Bachelor Pad Music. It will appear in the Week in
Review Section. I haven't read it yet, but...

- -=-Joe



-------------------------------------------------------------------------------

From: [e-mail] (Caressa Bennet -- Atty-Caressa Bennett - Washington )
Subject: technical question
Date: 06 Jan 1996 12:09:59 EST

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 To:    exotica,         Inet


Sorry for cluttering up this list with a technical question, but I
was wondering if anyone knows if there is a way to search old
digests for entries pertaining to certain artists or albums.
Lots of times I remember reading about something here, but it
takes forever to go back through each digest one day at a time to
find it.  Any advice to an internet novice would be appreciated.
Thanks.

Michael Bennet




-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: Enoch Light : still alive?
Date: 06 Jan 1996 17:04:15 -0500

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On 1/6/96  Jeff <[e-mail]> wrote:

>Does anyone know if Enoch Light is still alive?

and in another missive :
>What happened to Command records? It seems that they were a pretty
>dominant label a few years ago, but I don't think they're around anymore.
>I have a Dick Hyman LP on Command, but it also has the ABC logo on it (as
>in the TV network). Does anyone know if ABC bought Command?

Enoch Light died in the late 70's ('77 I think).

Command was bought by ABC, which was bought by MCA, which owns the catalog
today (to the best of my knowledge.) Which means Varese leased the masters.

A friend made a comp tape entitled "A Taste of Hyman : Dick on Command".
What a beautiful CD it would make, especially with that title.

not holding his breath,
br cleve




-------------------------------------------------------------------------------

From: [e-mail] (STEFAN KERY)
Subject: Re: Soundtrack question...
Date: 07 Jan 1996 00:00:33 +0100

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[e-mail] wrote:
>a cinema class a few years ago and one of the short films shown was called
>"Toys" (this was not the Robin Williams feature)... it was a great little
>animation piece in which some anxious little kids are gawking at a display
>window in a toy store at Christmas time.  The toys start to move via
>stop-motion animation-- doing fun toy things until the G.I. Joes and other
>war toys start to engage in battle, the whole scene (Barbie, stuffed
animals >etc. included)degenerates into a pretty viscious statement
regarding what >kids learn from the toys we give them.  Heavy handed but
effective... the >inital fun-toy sequence is set to some ultra cool go-go
music.  I remember >looking in the credits and talking to the professor
about who did the music, >but had no luck.  The sound was somewhere between
Tijuana Brass and Hal >Blaine's solo work.Very "Laugh-In", with zany
trumpets and sock-o >drumming... if anybody out there recognizes this film
*and* knows where the >music was from I'd be in-terested in knowing.  Thanks
in advance for any >leads.

Toys, yeah I got this film in my 16 mm collection. It was a long time since
I watched it though so I can't remember any credits for the music. ButI'll
be sure to do that soon. Will return with more info. By the way the film
actually got across with it's "message" here in Sweden as the goverment
put a ban on war toys after the movie circulated in our schools.

Over and out

Stefan/Subliminal Sounds



-------------------------------------------------------------------------------

From: [e-mail]
Subject: The Blues & the Beat
Date: 07 Jan 1996 11:01:29 -0500

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Hey-

I just found Henry Mancini's "The Blues and the Beat" on CD at my local Tower
Records. Oddly enough it's made in Spain. (BMG Ariola, S.A.  - ND 74409)

Absolutely great stuff! Has all the trademark Cool, Private Eye, Mellow
flutes and all that you just gotta dig. Now if only they'd release his
various "Latin" flavored stuff on CD...

- - Joe B.


-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Record Collector's Best of '95
Date: 07 Jan 1996 20:51:53 +0100

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the latest edition of the British Record Collector (jan 1996, #197, page53)
has their pick of the year's best reissues and compilations, number 9 of
which is "The Sound Gallery" cd; I listened once to this cd, and didn't
like it at all; it sounded as soul & funk influenced 70's easy listening
crap; nothing like the great percussive Spave Age Pop stuff that is
compiled on the RCA or Rhino cd's...

- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Moriccone
Date: 07 Jan 1996 20:53:28 +0100

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[e-mail] (zark) wrote:

>if anyone has the vinyl for Navajo Joe, Malamondo, or Garden, or
>ANY Morricone stuff (60's ) please let me know.

I got this search result from Blue Pastel Records:
        FUNNY WORLD (I MALAMONDO)  C-CAM56 11/93 CD  =A314.96
They've got plenty of other Morricone cd's, just send the following message
to <[e-mail]> to get the list:

cat audio
search morricone
quit

- -johan

Greetings from Johan
               [e-mail]          (home: Wivina 15, 1702, Belgium)

A HAPPY & HEALTHY NEW YEAR TO YOU !
======================================================================




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Another major joins the trend...& Capitol Neglect cont.
Date: 07 Jan 1996 13:11:19 PST

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     <>>On to news, Capitol has finally decided to dig into its vaults and
     >>release 3 exotica collections.<<<<

     ...and they better jump on it quick, I just saw SEVERAL Les Baxter
     BOOTLEG cds that look amazing (the bootlegger did a better job than
     most major label reissues I've seen. Most of 'em contained two full
     length's and the other contained the equivalent of three 10" with ALL
     ARTWORK reproduced in beautiful color).

     So much for the poor major label and the good heart of them to license
     their stuff to a foreign label. How sweet. How nice of you people to
     stick up for them.

     I think that someone who takes a job at one of these places should at
     least either know the history of the company they work at, or have a
     handy discography at their fingertips or in their computer. Well, now
     that the 'trend' is above water, those people will be in their
     archives all night with shovels and flashlights!

     I'd say buy the bootlegs and forget the majors, but the only problem
     with that is the artist gets the 'boot'.

     On a nice note, at the swap meet today I found:

     -Yma Sumac 7",  "Birds"/"Najala's Lament" (from that Flahooly sdtrk)
     -Baxter "Ports Of Pleasure" UK pressing (nice and mint) for $2.00
     -RCA "Adventures In Stereo" box with...10 albums including Esquivel's
     "Latin Esque"! They guy wanted $35.00, but took $25.00! It is a very
     heavy, nicely constructed box with the 10 albums in "descriptive and
     colorful" sleeves!
     Plus...tons of surf, garage and MORE Prima stuff!

     God bless vinyl and all who worship it




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Another major joins the trend...& Capitol Neglect cont.
Date: 07 Jan 1996 19:51:25 -0500

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I have to strongly disagree with your assement.  Everyone should be warned
that these bootlegs...
 1.) feature truncated versions of the artwork sized to omit the original
label logo that would immediately get the bootleggers into trouble and
2.) especially in the case of the Baxter theremin collection they are full of
cracks and pops.

This bootlegger does a good job? - the Les Baxter "two-fer' that  combines
"Ritual Of The Savage" and "Tamboo" puts the later album's tracks first
forgoing any sense of chronological order.

 Two more good reasons  for not buying these bootlegs is that 1.) these
artists who most everyone on this chat line revere are being gyped out of any
revenues and
 2.) widespread distribution of these bootlegs will help discourage either
the original or an independent label from doing a proper reissue.

So all of you who revel in over-priced not very well put together bootlegs
pressed off crackly vinyl go ahead make the bootlegger rich and help prevent
quality reissues of these titles from coming.
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Cleaning vinyl (info & a testimonial)
Date: 08 Jan 1996 00:58:17 -0500

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    [e-mail] wrote:
>     Two vinyl no-no's:
>     Rubbing alcohol murders vinyl!
>     so does those soft plastic sleeves!

I'm guessing you mean the old oversized-sandwich-bag-type sleeves in old
albums and not the poly-lined-paper sleeves collectors supplies places sell
and that they use with laser discs?

As far as the vinyl CLEANING thing goes -- the vacuum w/ fluid devices sound
rather attractive, but both an out-of-state audiophile friend and the local
high-end stereo store strongly stand by the Discwasher fluids and brush kits,
like the D4+ record cleaning kit.  I was elated with a recent find, a
visually clean copy of The 3 Suns' "Fever & Smoke" (for 2 bucks! It really
*is* that good, BTW, and the first 3 Suns record I've heard I refuse to part
with at any price) and it played with some bearable but noticeable surface
noise. After 2 plays and 2 D4 brush cleanings, the surface noise has mostly
disappeared and it now sounds like a NM copy.  While some albums still sound
rough no matter how well they're cleaned, I was really impressed here.  It's
not alcohol, and I don't know WHAT this stuff is, but they make it out to be
the product of some super-extensive lab research.

I also have been using the "SC-2 Stylus Cleaning System" -- I thought my
stylus was shot a couple months back (a Sumiko Blue Point-- absolutely
dreamy, but my, have those gotten expensive) and was happy to see on the
stereo store microscope that the stylus wasn't shot but was merely coated
with vinyl crud that collects in particles and fuses with the heat created by
moving across a record.  Obviously, since it dissolves vinyl, you don't want
to get the SC-2 fluid confused with your D4+ fluid. ;-)

In closing, "Additional Record Cleaning Information" lifted from the brochure
that came with the D4+ kit:

1. Although alcohol is used as a record cleaner, laboratory tests show it is
unsafe because it extracts critical vinyl stabilizers. (Stabilizers are added
to vinyl compounds to help maintain mechanical stability.)

2. Soaps, silicones, and household detergents leave a coating on the record
surface. These coatings actually attract dust which, without removal, is
ground into the grooves by stylus pressure.

3. Tap water contains about twice as much dry weight residue (material left
after all water and volatile matter is dried away) as D4+ fluid. Other
"record cleaners" can contain as much as 10 times more dry weight residue.
The idea behind record cleaning is to remove contamination, not add to it.

4. When used exclusively, the Discwasher D4+ Record Care System will leave
behind only the honest record surface for you to listen to. However, records
that are pressed poorly, damaged, or made from low quality vinyl will never
sound good, no matter how clean.

 (I think the brush/fluid kit currently sells for around $18-20, with most of
that cost being the brush; fluid refills are pretty cheap)

No, I have NO affiliation with the Discwasher company. :-)

Michael David Toth
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Dean Elliott, Esquivel, & cartoons
Date: 08 Jan 1996 00:58:45 -0500

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Cartoon Network recently ran a bunch of Dr. Suess cartoons, and I noticed a
couple (incl. "Lorax") gave music credits as "Lyrics: Dr. Suess, Music: Dean
Elliott."  Now THERE is a combination... While a lot of what little I caught
was generic, smarmy 70s TV music, there were some quirky moments that seemed
to suggest it could be no other than the Zounds! man himself.  Does anyone
have any info on what Dean Elliott was up to after (and before) the "Zounds!
What Sounds!" LP?

Also, when I first heard Esquivel (on Fresh Air on NPR -- if anyone has a
copy of that on tape they'd be willing to dub for me, I'd be ecstatic) and
the "boink!boink!...zuzuzuzu" BGVs, my first response was, "Hey! It sounds
like 'Eep Op Ork Ah-Ah,'" from the famed Jetson's episode "A Dream Date With
Jet Screamer" (available on home video on the Jetsons First Episodes
collection).  One of the Esquivel CDs mentions that the Randy Van Horne
Singers did do a lot of songs for Hanna-Barbera, and I've been wondering how
close of a relationship this song really has to the Esquivel camp...

Michael David Toth
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Re: Another major joins the trend...& Capitol Neglect cont.
Date: 07 Jan 1996 23:50:37 -0800

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At 1:11 PM 1/7/96, [e-mail] wrote:

>     I'd say buy the bootlegs and forget the majors, but the only problem
>     with that is the artist gets the 'boot'.

In many cases actually (Atlantic being the most egregious offender here)
even with authorized reissues the artist gets the "boot" with reduced and
sometimes nonexistent royalty payments.

======================================================================
======================================================================

"I know I don't have any talent,
And I know all I have is a body,
And I am doing my bust exercises ...
Oh, the hell with them ... let 'em droop!"

                                  - Jennifer, _Valley_of_the_Dolls_




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Joseph Lanza's new book?
Date: 08 Jan 1996 01:40:24 -0800

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I was reading the Sunday NY Times, when I noticed that Joseph Lanza, author
of "Elevator Music," has a new book out called "Bottoms Up: The Cocktail,
Shaken and Stirred." Has anyone seen this? Sounds tasty :)
richard


_`~=~=~`boom~~`boom~=~=

_-I-__\ /__
   `      ~
  / \_  -I-




-------------------------------------------------------------------------------

From: [e-mail] (Caressa Bennet -- Atty-Caressa Bennett - Washington )
Subject: Elliott/Suess
Date: 08 Jan 1996 11:18:15 EST

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 To:    exotica,         Inet


Dean Elliott did some wonderful music for the Cat and the Hat
television special.  Combined with Suess's wordplay, it's a
must-hear for anyone on this list.  Although I'm not aware of it
ever having been issued on record, as any parent will tell you,
the half hour video is readily available.  Pick it up.  You won't
regret it.

Michael Bennet




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Cleaning vinyl (info & a testimonial) & bootlegs
Date: 08 Jan 1996 10:16:26 PST

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     >I'm guessing you mean the old oversized-sandwich-bag-type sleeves in
     >old albums and not the poly-lined-paper sleeves collectors supplies
     >places sell and that they use with laser discs?


     Here is my observation: I bought both the 'plastic bag' type sleeves,
     and the plastic sleeves in the paper, back in the 70s. I covered my
     then 'treasures' such as mono Beatles albums. I moved but left many of
     these at my parents house. On one of my trips back, I began to look
     through my old collection. Some of these records haven't left their
     sleeves in a decade. To my SHOCK, many of the records in the plastic
     sleeves had this weird film on 'em that wasn't there last time I
     looked.

     Also, some pressing plants use stock plastic sleeves for new releases
     (older Rhino vinyl, Enigma, etc. ) Those also leave this 'film' on the
     vinyl after a while.

        Regarding the bootleggers, man, when they make really rare stuff
        available, they, in my book are HEROS. Also, in my last message I said
      that artists get the 'boot' with bootlegs, however, many times when older
       material gets issued, the artist never sees a penny.


        Lee



______________________________ Reply Separator _________________________________
Author:  [e-mail] at INTERNET


<# Replies to this message will go to:
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    [e-mail] wrote:
>     Two vinyl no-no's:
>     Rubbing alcohol murders vinyl!
>     so does those soft plastic sleeves!

I'm guessing you mean the old oversized-sandwich-bag-type sleeves in old
albums and not the poly-lined-paper sleeves collectors supplies places sell
and that they use with laser discs?

As far as the vinyl CLEANING thing goes -- the vacuum w/ fluid devices sound
rather attractive, but both an out-of-state audiophile friend and the local
high-end stereo store strongly stand by the Discwasher fluids and brush kits,
like the D4+ record cleaning kit.  I was elated with a recent find, a
visually clean copy of The 3 Suns' "Fever & Smoke" (for 2 bucks! It really
*is* that good, BTW, and the first 3 Suns record I've heard I refuse to part
with at any price) and it played with some bearable but noticeable surface
noise. After 2 plays and 2 D4 brush cleanings, the surface noise has mostly
disappeared and it now sounds like a NM copy.  While some albums still sound
rough no matter how well they're cleaned, I was really impressed here.  It's
not alcohol, and I don't know WHAT this stuff is, but they make it out to be
the product of some super-extensive lab research.

I also have been using the "SC-2 Stylus Cleaning System" -- I thought my
stylus was shot a couple months back (a Sumiko Blue Point-- absolutely
dreamy, but my, have those gotten expensive) and was happy to see on the
stereo store microscope that the stylus wasn't shot but was merely coated
with vinyl crud that collects in particles and fuses with the heat created by
moving across a record.  Obviously, since it dissolves vinyl, you don't want
to get the SC-2 fluid confused with your D4+ fluid. ;-)

In closing, "Additional Record Cleaning Information" lifted from the brochure
that came with the D4+ kit:

1. Although alcohol is used as a record cleaner, laboratory tests show it is
unsafe because it extracts critical vinyl stabilizers. (Stabilizers are added
to vinyl compounds to help maintain mechanical stability.)

2. Soaps, silicones, and household detergents leave a coating on the record
surface. These coatings actually attract dust which, without removal, is
ground into the grooves by stylus pressure.

3. Tap water contains about twice as much dry weight residue (material left
after all water and volatile matter is dried away) as D4+ fluid. Other
"record cleaners" can contain as much as 10 times more dry weight residue.
The idea behind record cleaning is to remove contamination, not add to it.

4. When used exclusively, the Discwasher D4+ Record Care System will leave
behind only the honest record surface for you to listen to. However, records
that are pressed poorly, damaged, or made from low quality vinyl will never
sound good, no matter how clean.

 (I think the brush/fluid kit currently sells for around $18-20, with most of
that cost being the brush; fluid refills are pretty cheap)

No, I have NO affiliation with the Discwasher company. :-)

Michael David Toth
[e-mail]



-------------------------------------------------------------------------------

From: "Sadin, Glenn" <[e-mail]>
Subject: release dates
Date: 08 Jan 1996 12:03:41 PST

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     Some CD release dates that may be of interest here:

     1/23       Various "Coctail Mix Vol 1: Bachelor's Guide to the Galaxy"
                   (Rhino)
                Various "Coctail Mix Vol 2: Martini Madness" (Rhino)
                Various "Coctail Mix Vol 3: Swingin' Singles" (Rhino)

     1/30       Hollyridge Strings "The Best of the Beatles Songbook"
                    (Varese Vintage)
                Various "Music For a Bachelor's Den Vol 2: Exotica" (DCC)
                Various "Music For a Bachelor's Den Vol 3: Latin Rhythms &
                    HiFi" (DCC)
                Various "Music For a Bachelor's Den Vol 4: Easy Rhythms For
                    Cocktail Hour" (DCC)

     2/13       Steve Allen "Plays HiFi Music For Influencials" (Varese
                    Vintage)
                The Hi-Lo's "Nice Work If You Can Get It: The Best" (Varese
                    Vintage)

     2/27       Combustable Edison "Schizophrenic" (Sub Pop)
                Various "Shaken Not Stirred" (Ryko)

     Glenn


-------------------------------------------------------------------------------

From: [e-mail] (Phil Clark)
Subject: Easy Project/Sound Gallery
Date: 08 Jan 1996 21:40:17 GMT

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Hi all

Just a couple of quickies.

First off I have to defend the EMI Sound Gallery
album, as rather unfairly lambasted in a recent posting by a list member,
who compared it unfavourably to the RCA "Space Age Pop" albums.
IMO the two represent quite different styles of music from different eras
originally aimed at different people, and cannot really be directly compared.
I dig 'em both, BTW, but Sound Gallery gets my vote if I have to make
a choice.

Second up here's the track listing & info for the very wonderful "Easy Project"
album, as requested by a couple of readers.

"Easy Project" SEQUEL NEMCD 772, dist in the UK by Castle Communications,
should be easily available worldwide thru CD-Now or some such.

i) Laurie Johnson -The Shake
ii) Ray McVay Sound - Kinda Kinky (this rocks out!)
iii) Sounds Orchestral - Mas Que Nada
iv) Johnny Dankworth - Lunar Walk
v) Alan Tew - Walk on the Wild Side (the Jimmy Smith number not Lou Reed)
vi) Johnny Hawksworth - It's Murder
vii) Johnny Keating - Sam Benedict
viii) Synthesonic Sounds - House of the Rising Sun
ix) Paraffin Jack Flash - Blue & Groovy
x) Johnny Keating - The Clown
xi) Laurie Johnson - Echo 42
xii) John Shakespeare - Mucho Mexico Seven O
xiii) Les Reed Piano - High Society
xiv) Eliminators - Staccato
xv) Alan Tew - Ironside
xvi) Johnny Keating - Getaway
xvii) Synthesonic Sounds - Superfly
xviii) Ray McVay Sound - Revenge (yeah!!!!!)
xix) John Schroeder - But She Ran the Other Way
xx) Harry Roche Constellation - Spiral (ten-minute extravaganza!)

Highly recommended anyhow to all fans of Brit loungecore.

Also a quick query - I recently picked up one of those low-budget
cod-psych albums, "The Underground Set" released here in 1970 on
the el cheapo Saga label - does anyone have any info on this?
or is it just a bunch of session men in their lunch-hour?
It's quite good anyhow.

With a psychedelic gleam in my eye at all times,

Phil
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Cleaning vinyl (info & a testimonial) & bootlegs
Date: 08 Jan 1996 23:12:16 -0500

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One more point to add to your love of these bootleggers - many retailers are
begining to question the legal authenticity of reissues by bone fide real
indie labels like Bacchus Archives, Asphodel and Scamp and many consumers are
wonder if the quality on these might be as bad as the bootlegs.
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Joseph Lanza's new book?
Date: 08 Jan 1996 23:20:30 -0500

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It's a great book.  By the way the Times got the title wrong - it's actually
called "The Cocktail - The Influence of Spirits on the American Psyche"
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: who are these guys?
Date: 09 Jan 1996 00:32:35 -0500

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"kevin" <[e-mail]> wrote:

> i keep bumping into certain familiar faces whose music is
> unbeknownst to me.  can anyone help clarify who these guys (listed
> below) are and what their merits and good albums are???:
> Andre Kostelanetz

I have one wild Andre Kostelanetz album called AND GOD CREATED GREAT WHALES
(Columbia Masterworks M 30390).  Other than the 11:25 title track, the rest
of the album is pretty safe classical-oriented orchestral, and I presume most
of his albums fall into that catagory. But oh, that title track!! Full
orchestra mixed with tapes of "the actual songs of humpback whales" in four
movements...

The song was actually composed by Alan Hovhaness, who had this to say in the
liner notes:
"Undersea mountains rise and fall in horns, trombones, and tuba. Music of
whales also rises and falls like mountain ranges. Song of whale emerges like
giant mythical sea bird." (sic)

Whooo-eee,
Michael Toth
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Vinyl for bid/trade
Date: 09 Jan 1996 00:32:42 -0500

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I haven't seen many of these for sale sort of postings on this mailing list
since I joined, and I hope I'm not violating any sort of Exotiquette :-)
here...

Here's a bunch of vinyl I have for bid or trade: best trade or cash offer by
1/21/96 gets the item, tie offers awarded by date; I'll notify all winning
bids by 1/24/96. Albums are graded on the P/G/VG/NM/M scale, vinyl first,
cover second, usually with a combination of aural/visual vinyl grading (I've
pretty much personally listened to all of these). E-mail me if you have any
questions about the grading scale, bid system, or need specific
condition/other info on any of the records. Some wants are listed at the end,
with a BIG interest being several of these bootleg CD reissues that are
turning up. Postage: $3.50 plus $1 for each additional item (UPS preferred,
with its tighter tracking and insurance), waived on trades.

E-mail me at [e-mail] (and not the list ;-)) if you're interested.

Thanks,
Michael David Toth
[e-mail]

======================================================================

- - LES BAXTER - African Jazz (Capitol/Stereo) VG+/VG
- - MARTIN DENNY - Exotica: The Exciting Sounds of... 4-song 7" 45 EP on dark
green Liberty label "Lotus Land" & "Similau" b/w "Waipio" & "Love Dance"  VG+
(in generic white paper sleeve)
- - DEAN ELLIOTT - Zounds! What Sounds! (Capitol/Stereo) NM+/NM+ (it's in
fabulous condition and arguably my favorite Exoticaish album, but I've got
one of those bootleg CDs, and am now willing to part with the LP for the
right offer; beware, however -- I dearly *love* this album, and unless I get
an *incredible* offer on it, I'd rather not part with the original vinyl; but
if a vinyl-particular collector REALLY needs it more than I...)
- - ESQUIVEL, HIS PIANO & GROUP - Four Corners of the World (RCA/Living Stereo)
VG/VG
- - FERRANTE & TEICHER - Golden Piano Hits (UA/Mono) VG+/VG+ ("Promotion Copy"
label; slight bow in gatefold sleeve & slight cone warp in vinyl -- does not
affect play on my stereo)
- - FERRANTE & TEICHER - We Wish You a Merry Christmas (Mistletoe/Stereo)
VG+/VG+ (appears to be budget reissue of UA release)
- - JACKIE GLEASON - The Now Sound...For Today's Lovers (Capitol/Stereo) VG+/NM

- - MARTY GOLD - Soundpower!: Music to the Limits of Audibility (RCA/Living
Stereo Dynagroove) VG+/VG+
- - RAY MARTIN - Excitement, Incorporated (RCA/Stereo Action) VG+/VG
- - NORRIE PARAMOR - Jet Flight (Capitol/Stereo) VG+/VG
- - HENRI RENE' - The Swinging 59 (Imperial/Stereo) M-/M-
- - DICK SCHORY'S PERCUSSION POPS ORCH. - Supercussion (RCA/Living Stereo
Dynagroove) VG+/VG- (has Coral/Brunswick inner sleeve instead of orig. RCA)
- - THE THREE SUNS - In Orbit (Rondo/Stereo) VG+/VG- (Rondo?!!?)
- - VARIOUS ARTISTS - Stereo Action Unlimited! (RCA/Stereo Action) VG+/G
- - PAUL WESTON & ORCH. - Reflections of an Indian Boy: A Tone Poem by Carl
Fischer (Columbia/Mono) VG-/G

** Not exactly Exotica, but also sorta odd, sorta collectible, & available
for bid/trade: **

- - DON ADAMS - Live? (UA/Mono) VG+/VG+ (monologue @ The Sands)
- - TOM LEHRER - That Was the Year That Was (Reprise/Mono) VG+/M-
- - ROWAN & MARTIN'S LAUGH-IN (Epic/Stereo) VG+/VG (Die-Cut windows cover; "w/
Special Guest Barbara Feldon")
- - JOHN TRAVOLTA - John Travolta (Midland International,1976) VG+/VG
(absolutely horrifying)
- - SKIDOO: ORIGINAL SOUNDTRACK (RCA/Stereo) M-/M- (orig. soundtrack by Nilsson
from obscure, awful-looking 1968 Otto Preminger film starring, among others,
Carol Channing (sings on LP), Jackie Gleason, Frankie Avalon, Burgess
Meredith, Cesar Romero, Mickey Rooney, and Groucho Marx as "God"; I don't
think this is available on video, so it's a good thing it's got stills on the
back cover!)


WANTS (to buy or trade; VG or better on vinyl):

- - Several of the Exotica/IncrediblyStrange bootleg/limited edition CD
reissues
- - PAT BERKERY & SPUR - Prayers For a Noonday Church (Scottish)
- - MALCOLM BOYD & CHARLIE BYRD - Are you Running With Me, Jesus?
- - GARY GLITTER - non-compilation LPs
- - GUITARS UNLIMITED PLUS 7 - Crazy Rhythm
- - PEE WEE HERMAN shaped Picture Disc
- - NEAL HEFTI - Hefti In Gotham City
- - GERSHON KINGSLEY LPs
- - A SCANNER DARKLY - This Is the Way
- - LIGHT SLEEPER SOUNDTRACK (UK CD)
- - MICHAEL MORET - "Want Me" 12" single
- - MY BLOODY VALENTINE - Soon (Live in Japan bootleg CD)
- - Christian aerobic workout LPs

Michael David Toth
[e-mail]




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Silver Apples question
Date: 08 Jan 1996 20:58:08 +0100

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can anyone tell something about this new cd by Silver Apples "1968/CONTACT
1969" (MYSA014 or TRC 78737, Holland, 1995)? what kind of music is it?
thanx!

- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Ferrante & Teicher
Date: 08 Jan 1996 20:57:05 +0100

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it seems that F&T's prepared piano LP "Hi-Fireworks" (Columbia CL 573) was
reissued later as Fireworks (Columbia HS 11227), HOWEVER:
1) with the omission of 2 great songs: "Susanna's last stand" & "Semper fidelis"
2) electronically re-channeled for stereo, which is not bad at all: I think
of it as just another effect added to the wonderfull wizardy of F&T.
I have no idea about the release years of these 2.

I also can confirm that the 7 prepared piano tracks on the CD "Autumn
leaves" (Sony Special Products A 13407, USA, 1993) are with added string
sections; they're wonderfull :)

- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Pizzicato 5
Date: 08 Jan 1996 20:58:17 +0100

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kevin king <[e-mail]> wrote:

>Just got this cd and excellent pop it is, I *must* say!  Very
>different from This Year's Girl (no sampling, not as funky), and
>exotica it may or may not be.  The self-description  "a collection of
>some Bacharach-ish syncopations and AABA's..."  is accurate enough.
>But I'd add Mendes-ish (vocals) and Mancini-ish.  One of my favorite cuts ends
>with a transition from Odd Couple theme bounciness to a Pink Panther
>jazz swank!!!  A great, great cd - but a forewarning emphasis on
>*pop*.

would you share the title, label and origin info with us please?

Greetings from Johan
               [e-mail]          (home: Wivina 15, 1702, Belgium)

A HAPPY & HEALTHY NEW YEAR TO YOU !
======================================================================




-------------------------------------------------------------------------------

From: [e-mail] (Pete Docter)
Subject: Re:Dean Elliott
Date: 08 Jan 1996 09:38 PST

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>Cartoon Network recently ran a bunch of Dr. Suess cartoons, and I noticed a
>couple (incl. "Lorax") gave music credits as "Lyrics: Dr. Suess, Music: Dean
>Elliott."  Now THERE is a combination... While a lot of what little I caught
>was generic, smarmy 70s TV music, there were some quirky moments that seemed
>to suggest it could be no other than the Zounds! man himself.  Does anyone
>have any info on what Dean Elliott was up to after (and before) the "Zounds!
>What Sounds!" LP?

A guy I know said he crossed paths with Dean Elliott at some cartoon studio
(I forget which one) where Mr. Elliott was doing music. I believe he wrote
background music (if one can refer to music with screaming trumpets as
"background") for "Plastic Man."

I've found that, besides "Zounds!", Dean produced "Heartstrings" (9/3 '63)
for Capitol, but I haven't been able to find it.  Anyone know of any others?





Pete Docter
[e-mail]


-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Bootlegging, my million dollars worth
Date: 08 Jan 1996 16:06:34 -0500

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I couldn't agree with Ashley more.

Bootlegging is wrong.  It's also against the law.  That's not just my opinion. I
know some people may want to sugercoat it and justify it, but it don't cut
mustard with me.  Bootleggers are parasites who prey on the copyright
infringement of artists and record companies.  I won't kiss their ass by buying
their 'product'.  If something isn't legitimately available, then I do without.

We may not like record companies, but they are who they are and we gotta deal
with it.  That doesn't mean that I'm gonna kiss their ass either!  What they
have done with artist royalties is reprehensible.  But what the bootleggers have
done is even worse.  At least with a major label, there is a chance that some
royalties might be paid in the future.  With the bootlegger, there isn't a
prayer in hell.

Exotica/Space-Age Batchelor Pad Music is only recently becomming popular.  It
was only just last month, my local Tower just opened a Space-Age Batchelor Pad
music section. They are now beginning to recognize how hip this great music is.
This section isn't very big at the moment, but it will grow.  It's gonna take
time.  Record companies are slow and they don't move as fast as some people
(myself included) would like.  I just use a little patience.  With time, things
will get better.  I believe that.

Bryan


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Bootlegging, my two million dollars worth
Date: 09 Jan 1996 11:10:45 PST

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     >>Bootlegging is wrong.

     Bullshit. Bootlegging is not wrong. Especially when it comes to very
     obscure records. The entire 60s garage movement of the 80s and 90s
     were a DIRECT result of bootleg compilations of OBSCURE singles that
     NO ONE BUT HARDCORE RECORD COLLECTORS could get their hands on. Those
     records brought an entire spectrum of music to KIDS who were tired of
     contemporary punk and didn't want to have to buy Lional Ritchie or
     Wham! for their entertainment. And, because of that interest, many
     artists who were bootlegged got a chance to license their old tapes
     that they thought were worthless! Same goes for surf (don't tell me
     that the bootleg surf comps that have been floating around for the
     last 15 years have NOTHING to do with the current surf revival that
     has renewed interest in legit labels such as Del-Fi, who's music WAS
     ONLY AVAILABLE on boots through the 70s and 80s).

     In many cases, the artist owes more to the bootleggers who generated
     interest in their music, than any major label who keeps catalog
     buried. In addition, some of the best records ever made came out on
     SMALL LABELS in pressings of 1000, 500 and even less. These things in
     their day were never heard outside of the hometowns of the artists!
     Bootleggers have created WORLDWIDE INTEREST in this stuff.

     Bootleggeing also makes the large labels aware that there is a demand
     for 'obscurities'. There were boots of the live Beatles Hollywood Bowl
     shows, BBC broadcasts and outtakes that kept fans happy. I for one
     lost interest in The Beatles until I discovered these wonderful
     records. And, after a while, the big boys realize that there is a
     demand for the stuff and they put it out!


     You, who do not take all into consideration on issues like this are
     the Archie Bunkers of music. Don't make waves, accept what is handed
     to you, don't question anyone or anything. You in my opinion are
     boring and have no life.


     From the top of my hot head, to the bottom of my musical heart,



     Lee A. Joseph


______________________________ Reply Separator _________________________________
Author:  "Bryan Stewart" <[e-mail]> at INTERNET


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I couldn't agree with Ashley more.

Bootlegging is wrong.  It's also against the law.  That's not just my opinion. I

know some people may want to sugercoat it and justify it, but it don't cut
mustard with me.  Bootleggers are parasites who prey on the copyright
infringement of artists and record companies.  I won't kiss their ass by buying
their 'product'.  If something isn't legitimately available, then I do without.

We may not like record companies, but they are who they are and we gotta deal
with it.  That doesn't mean that I'm gonna kiss their ass either!  What they
have done with artist royalties is reprehensible.  But what the bootleggers have

done is even worse.  At least with a major label, there is a chance that some
royalties might be paid in the future.  With the bootlegger, there isn't a
prayer in hell.

Exotica/Space-Age Batchelor Pad Music is only recently becomming popular.  It
was only just last month, my local Tower just opened a Space-Age Batchelor Pad
music section. They are now beginning to recognize how hip this great music is.
This section isn't very big at the moment, but it will grow.  It's gonna take
time.  Record companies are slow and they don't move as fast as some people
(myself included) would like.  I just use a little patience.  With time, things
will get better.  I believe that.

Bryan



-------------------------------------------------------------------------------

From: "bill wynne" <[e-mail]>
Subject: RCA VICTOR - Sad News
Date: 10 Jan 1996 8:39:45 EST

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On Monday, the old RCA Victor building in Camden, NJ was destroyed by a six-
alarm fire.  Firefighting efforts were hampered by a blizzard which paralyzed
the entire eastern seaboard.

The RCA Victor building has not been in use for many years, but as a native
Philadelphian-cum-New Jerseyite and a record collector, it served as a
reminder of a time long past.  This particular leg of RCA's operation was
primarily (if I understand correctly) a pressing plant, but has not been used
in some 20 years.

The building may actually have been "home" to homeless people from the Camden
area, all of whom are believed to have perished in the fire.

Bill Wynne


-------------------------------------------------------------------------------

From: <[e-mail]>
Subject: Lanza's New Book und Reissues From Rykodisc
Date: 09 Jan 1996 12:20:02 EST

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     Joseph Lanza's new book is "The Cocktail" from St. Martins.  Albeit he
     likes his martini's avec gin, it's a great read.  You may want to try
     and win the book over at the Space Age Bachelor Pad Site, by writing a
     witty recipe for a vodka martini.  To confuse matters worse,
     especially for those fact-checkers at the NYT, Joseph wrote the liner
     notes to our release coming out in February, Shaken Not Stirred.

     Reissues:  viability versus collecting.  At the moment, Rykodisc has
     purchased the masters and the rights to those masters from
     HiFi/Everest.  We have no idea what the market is for this material.
     I would hope there are at least 5000 people in the world who will buy
     MR. Z's POLKAS and other strange and interesting releases.  Who knows?
     The reason other labels are getting into this genre is that they have
     a load of masters gathering dust.  The ascent of Esquivel back into
     the consciousness of the nation woke alot of people up, including the
     companies that really owned the masters to his work.  Asphodel
     unearthed Ken Nordine's classic COLORS.  I was after this stuff and
     urged our company to make an offer, but we coughed and Asphodel got
     this piece of hip-geniuosity.  As for the legitimacy of these
     re-releases, while I cannot speak for all, but from my conversations
     with the label people at Asphodel and Scamp, you should know that at
     least we three are clearing the rights.  Scamp has direct access to
     the Capitol vaults and I know Asphodel was dealing directly with
     Nordine, so there you are.  How deep we will go into the masters is
     unknown to me.  I do know that Joseph Lanza is interested in our more
     moodier tracks (as evidenced by his dismay on our leaving off a Gerald
     Wiggins track) and I am trying to locate Lyman for consultation on a
     project.  I would also like to put Taboo out on our audiophile series
     Au20.  Who knows.  Obviously if all our labels can get interest from
     the hardcore exotica collectors and those mainstreamers who are wading
     in the popular eddies, well then it makes it easier to convince those
     who really make the decisions to make the right decisions.  "If it
     sells, well then let's sell it."  I hate to be so negative, but i
     guess we pay the big bucks to those who can see the obvious.

     I am on this list to see what's happening in the world of exotica.
     Please write about what you want to see out there and I am sure we
     will check them out.



-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Theremin (the movie)
Date: 09 Jan 1996 11:17:33 -0700 (MST)

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The latest issue of The Laserdisc Newsletter includes a listing for an upcoming
release of the film Theremin on laserdisc.  I assume this means a release on
tape as well.  Does anyone have further details?

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Re:  Bootlegging, my two million dollars worth
Date: 10 Jan 1996 06:15:43 -0800

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> You, who do not take all into consideration on issues like this are
> the Archie Bunkers of music. Don't make waves, accept what is handed
> to you, don't question anyone or anything. You in my opinion are
> boring and have no life.

And you seem to live in a fantasy world where all bootleggers are altruistic
heroes who are only interested in saving interesting music from obscurity.  But
it just isn't so.  The bootleg world is a lot more than Deadheads or Beatle
fanatic trading tapes (and now CDs) of otherwise unavailable music.  It's a
business, with bootleggers profiteering from the efforts of artists without
any compensation to those who actually produced the art in the first place.
Those who bootleg live concerts not only make a profit off of someone else's
art, but they do so at the expense of the artist's decision as to whether
the live concert experience is something they want canned and repeatable.

- -dx


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Pizzicato 5
Date: 09 Jan 1996 12:16:51 -0500

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> >Just got this cd and excellent pop it is, I *must* say!  Very
> >different from This Year's Girl (no sampling, not as funky), and
> >exotica it may or may not be.

> would you share the title, label and origin info with us please?

It's *Couples* from 1987 on Sony (Japan) SRCL3373 and is available
through CDEurope.  There's a Pizzicato 5 web page (don't have the
url) which proved very useful in selecting from among their numerous
releases, many of which are remixes as someone previously mentioned.

kevin


-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re:Dean Elliott
Date: 09 Jan 1996 13:56:56 -0500

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On 1/8/96 Pete Docter ([e-mail]) wrote:

about Dean Elliott-
>I've found that, besides "Zounds!", Dean produced "Heartstrings" (9/3 '63)
>for Capitol, but I haven't been able to find it.  Anyone know of any others?

Just those 2 on Capitol (BTW I have "Heartstrings" and it's nothing like
"Zounds", it's straight EZ, heavy on the strings, similar to Nelson
Riddle's "Sea of Dreams" and "Love Is A Game of Poker". A couple of cuts
feature that cool early 60's sound of reverb drenched pizzacato strings
mixed with orchestra bells).

Elliot did a soundtrack album for the film "College Confidential" on
Chancellor (1958). It's Crime Jazz with all the top West Coast players.
Never seen the film - Steve Allen, Jayne Meadows, Walter Winchell and Mamie
Van Doren.

br cleve




-------------------------------------------------------------------------------

From: T P Uschanov <[e-mail]>
Subject: Re: Bootlegging, my million dollars worth
Date: 09 Jan 1996 18:25:55 +0200 (EET)

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On Tue, 9 Jan 1996 Bryan Stewart wrote:

> Bootlegging is wrong. It's also against the law. That's not just my opinion. I
> know some people may want to sugercoat it and justify it, but it don't cut
> mustard with me. Bootleggers are parasites who prey on the copyright
> infringement of artists and record companies. I won't kiss their ass by buying
> their 'product'. If something isn't legitimately available, then I do without.

But there are places in which certain kinds of bootlegging is legitimate.
And, for example, the late great Route 66 label of Sweden hunted down
and paid royalties to every artist they bootlegged (or their estate) on every
copy they made, even every review copy they sent to zines. Even though they
only were liable to pay the composing royalties when releasing pre-1961
recordings prior to pre-1990s copyright law revisions.

And what about a situation in which the artist bootlegs his own stuff? What
if he does it _at a loss_? It has happened in real life.

T P Uschanov (Mr), University of Helsinki, Finland, European Union.
[e-mail] ---- http://www.helsinki.fi/~tuschano/
"Property is theft." (Pierre-Joseph Proudhon)



-------------------------------------------------------------------------------

From: "Kenneth H Ellzey" <[e-mail]>
Subject: Re: who are these guys?
Date: 09 Jan 1996 11:19:51 -0500

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On Jan 9, 12:32am, [e-mail] wrote:
> Subject: Re: who are these guys?
> <# Replies to this message will go to:
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>
> "kevin" <[e-mail]> wrote:
>
> > i keep bumping into certain familiar faces whose music is
> > unbeknownst to me.  can anyone help clarify who these guys (listed
> > below) are and what their merits and good albums are???:
> > Andre Kostelanetz
>
> I have one wild Andre Kostelanetz album called AND GOD CREATED GREAT WHALES
> (Columbia Masterworks M 30390).  Other than the 11:25 title track, the rest
> of the album is pretty safe classical-oriented orchestral, and I presume most
> of his albums fall into that catagory. But oh, that title track!! Full
> orchestra mixed with tapes of "the actual songs of humpback whales" in four
> movements...
>
> The song was actually composed by Alan Hovhaness, who had this to say in the
> liner notes:
> "Undersea mountains rise and fall in horns, trombones, and tuba. Music of
> whales also rises and falls like mountain ranges. Song of whale emerges like
> giant mythical sea bird." (sic)
>
> Whooo-eee,
> Michael Toth
> [e-mail]
>-- End of excerpt from [e-mail]


Forget Kostelanetz, Alan Hovhaness is the one to look for.  Exotic Classical,
Classic Exotica.  You can find it in the Classical section of your favorite CD
store.  Kostelanetz did another of Hovhaness' works on his album "Exotic
Nights" (1963(?) Columbia something or other).
         Ken Ellzey


-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: Ferrante & Teicher
Date: 09 Jan 1996 13:56:46 -0500

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On 1/8/96 Johan De Vis  ([e-mail]) wrote:

>it seems that F&T's prepared piano LP "Hi-Fireworks" (Columbia CL 573) was
>reissued later as Fireworks (Columbia HS 11227), HOWEVER:
>1) with the omission of 2 great songs: "Susanna's last stand" & "Semper
>fidelis"
>2) electronically re-channeled for stereo, which is not bad at all: I think
>of it as just another effect added to the wonderfull wizardy of F&T.
>I have no idea about the release years of these 2.

"Hi-Fireworks" was F &T's first LP, released by Columbia in 1955. They also
had 2 records of Broadway show tunes (non-prepared) on Columbia (I believe
they were 10" albums).

Columbia reissued the album as "Fireworks" on its Harmony budget label in
the mid-sixties, incorporating that insidious practice of deleting 2 songs
to save on publishing payments (hello Capitol and MCA!). But at least they
didn't add the strings, like Pickwick/MCA/ABC did (as well as chop off 2
cuts...........WAAAUUUUGGHH!!) (sorry, I couldn't help myself)

For those of you keeping score at home, the original prepared piano albums
are 1)"Hi-Fireworks" {Columbia}  2)"Adventures in Carols" 3)"Soundproof" 4)
"Soundblast" {Westminster}  5)"Heavenly Sounds in Hi Fi" 6) "F & T With
Percussion" 7) "Blast Off"  {ABC} 8)"Dynamic Twin Pianos" . There is some
prepared piano on 9) "Pianos In Paradise" {United Artists} and on their
1988 CD "Dos Amigos" {Avant Garde}.

The ABC reissues on Pickwick are "In Love with Ferrante & Teicher" and
"More Exciting Pianos of F &T". "Dynamic Twin Pianos" was reissued by UA as
"Keyboard Kapers". The Sony CD is ABC material. The new MCA CD "Easy
Listening Favorites" is "Heavenly Sounds......" minus 2 cuts
(grrrrrrrr.........)

The "Midnight Cowboy" LP features the fabulous "underwater" guitar of
Vinnie Bell (which is also featured on the amazing Dick Hyman album "Moon
Gas", but that's another story for another time)

br cleve




-------------------------------------------------------------------------------

From: "C" <[e-mail]>
Subject: Industry check
Date: 10 Jan 1996 10:33:53 -0600

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You know I can't help but notice that a good chunk of this list seems to be
music biz people , and since conversations have turned more political has of
late (not that this a bad thing) thing seem to be reading like a conference with
lots of insider info bandied about, and I am just sort of curious who is who.
(not for the schmooze factor , but why this person would know what their talking
about)

  Just to start the ball rolling  I run two label that are part of TRG (a
rediscovered subsidiary of  Twin Tone , but that has nothing to do with
restless) The only Exotica stuff I am dealing with on a professional level is a
Les Baxter Tribute record that will hopefully be released in late spring(but I
am guessing it will really be in September)


     /:::\/::::::\
    /:::::::::::::\
 * /:::::::::::::::\ *
 *********************       " Ho Ho Ho"
  \   ""      ""   /
   \  (@)    (@)  /
    \     J      /                                     -Santa Claus
     \   ---    /
      \________/
         /  \



-------------------------------------------------------------------------------

From: "C" <[e-mail]>
Subject: soda pop(bubble up, dr.pepper etc)
Date: 10 Jan 1996 10:39:51 -0600

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   there is an album called a twist of lemon, that was put out for the Dr.
pepper company in the  mid 60's , it is pretty unremarkable lots of EZ listening
hits aimed at the kids ( I believe Bob Goulet may actually be on this one) but
what makes the record cool is the spoken word intro from Dick Clark and a recipe
on the album cover for warm Dr. Pepper(eeehhheew!!!!!!)


     /:::\/::::::\
    /:::::::::::::\
 * /:::::::::::::::\ *
 *********************       " Ho Ho Ho"
  \   ""      ""   /
   \  (@)    (@)  /
    \     J      /                                     -Santa Claus
     \   ---    /
      \________/
         /  \



-------------------------------------------------------------------------------

From: David Howard <[e-mail]>
Subject: Huh?
Date: 10 Jan 1996 12:24:05 EDT

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Hmmm?  I'm a little confused.  I can certainly see the fun in rumaging through
a dusty thrift store wading through the scratchy Poco and Captain and Tenille
records in hopes of uncovering some hidden treasure.  Ken Nordine absolutely.
Martin Denny of...Les Baxter maybe...Arthur Lyman I guess I can see it.   But
some of the dreck that people seem to be getting excited about is baffling.
Hollyridge Strings?  Ferrante &Teicher---c'mon!  Dick Hyman, Montovani?!? This
is some of the lamest stuff ever recorded.  It sucked then and it still sucks
now. Even more baffling is this stuff getting pressed onto CD's.  Half of what
made the best of this stuff cool in the first place was the outrageous cover
art, and the other half was that the price of this stuff was rarely over 50
cents.  But with CD's, the cover art is too small to enjoy and the price is
twenty to thirty times what this stuff was going for before all these
bozo-space-age-bachelor-pad-fetishizers came along.  I was in a store recently
and saw Esquivel records for $100.  I'm sure buried under that price tag was
another for 25 cents.  But if people want to pay that price fine, mazel tov!
If people want to buy the 40 CD box set of 101 strings more power to them.  But
I hope you have a lot of friends to play this stuff for, because as anyone
knows camp is only amusing when you have someone to share it with.  And if you
don't,  and you come home after a hard day, loosen your tie, mix yourself a dry
martini from your bamboo tiki bar and plop down in your favorite easy chair and
reach for the CD remote I sure hope it's not playing Ferrante & Teichers'
jungle version of "Theme From A Summer Place".   And if it is may God have pity
on your soul.



-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Re:  Huh?
Date: 10 Jan 1996 09:53:07 -0800

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> Hmmm?  I'm a little confused.  I can certainly see the fun in rumaging through
> a dusty thrift store wading through the scratchy Poco and Captain and Tenille
> records in hopes of uncovering some hidden treasure.  Ken Nordine absolutely.
> Martin Denny of...Les Baxter maybe...Arthur Lyman I guess I can see it.   But
> some of the dreck that people seem to be getting excited about is baffling.
> Hollyridge Strings?  Ferrante &Teicher---c'mon!  Dick Hyman, Montovani?!? This
> is some of the lamest stuff ever recorded.  It sucked then and it still sucks
> now.

Perhaps not ironically, the last half of your statement sounds strikingly
familiar to what I heard 10 years ago about the artists you list first.  I
heard exactly the same comments in 1985 about Martin Denny (though with quite
a few more explitives mixed in).

> I hope you have a lot of friends to play this stuff for, because as anyone
> knows camp is only amusing when you have someone to share it with.

The assumption that someone listens to the prepared piano treatements of
Ferrante & Teicher for camp value is rather a large jump, isn't it?  I suspect
that much of the audience on this list sincerely enjoys the music that we
discuss, rather than the peacock value.

- -dx
With, sad as it may seem to you, Bert Kaempfert playing quietly for no one
but myself.


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re[2]: who are these guys?
Date: 10 Jan 1996 10:02:27 PST

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     Man, that sucks. Reminds me of when the amazing but unused piece of LA
     deco arcetecture, The Pan Pacific, burned down a number of years ago.
     More modern history lost forever (don't get me started on the strip
     mall that sits on what used to be Goldstar Studios)!


     Lee


______________________________ Reply Separator _________________________________
Author:  "Kenneth H Ellzey" <[e-mail]> at INTERNET


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On Jan 9, 12:32am, [e-mail] wrote:
> Subject: Re: who are these guys?
> <# Replies to this message will go to:
> <#     [e-mail]
> <# To respond to the list, please mail your message to [e-mail].
> <# For help unsubscribing, say "HELP" in a message to [e-mail].
>
> "kevin" <[e-mail]> wrote:
>
> > i keep bumping into certain familiar faces whose music is
> > unbeknownst to me.  can anyone help clarify who these guys (listed
> > below) are and what their merits and good albums are???:
> > Andre Kostelanetz
>
> I have one wild Andre Kostelanetz album called AND GOD CREATED GREAT WHALES
> (Columbia Masterworks M 30390).  Other than the 11:25 title track, the rest
> of the album is pretty safe classical-oriented orchestral, and I presume most
> of his albums fall into that catagory. But oh, that title track!! Full
> orchestra mixed with tapes of "the actual songs of humpback whales" in four
> movements...
>
> The song was actually composed by Alan Hovhaness, who had this to say in the
> liner notes:
> "Undersea mountains rise and fall in horns, trombones, and tuba. Music of
> whales also rises and falls like mountain ranges. Song of whale emerges like
> giant mythical sea bird." (sic)
>
> Whooo-eee,
> Michael Toth
> [e-mail]
>-- End of excerpt from [e-mail]


Forget Kostelanetz, Alan Hovhaness is the one to look for.  Exotic Classical,
Classic Exotica.  You can find it in the Classical section of your favorite CD
store.  Kostelanetz did another of Hovhaness' works on his album "Exotic
Nights" (1963(?) Columbia something or other).
         Ken Ellzey



-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Exotica Mailing List Digest V1 #66
Date: 10 Jan 1996 20:06:42 +0100

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[e-mail] (Caressa Bennet) wrote:

>i was wondering if anyone knows if there is a way to search old
>digests for entries pertaining to certain artists or albums.

if you have saved all these digests to your hard disk, then you could use a
utility that can perform a search through the directory/folder whith the
digests.

- -johan




-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Keep it civil, people...
Date: 10 Jan 1996 20:06:42 +0100

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Just a reminder.  We've got a couple of threads going that could turn into
flame wars pretty easily; please don't let that happen.

- --
::: Lazlo (your list admin)


-------------------------------------------------------------------------------

From: Jeff <[e-mail]>
Subject: The exploitation of cool music
Date: 10 Jan 1996 12:04:03 -0700 (PDT)

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I have one, brief question:

How long is it going to be before Tower and all the record labels push all
these reissues so much that annoying drama students and mallrats with tiny
black backpacks flock to their local record stores to buy this ultra-hip,
"totally alternative" stuff?

If I see Esquivel being interviewed on MTV, I will probably move to
another part of the world.

- -Jeff


-------------------------------------------------------------------------------

From: Craig Carlson <[e-mail]>
Subject: Re: Recent Topics
Date: 10 Jan 1996 15:16:00 PST

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Some two centses on current topics:

>[e-mail] (dx) wrote:

>And you seem to live in a fantasy world where all bootleggers are
altruistic
>heroes who are only interested in saving interesting music from obscurity.
>But it just isn't so.  The bootleg world is a lot more than Deadheads or
Beatle
>fanatic trading tapes (and now CDs) of otherwise unavailable music.  It's a
>business, with bootleggers profiteering from the efforts of artists without
>any compensation to those who actually produced the art in the first place.
>Those who bootleg live concerts not only make a profit off of someone
else's
>art, but they do so at the expense of the artist's decision as to whether
>he live concert experience is something they want canned and repeatable.

When talking about  legit  bootlegs vs.  profit  bootlegs, I think it s
kinda like pornography; you know it when you see it. Granted this is an
imperfect argument and won t hold up in court (even though I m paraphrasing
a federal judge!), but this is pretty obscure and/or archaic music we re
discussing here, not currently working artists. I do believe that the people
who unearth Exotica obscurities and bootleg them are not profiting, but are
performing a service to the collectors and artists (as has been mentioned
before). Jeez, I can t even find these boots, so how hard can they be
pushing this stuff?

>[e-mail] (David Howard) wrote:

>I hope you have a lot of friends to play this stuff for, because as anyone
>knows camp is only amusing when you have someone to share it with.  And if

Here s a funny story.

Last Thanksgiving I went to visit some friends in another state; they had no
inkling of my latest musical interests, but they are used to my
eccentricities. I had been listening (alone, the rest of my family humors me
as best they can) to Tony Mottloa a lot so I figured I would tape  Roman
Guitars  (aieee! a bootleg!) for one of them. This guy plays guitar in the
Steve Morse/Eric Johnson/Alec Leifson vein, so I figured it would be
appreciated on a very campy level. 'Hey! it sounds like Ren and Stimpy
music', he said. We had a laugh about it with much head-shaking about my
latest  hobby.

About a half hour later we found him in the corner of the room with his Les
Paul and the Mottloa tape on, methodically learning the parts to Tony s
version of the Tarantella. He had it down by the end of the night.

Moral: It started as a joke, but it s really art! And it s still pretty damn
funny!

Coming soon: Treasure Hunts in the Northeast corridor, and a strange
experience.

See Ya
Craig

[e-mail]


-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: Re: Bootlegging, my two million dollars worth
Date: 10 Jan 1996 12:34:52 -0800 (PST)

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On Wed, 10 Jan 1996, dx wrote:

> And you seem to live in a fantasy world where all bootleggers are altruistic
> heroes who are only interested in saving interesting music from obscurity.  But
> it just isn't so.  The bootleg world is a lot more than Deadheads or Beatle
> fanatic trading tapes (and now CDs) of otherwise unavailable music.  It's a
> business, with bootleggers profiteering from the efforts of artists without
> any compensation to those who actually produced the art in the first place.
> Those who bootleg live concerts not only make a profit off of someone else's
> art, but they do so at the expense of the artist's decision as to whether
> the live concert experience is something they want canned and repeatable.
>
> -dx

but the point that the last person's post was making wasn't about
deadhead's and beattle fans. it was about bootlegs of obscure music and
exotica, and the point wasn't about altruism it was about interest in
music being generated by recordings being kept alive. similarly, record
companies have been telling us for years that to make mix tapes and tape
albums for friends will destroy music, yet anyone can tell what a bunch
of hogwash that is. and now there are used cds available everywhere and
the artist gets no royalties from those either, but i always buy them if
i buy any cds at all (how many people on this list exist on free promo
copies and never buy anything i wonder?)  sure most bootleggers are
probably greedy assholes, they are after all trying to make money in the
music biz, but some aren't and some actually DO pay the artists royalties
because they are fans and it is the labels they are trying to screw. it's
just ridiculous to think that if commerce is done within the legal limits
set by government that it will naturally be o.k. and that if you step
outside the law things will be bad, it is quite often the oposite.

- - ricardo wang


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Silver Apples question
Date: 09 Jan 1996 11:48:05 -0500

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> can anyone tell something about this new cd by Silver Apples "1968/CONTACT
> 1969" (MYSA014 or TRC 78737, Holland, 1995)? what kind of music is it?
> thanx!

This is a compilation of what I understand to be their only two
albums, the first of which I scored recently at a used shop.   It's a
great album!  Probably what might be called seminal.  The sound is
low-tech, lyrics are 70's mystique introspection - very arty, minimal - sort
of like a mix between Stereolab and Velvet Underground.  If you like
both of these bands, your certain to like Silver Apples.  I would
think that it would only be classifiable as exotica, though, through
the use of make-shift instruments and electronica.

kevin


-------------------------------------------------------------------------------

From: Malcolm Humes <[e-mail]>
Subject: Theremin film on video
Date: 10 Jan 1996 13:24:41 -0800 (PST)

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Lazlo:
>The latest issue of The Laserdisc Newsletter includes a listing for an
upcoming
>release of the film Theremin on laserdisc.  I assume this means a release on
>tape as well.  Does anyone have further details?

Orion has plans for a video release around March. Their website at:

  http://www.iquest.net/theremin/

has a page up about the video, catalog number and all, but with
street release date of March 26th.

I got notice from the Discovery Channel online folks that my
Theremin page will be cited in a pending feature there on
the 12th... I assume it'll be some feature article on Theremin or
electronic music - can't see any sign of the film in their program
schedule that day but I assume the webfeature has a tie-in to
some Discovery channel mentioning theremins. Anyway, check out
http://www.discovery.com/ Friday for presumably some Theremin connection
beyond just a link to my theremin page.

  - Malcolm
 [e-mail]
http://www.emf.net/~mal


-------------------------------------------------------------------------------

From: Bruce Rhodewalt <[e-mail]>
Subject: Re: Huh?
Date: 10 Jan 1996 13:19:32 -0800

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dx wrote:
>
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> <#     [e-mail] (dx)
> > I hope you have a lot of friends to play this stuff for, because as anyone
> > knows camp is only amusing when you have someone to share it with.
>
> The assumption that someone listens to the prepared piano treatements of
> Ferrante & Teicher for camp value is rather a large jump, isn't it?  I suspect
> that much of the audience on this list sincerely enjoys the music that we
> discuss, rather than the peacock value.
>
> -dx
> With, sad as it may seem to you, Bert Kaempfert playing quietly for no one
> but myself.

It *is* sad.  Music that you can enjoy on several
different levels -- as wallpaper, as camp (i.e., laugh
at), as humor (i.e., laugh *with*), as history, as music
- -- can be enjoyed without having an audience to share it
with.  Anyway, Bert Kaempfert was a great writer,
musician, etc., and I seriously doubt that he did his
bouncy "Match Game" music without any intended humor.

I too have my doubts about some of the stuff discussed
here, but I think that means I don't get it.  Yet.  And
I've been in that place so many times in the past.
(Didn't like the Ramones in 1976 -- "too crude"!)

I was playing some mid-period Nat King Cole for a post-New
Wave rock musician in 1982, and his comment was "too many
violins"!  (And he, incidentally, claimed to have just
bought a tape deck that was supposedly used to record "The
Lonely Bull."  Sheesh.)

Bruce
______________________________________________________


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-------------------------------------------------------------------------------

From: [e-mail] (kerri mahoney)
Subject: Re: The exploitation of cool music
Date: 10 Jan 1996 17:16:28 -0400

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>I have one, brief question:
>
>How long is it going to be before Tower and all the record labels push all
>these reissues so much that annoying drama students and mallrats with tiny
>black backpacks flock to their local record stores to buy this ultra-hip,
>"totally alternative" stuff?
>
>If I see Esquivel being interviewed on MTV, I will probably move to
>another part of the world.
>
>-Jeff

Well my brother, it's a fact of life.  I don't know where you're from, but
exotica compilations are already apppearing all over the place in major
commercial record store chains (NYC).    Fashion magazines and trendy
restaraunts and movie stars can show interest in any aesthetic and
immediately it will be accepted . And then there's Quentin Tarantino, who
by featuring music by Duane Eddy, Dick Dale and Al Green in Pulp Fiction
has me hearing "Let's Stay Together" in every stinking bar I enter and surf
music over cereal commercials .  The media is saturated with it.  Even the
New York Times did a piece on it in last Sunday's paper.

To get upset is useless, and a little ridicilous.  If you really love the
music you listen to, you'll just sit back and wait for the mad rush to be
over and then carry on as usual.

Most Certainly

Kerri Mahoney

also:
[e-mail]




-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: The exploitation of cool music
Date: 10 Jan 1996 15:23:52 -0700 (MST)

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> How long is it going to be before Tower and all the record labels push all
> these reissues so much that annoying drama students and mallrats with tiny
> black backpacks flock to their local record stores to buy this ultra-hip,
> "totally alternative" stuff?
>
> If I see Esquivel being interviewed on MTV, I will probably move to
> another part of the world.

I continue to feel that automatically reacting against something because
it's suddenly trendy is just as silly as automatically *embracing*
something because it's suddenly trendy -- in either case you're essentially
handing the keys for your musical taste over to someone else.  Whether or
not I enjoy a particular album has little or nothing to do with whether or
not anyone else does.

I'm also uncomfortable with the notion that the only folks who are
"allowed"  to enjoy something are the people who had to struggle and fight
to discover it.  I love the thrill of finding something extremely cool and
extremely cheap at a thrift store or a garage sale, but the thrill of
enjoying the music is far more powerful and enduring than that, and it
seems to me that the musical thrill comes through whether you listen to
something on an old 78 you found in a sealed storage auction box or on a CD
you picked up down at the mall on your lunch break.  Shouldn't we (just?) be
happy that more people are enjoying this wonderful music?

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: Jeff <[e-mail]>
Subject: Re: The exploitation of cool music
Date: 10 Jan 1996 16:16:49 -0700 (PDT)

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On Wed, 10 Jan 1996, Bryan Stewart wrote:

> That I don't have an answer to.  I agree it would be a shame if it came
> to that.
> What do you think should be done?  Is there a solution?
> Bryan

I don't know. There's really no way that we can make this kind of music
accessible only to "us". Besides, that wouldn't really be fair, anyway. I
actually have doubts that, since this kind of music (usually) has no
vocals and doesn't revolve around stupid current social issues (i.e.
Pearl Jam, Stoned Temple Pilots, etc), it will be too popular with the
kids. Most "kids" don't like jazz; hopefully they'll stay away from this
stuff for the same reasons.
HOPEFULLY.
If MTV can't force feed it to `Generation X', then nobody will go for it,
anyway.

- -Jeff


-------------------------------------------------------------------------------

From: "Sadin, Glenn" <[e-mail]>
Subject: Huh?
Date: 10 Jan 1996 16:42:17 PST

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But I hope you have a lot of friends to play this stuff for, because as anyone
knows camp is only amusing when you have someone to share it with.  And if you
don't,  and you come home after a hard day, loosen your tie, mix yourself a dry
martini from your bamboo tiki bar and plop down in your favorite easy chair and
reach for the CD remote I sure hope it's not playing Ferrante & Teichers'
jungle version of "Theme From A Summer Place".   And if it is may God have pity
on your soul.

        So, what's yer point?

        Glenn




-------------------------------------------------------------------------------

From: "Sadin, Glenn" <[e-mail]>
Subject: Re: Recent Topics
Date: 10 Jan 1996 16:58:16 PST

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     When talking about  legit  bootlegs vs.  profit  bootlegs, I think it
     s kinda like pornography; you know it when you see it. Granted this is
     an imperfect argument and won t hold up in court (even though I m
     paraphrasing a federal judge!), but this is pretty obscure and/or
     archaic music we re discussing here, not currently working artists. I
     do believe that the people who unearth Exotica obscurities and bootleg
     them are not profiting, but are performing a service to the collectors
     and artists (as has been mentioned before). Jeez, I can t even find
     these boots, so how hard can they be pushing this stuff?

        I tend to agree with this. I am of the opinion that if the
        so-called bootlegger of out-of-print music is not claiming
        ownership (that is, not making a profit), than there is no moral
        argument. He's just performing a service, and God bless him or her
        for it!

        Still, if a bootlegger IS doing it for profit (as I would assume is
        usually the case), then I still say 1.) the artist is getting
        exposure that is otherwise unavailable, and 2.) the fans are
        getting ultrarare music at an affordable price. I would like to
        think that, in the case of these new twofer CDs, the manufacturer
        is doing it as an act of love, rather than for purely crass
        motives.

        Glenn


-------------------------------------------------------------------------------

From: "Sadin, Glenn" <[e-mail]>
Subject: Re: Recent Topics
Date: 10 Jan 1996 16:58:17 PST

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     When talking about  legit  bootlegs vs.  profit  bootlegs, I think it
     s kinda like pornography; you know it when you see it. Granted this is
     an imperfect argument and won t hold up in court (even though I m
     paraphrasing a federal judge!), but this is pretty obscure and/or
     archaic music we re discussing here, not currently working artists. I
     do believe that the people who unearth Exotica obscurities and bootleg
     them are not profiting, but are performing a service to the collectors
     and artists (as has been mentioned before). Jeez, I can t even find
     these boots, so how hard can they be pushing this stuff?

        I tend to agree with this. I am of the opinion that if the
        so-called bootlegger of out-of-print music is not claiming
        ownership (that is, not making a profit), than there is no moral
        argument. He's just performing a service, and God bless him or her
        for it!

        Still, if a bootlegger IS doing it for profit (as I would assume is
        usually the case), then I still say 1.) the artist is getting
        exposure that is otherwise unavailable, and 2.) the fans are
        getting ultrarare music at an affordable price. I would like to
        think that, in the case of these new twofer CDs, the manufacturer
        is doing it as an act of love, rather than for purely crass
        motives.

        Glenn


-------------------------------------------------------------------------------

From: [e-mail] (Clark Scheffy)
Subject: to tie things up...
Date: 10 Jan 1996 17:23:30 PST

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Jeff wrote this in response to the line of discussion, "exploitation of cool.":

I don't know. There's really no way that we can make this kind of music
accessible only to "us". Besides, that wouldn't really be fair, anyway. I
actually have doubts that, since this kind of music (usually) has no
vocals and doesn't revolve around stupid current social issues (i.e.
Pearl Jam, Stoned Temple Pilots, etc), it will be too popular with the
kids. Most "kids" don't like jazz; hopefully they'll stay away from this
stuff for the same reasons.


(Me again)
I agree with Mister Lazlo's earlier posting and also wanted to ask, "who are
we?"  Some of us do seem to be "in the industry," so to speak, and some others
long time collectors, what have you.  We are lucky, all, to be able to share
opinions and information regarding exotica hopefully expand the knowledge and
awareness of the genre(s).  If anyone objects to its proliferation, the internet,
wouldn't you say, is exactly the wrong place to talk about it...  I imagine there
are in the hundreds of subscribers to this list, many of whom are silent and
interested and learning from the more knowledgeable - I have certainly made
purchase decisions based on discussions here...

And furthermore, oddly enough, since the bootlegs everyone talks about get no
advertising beyond word of mouth, what fun it is that the exotica list puts the
word out to hundreds of readers all of whom probably are the aforementioned "us"
not only in terms of who is on the list, but also in terms of people whose
interest is great enough to contribute and spend time on the topics presented
herein.

To opine further, at the cost of being lambasted, these are silly topics.  You can
err, *WE* can moralize all we want about the bootlegs, but the fact remains, they
are out there and many of the albums are not in sufficient quantity.  If I can get
2 $50 or more collector items on one CD at a price that is close to what two albums
should cost, I'm going to.  The only people who seem to know about the bootlegs
anyway are people on this list.  I don't here much from friends unless I tell
them about, or play for them, the CD's.

A friend of mine has a Philip K Dick first edition signed.  The inscription reads
as follows:  "Some day this book will be worth 35 cents.  your friend, Philip K Dick."
The cover price for the book is 35 cents.  Try finding any Dick book, first editions
or not, for less than ten bucks...  I was very happy when the new printings of his
books came out at relatviely affordable prices so I could *read* them, not own
some object containing fetishist historicity which is reserved for the rich.  The
bootlegs filled a niche that clearly the majors are slow to respond to, and that niche,
was people already hungering for the chance to listen to the items issued.  That's the
apolitical truth of it.  Alot of people would rather buy the Pearl Jam and Nirvana
bootlegs at street prices of $35 and more.

I'm rambling I know.  Excuse me, I'll shut up.  I just needed to share my free-associative
impressions with this wonderful and simmering-down (I hope) list...
C


-------------------------------------------------------------------------------

From: Ryan Matheson <[e-mail]>
Subject: Re: Bootlegging, my two million dollars worth
Date: 10 Jan 1996 17:00:59 -0800 (PST)

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On Wed, 10 Jan 1996, dx wrote:

> It's a
> business, with bootleggers profiteering from the efforts of artists without
> any compensation to those who actually produced the art in the first place.

Yeah, yeah, the artist gets screwed.  How is this different from a lot of
legitimate labels?

- --Ryan



-------------------------------------------------------------------------------

From: [e-mail]
Subject: ED THRASHER- Where is he now?
Date: 10 Jan 1996 20:24:25 -0500

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That great art director for Reprise in the mid-60s, where is he now? And
didn't he marry someone famous?

He really inspired me & just curious if anyone knows anything about him.

Thanks!

Ralph Alfonso
======================================================================


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re[2]: Recent Topics
Date: 10 Jan 1996 17:58:57 PST

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     My favorite bootlegs of 1995


     Madonna "Sings Songs of Tura Satina at Mom's Place"
     The Beatles "Intakes" Vol. 3
     Chuck Berry "The Bowl Sessions"
     Mrs. Miller & Yma Sumac "The unreleased rehearsal tapes for Hollywood
     Palace"
     Les Baxter & Bas Shiva "A tribute to the Jewish folk music of Ventura
     County"
     Pearl Jam "Spin the Round Flapjacks"
     Korla Pandit & Cal Tjader "Live impromptu jam at Fanasy's lunchroom"




     .....kidding....



     Lee


______________________________ Reply Separator _________________________________
Author:  "Sadin, Glenn" <[e-mail]> at INTERNET


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     When talking about  legit  bootlegs vs.  profit  bootlegs, I think it
     s kinda like pornography; you know it when you see it. Granted this is
     an imperfect argument and won t hold up in court (even though I m
     paraphrasing a federal judge!), but this is pretty obscure and/or
     archaic music we re discussing here, not currently working artists. I
     do believe that the people who unearth Exotica obscurities and bootleg
     them are not profiting, but are performing a service to the collectors
     and artists (as has been mentioned before). Jeez, I can t even find
     these boots, so how hard can they be pushing this stuff?

        I tend to agree with this. I am of the opinion that if the
        so-called bootlegger of out-of-print music is not claiming
        ownership (that is, not making a profit), than there is no moral
        argument. He's just performing a service, and God bless him or her
        for it!

        Still, if a bootlegger IS doing it for profit (as I would assume is
        usually the case), then I still say 1.) the artist is getting
        exposure that is otherwise unavailable, and 2.) the fans are
        getting ultrarare music at an affordable price. I would like to
        think that, in the case of these new twofer CDs, the manufacturer
        is doing it as an act of love, rather than for purely crass
        motives.

        Glenn



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: The exploitation of cool music
Date: 10 Jan 1996 20:19:53 -0600

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>>How long is it going to be before Tower and all the record labels push all
>>these reissues so much that annoying drama students and mallrats with tiny
>>black backpacks flock to their local record stores to buy this ultra-hip,
>>"totally alternative" stuff?

>Well my brother, it's a fact of life.  I don't know where you're from, but
>exotica compilations are already apppearing all over the place in major
>commercial record store chains (NYC).    Fashion magazines and trendy
>restaraunts and movie stars can show interest in any aesthetic and
>immediately it will be accepted . And then there's Quentin Tarantino, who
>by featuring music by Duane Eddy, Dick Dale and Al Green in Pulp Fiction
>has me hearing "Let's Stay Together" in every stinking bar I enter and surf
>music over cereal commercials .  The media is saturated with it.  Even the
>New York Times did a piece on it in last Sunday's paper.
>
>To get upset is useless, and a little ridicilous.  If you really love the
>music you listen to, you'll just sit back and wait for the mad rush to be
>over and then carry on as usual.
>
>Kerri Mahoney

And not to labor the point, but "exploitation" of cool music, whether it be
long-dormant catalog product or new artists angling for their 15-seconds of
fame, is the name of the game in the music industry. I like thrift shopping
as much as the next Exotican, but the main reason *I* got involved with the
Lounge scene was to share my love of the aesthetic and hopefully
*encourage* the kind of reissue programs we're begining to see now. God
bless Rhino, DCC, Asphodel, Ryko, and the branch majors for digging our
cultural heritage out of the vaults.

I am now leaving my soapbox...thank you...

    /
- -----
 ---
  -   Mimi Schneider                   [e-mail]
  |                 The Roots of Lounge
 [|]  http://www.expanse.com/ads/kiwr/rootsoflounge.html








-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Re[2]: Recent Topics
Date: 10 Jan 1996 22:15:19 -0500

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My votes for best bootlegs of '95:

The Fall - "Our Favourite Broadway Tunes, Look It Up"
Whitney & Yoko - "Rabbit Man"
Velvet Underground - "Weatherall remixes"
Soundtracks - "Chris Elliot as Mame! (private issue)"





-------------------------------------------------------------------------------

From: Mark Freitas <[e-mail]>
Subject: Re: "Recent Topics"
Date: 10 Jan 1996 22:46:19

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I've got a question.  Are the RESearch compilations legit?  It seems like it
would be impossible to track down the correct parties in many cases.  If they
did, wow, amazing.  If they didn't I'm not about to use nasty words about these
folks, as some on here would apparently do.

Bootlegs are a bit pricy and often of lesser quality, so generally only
dedicated fans buy them.  These are the same folks who buy everything by the
artist they possibly can.  While money is owed, the artist isn't really
receiving any less money than they would have had the boot never appeared (I am
speaking here only of the obscure boot market, not any of the more mainstream
boot markets).  And maybe they'll get rediscovered and manage to reap some sort
of financial benefit as a result.

At any rate copyright law gets even foggier out here on the net.  What about
all those album cover screen shots and song clips on the web?  Fair use or
copyright violation?  Or free publicity for the major labels who are finally
reissuing some of this stuff.   Probably a little of each, right?

How about a better target for people's grumpiness - the folks who scavange the
used record bins, cleaning them out, to cash in on the fact that a lot of the
records can be sold at absurd prices.  Neither artist nor label gets a penny of
this bounty, either.  Recall the recent attempts of Garth Brooks (or some other
pop country star, I forget who)  to prevent his CD's from being sold in  stores
that sold used records.  All this is legal, but I put it much lower on the
morality scale than the small time bootlegger who, generally is doing a lot of
work, for not that much profit, but wants to do it because he or she knows that
*nobody* else will.

mark



-------------------------------------------------------------------------------

From: Mark Freitas <[e-mail]>
Subject: Re: huh?
Date: 10 Jan 1996 22:53:58

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Hmmm...  I never saw F&T as being camp.  I love putting on their prepared piano
albums as good, interesting background music.  While some of the music
discussed here is funny in a camp way, the stuff I like best has always been
really great music (at least in my opinion.)  While there are a lot of weird
covers, the best records have amazing *music.*   But I will agree about the
other half of your equation - 50 cents is still the right price!

mark


-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: Recent Topics
Date: 10 Jan 1996 23:00:17 -0500

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RE: Bootlegging

There's been a lot of bali bali here (as Freddie Blassie would say), but
let's just face up to the facts:

No matter how you slice it, the artist is fucked.

If you buy from a used record dealer, at a reasonable rate or an inflated
rate, the artist sees no money. If you buy a bootleg, the artist sees no
money (all this talk about bootlegging for profit or not is nonsense : if
you press CD's for a total cost of around $2.50 a piece and sell them
between $15 and $30, someone is making a profit. No matter how altruistic
their motive.) When a major reissues a record on CD, the artist is often
charged for unrecouped monies from costs (studio/advances/publicity) that
were made, say, MORE THAN 30 YEARS AGO!!!!  Don't tell me that they didn't
write that off already, then recharge them when an unpopular artist becomes
popular. Then there's the practice of reissuing minus 2 tracks (as I
discussed yesterday; go into any truckstop in the U.S. and count the songs
on most of the cassettes they sell), which cuts publishing and gives a
reduced mechanical royalty (because they're selling them as budget items).

At least at thrift shops the money goes to charity (supposedly anyway). But
not the artist.

The music business is a business first. We should be thankful for the indie
labels that'll at least take a chance on something (and in licensing, go
through the often arduous process of tracking down masters and contracts),
and without a gargantuan overhead be able to pay performers for their share
of copies sold. And for the publishing administrators who keep 'em in
check.

br cleve  - professional musician, record enthusiast




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: "Recent Topics"
Date: 10 Jan 1996 22:18:51 -0800

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>
>I've got a question.  Are the RESearch compilations legit?

Sorry, I'm to LayZ to type in all the word >) But on the 1st RESearch comp,
it says they have tried to track down all the artists, etc. But could not,
and anyone with additional info blah blah blah should contact them.
Hope this helps........
On another note...since there are some rekkid industry folks on this
list..Howz about re-issuing some of this on Vinyl since I am getting on in
years and am having problems reading the teeny tiny print on the CDz. Yes -
please - some kind folks re-issued Esquivel on vinyl - howz about it Rhino,
Ryko and u others!!!!

tired fingerz..
richard



_`~=~=~`boom~~`boom~=~=

_-I-__\ /__
   `      ~
  / \_  -I-




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: "Recent Topics"
Date: 10 Jan 1996 23:58:15 -0500

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In speaking for both Caroline and Asphodel, Yes sir theseREsearch releases
are legit, the artists are getting paid and yes where masters were not
available because they were lost or destroyed we had to resort to the vinyl.
 I just want point out your posting concerning wether these releases are
legit is an example of the confusion that our friend the bootlegger is
causing.

Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Mancini
Date: 10 Jan 1996 22:14 MST

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Hi all.  Can anyone comment on Cinema Italiano?  Sounds like it has some
great tunes...

Bob

             <----------The information went data way---------->



-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Re: Another major joins the trend...
Date: 10 Jan 1996 22:47:50 -0700 (MST)

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> >On the Rhino front, got a copy of the sampler...very good sound..Volume One
> > will definitely be the best with the cheesy vocal collection of Volume
> > Three destined to be forgetable.
>
> what rhino cd's are you talking about here? i thought they had only one,
> "cocktail mix vol.1" ?

Volume 1 is the only one available so far (and that only direct from Rhino's
mail-order division) but volumes 1, 2, and 3 are due in the shops later
this month.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: Norman Nithman <[e-mail]>
Subject: New Exotic/Bizarre LP Art Web Page
Date: 11 Jan 1996 01:32:04 -0600 (CST)

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I threw up a few LP scans on my web site at

http://www.tezcat.com/~nrn/lp_art/

I'll be putting up new scans as time goes on, but for starters,
we've got several scans of 50 Guitars of Tommy Garrett, a couple
of Music To ___ By LPs inline, and a few other oddities.

Norm


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Bootlegs:my two cents
Date: 11 Jan 1996 04:11:12 -0500

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Hello all...

well, I swore I wouldn't get drawn into this discussion, but I'm surprised
no-one has brought up the following issue : on a pragmatic level (i.e. the
artist getting paid),what's the difference between a person buying a
bootleg and buying the "legitimate" issue of a record for 25 cents at a
yard sale? How many times has the artist(s) in question really benefitted
from "our" appreciation and aquisition of their music?(Let me reiterate
that I'm talking pragmatic, not moral,grounds here.)

Relating this to another topic, doesn't the "exploitation" of swank sounds
(i.e. ever-increasing commercial re-issues and attendant mass acceptance of
same) mean,despite the possibly faddish nature of it's popularity, that the
long suffering artists in question will receive some well-deserved
royalties from the whole deal?

Quizzically yours...

Riviera




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: "Recent Topics"
Date: 11 Jan 1996 00:29:40 -0500

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In the case where REsearch was unable to contact the artists (as the record
company is out of buisness or whatever) money is being keep in escrow should
anyone call and claim rights on the performance and full royalty will be
paid.  All current rights owners are being paid and in all cases the
publishing is being paid.
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: [none]
Date: 10 Jan 1996 16:29:45 -0500 (EST)

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> If I see Esquivel being interviewed on MTV, I will probably move to
> another part of the world.

I know it's hard to avoid feeling that way, but I think in the long run it's
best to just like the music you like and try not to worry about whether it is
too popular or not.  I find that many of the underground bands I listened to,
for instance, in the early 80's have not held up as well as some more
commercial material that I frowned upon at the time.

Since I listen mostly to Arabic pop music now, I figure I have at least five
years before that becomes really popular in the U.S.

Where are you going to go to avoid MTV?

- --Rudy


-------------------------------------------------------------------------------

From: [e-mail]
Subject: re: who are these guys DUH...what?
Date: 10 Jan 1996 10:37:09 PST

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     Hey people, this message was supposed to be in refference to the thing
     about the RCA building burning down, not the "who are these guys"
     discussion. Sorry, I screwed up..guess I was paying too much attention
     to those Pearl Toejam bootlegs that are robbing deserving artists from
     their heroin.


     >Man, that sucks. Reminds me of when the amazing but unused piece of
     >LA deco arcetecture, The Pan Pacific, burned down a number of years
     >ago. More modern history lost forever (don't get me started on the
     >strip mall that sits on what used to be Goldstar Studios)!


     >Lee


         ______________________________ Reply Separator



-------------------------------------------------------------------------------

From: David Howard <[e-mail]>
Subject: Huh?
Date: 10 Jan 1996 12:56:49 EDT

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Hmmm?  I'm a little confused.  I can certainly see the fun in rumaging through
a dusty thrift store wading through the scratchy Poco and Captain and Tenille
records in hopes of uncovering some hidden treasure.  Ken Nordine absolutely.
Martin Denny ok...Les Baxter maybe...Arthur Lyman I guess I can see it.   But
some of the dreck that people seem to be getting excited about is baffling.
Hollyridge Strings?  Ferrante &Teicher---c'mon!  Dick Hyman, Montovani?!? This
is some of the lamest stuff ever recorded.  It sucked then and it still sucks
now. Even more baffling is this stuff getting pressed onto CD's.  Half of what
made the best of this stuff cool in the first place was the outrageous cover
art, and the other half was that the price of this stuff was rarely over 50
cents.  But with CD's, the cover art is too small to enjoy and the price is
twenty to thirty times what this stuff was going for before all these
bozo-space-age-bachelor-pad-fetishizers came along.  I was in a store recently
and saw Esquivel records for $100.  I'm sure buried under that price tag was
another for 25 cents.  But if people want to pay that price fine, mazel tov!
If people want to buy the 40 CD box set of 101 strings more power to them.  But
I hope you have a lot of friends to play this stuff for, because as anyone
knows camp is only amusing when you have someone to share it with.  And if you
don't,  and you come home after a hard day, loosen your tie, mix yourself a dry
martini from your bamboo tiki bar and plop down in your favorite easy chair and
reach for the CD remote I sure hope it's not playing Ferrante & Teichers'
jungle version of "Theme From A Summer Place".   And if it is may God have pity
on your soul.



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re[2]: Bootlegging, my two million dollars worth
Date: 10 Jan 1996 10:14:17 PST

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        I don't live in a fantasy world, but you live in a closed closet. The
kind of bootlegging I am referring to has nothing to do with some idiot with a
micro cassette machine taping a Bruce Springspleen show. The kind of bootlegging
referred to here covers things like compilations of impossibly rare records, and
things like the Lex Baxter issues that haven't been in print since before my
fiancée was born (or before you were hatched). And, I'll betcha that when the
majors decide to ape a trend that was started on the 'street' and brought to the
people via independent labels, those artists aren't going to make jellybeans off
the reissues. Point in case; my pal Jeff who was the bass player of The Dead
Boys didn't make anything off the Warner CD reissues of their two albums
and...the original releases aren't even twenty years old yet!

Bootlegging has contributed far more than you seem to realize. And we're not
talkin' the Prince box set either.

Lee Joseph

PS: Remember that John Lennon used to send his 'secretary' to early Beatle
conventions to pick up Beatles bootlegs cause he collected them!

______________________________ Reply Separator _________________________________
Author:  [e-mail] (dx) at INTERNET


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> You, who do not take all into consideration on issues like this are
> the Archie Bunkers of music. Don't make waves, accept what is handed
> to you, don't question anyone or anything. You in my opinion are
> boring and have no life.

And you seem to live in a fantasy world where all bootleggers are altruistic
heroes who are only interested in saving interesting music from obscurity.  But
it just isn't so.  The bootleg world is a lot more than Deadheads or Beatle
fanatic trading tapes (and now CDs) of otherwise unavailable music.  It's a
business, with bootleggers profiteering from the efforts of artists without
any compensation to those who actually produced the art in the first place.
Those who bootleg live concerts not only make a profit off of someone else's
art, but they do so at the expense of the artist's decision as to whether
the live concert experience is something they want canned and repeatable.

- -dx



-------------------------------------------------------------------------------

From: [e-mail]
Subject: RE: response to a message from B.Stewart
Date: 10 Jan 1996 14:13:00 PST

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     >You can sugercoat and bullshit your way through it all you want.  I
     >will like nothing better than to see bootleggers locked-up in jail
     >where they belong.  It is intellectual theft, plain and simple.
     >Nothing is gonna change that.

     >You have an opinion and it's yours, but that doesn't mean I gotta
     >agree with it or even respect it.  I don't respect thieves.  And this
     >IS theft, like it or not.  If you don't like the way things are, then
     >I suggest you call your
     >local politician and justify it to him.

     >I have a life pal, you just don't know about it.  It's none of your
     >business.

     Hey Brian (and all the other "suites" out there),

     Here is my opinion, again. I ain't sugarcoating NOTHING. Do you want
     me to LIST circumstances where bootlegs have helped both artist and
     fan?

     Why don't you lock up all the major labels who give thier artists
     nothing for the CD reissues they put out. That, sir, is a crime.
     Burying catalog, that sir is intellectual theft.

     The kind of bootlegging I'm reffering to has nothing to do with
     theivery, and all to do with preserving and spreading unknown and/or
     unavailable music to fans.

     I've even reissued an entire album of mostly unreleased material as a
      direct result of a band member who had no idea that anyone gave two
     youknowwhats about his 30 year old tapes, until he saw a song off his
      lone 1963 single on someone's CD surf comp that I had listed in my
     mail-order catalog. When he found out about the boot, he wasn't mad,
     he was really amazed and happy that anyone gave enough of a shit about
     his old stuff to boot it! At that point, he dug up old master tapes,
     photos and viola, we put together THE ESQUIRES "FLASHIN' RED" Lp/CD!
     In addition, this release excited his old band mates so much, they had
     a reunion party. Some of those guys haden't seen each other in over
     twenty years!



     Here is a copy of part of an email message sent directly from myself
     to
     "dx", in response to a private email he sent to me;

     >OK, I shouldn't be so hostile (I'm a big Don Rickles fan, sosueme!)
     >Regarding Les Baxter's boots, I doubt if he will see any money from
     Capitol if his stuff is reissued (I can find out by calling his
     daughter, in fact I will ask if he got any money from the license to
     Asphodel for the track on "ISM" vol. 2). I gave Les a $1000.00 (not
     much for a major label, but a lot for me) advance for the "Lost
     Episode" release. I seriously doubt that Capitol would do the same
     thing . However, I would rather see a fan be able to get his/her hands
     on cool music for like $15.00 than $75.00. It always happens this way;
     someone will get a record by an artist with deep catalog (boot, in a
     thrift store, etc) then, if they dig it, will spark enough interest
     for them to research the artist' career!


     LEE

     PS: In the words of The Standells" If you don't like this long-hair
     baby, get yourself a crew-cut". Oh, you apparantly already have the
     crew-cut. Your loss DUDE
     ______________________________ Reply Separator
     _________________________________ Subject: Re: Bootlegging, my two
     million dollars worth
     Author:  "Bryan Stewart" <[e-mail]> at INTERNET Date:
     1/10/96 1:09 PM


     You can sugercoat and bullshit your way through it all you want.  I
     will like nothing better than to see bootleggers locked-up in jail
     where they belong.  It is intellectual theft, plain and simple.
     Nothing is gonna change that.

     You have an opinion and it's yours, but that doesn't mean I gotta
     agree with it or even respect it.  I don't respect thieves.  And this
     IS theft, like it or not.  If you don't like the way things are, then
     I suggest you call your
     local politician and justify it to him.

     I have a life pal, you just don't know about it.  It's none of your
     business.



-------------------------------------------------------------------------------

From: Henk Rijks <[e-mail]>
Subject: Lurkers delight
Date: 11 Jan 1996 14:20:22 +0100

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Since this list seems to be lurked by a growing number of record company
buffs, why not give 'em what they want and start a thread with
suggestions of material to re-issue?

Our benefits would be that:
a. more good, previously unavailable stuff will be re-released;
b. by levelling the playing field they'll compete the hell out of each
   other to get the best gems;
c. we will all be generously rewarded with lifetime free copies as a
   token of their gratitude <hehehe>.

Henk



-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Record Price Catagories
Date: 11 Jan 1996 06:07:54 -0800

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Bro. Cleve (Professional Musician, Record Enthusiast)...

> Then there's the practice of reissuing minus 2 tracks (as I
> discussed yesterday; go into any truckstop in the U.S. and count the songs
> on most of the cassettes they sell), which cuts publishing and gives a
> reduced mechanical royalty (because they're selling them as budget items).

I had a discussion with Capitol about this many years ago when they were
issuing Beach Boys vinyl with 10 tracks.  Their explanation was that by
cutting the two songs they reduced their mechanical royalty payment
sufficiently that they could offer the record at a budget price (I think
it was $3.99 at the time).  I asked why they didn't include the "extra"
tracks, and bump the price to, say $4.49 or $4.99.  They suggested that
the next price catagory that record stores would slot the releases into
was $5.98 or $6.98, which would be too high.  Does anyone know why record
marketers insist on having no prices between the budget and "full price"
record?  Seems kind of stoopid to me.

- -dx


-------------------------------------------------------------------------------

From: "bill wynne" <[e-mail]>
Subject: the "hot" topic
Date: 11 Jan 1996 9:07:26 EST

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I haven't been able to wade through the muck on this whole "bootleg" issue.
But consider this:

The primary concern seems to be that the artists and the composers see no
revenue from the sale of bootlegged recordings.  So, I ask you:  How much
money do the artists and composers receive when we're all frantically raiding
the record bins at flea markets, swap meets, auctions, and thrift stores?
One copy of a record might get sold and re-sold three or four times in its
lifetime (i.e. before some jerk throws it away because he doesn't realize how
badly WE all want it!).  The artist and composers see the revenue ONCE - only
once.

Of course, the recent debate (perhaps you've read about it) concerns the used
CD trade, with regard to the same $$$ concerns I cite above.  But why
shouldn't records be considered in this category as well?

So, if you're one of those concerned with bootlegs and refuse to purchase
them under any circumstances, but still you love those used records, urge
your local thrift store owner to fairly divide the 50 cents you paid him
among the financially injured parties: 2 cents to the composer of each song
on the album (contact the Harry Fox Agency in NYC to determine how best to
get the royalty payments to their rightful recipients); 10-15% for the
original artists (or his or her estate); and 25-30% for the original
label/distributor, without whom there would be no vinyl.  And with the 9
cents the thirft store owner has left, his impending bankruptcy will slam the
door on your record hunting fantasies forever.

If you're one of those who supports the bootleg industry for any of the
reasons you have sensibly and poignantly cited these past few days, if you
agree with the calculations I've made above, then perhaps we can simply view
purchasing bootlegs (no matter their production quality) as overpaying for a
used record.

Thanks for providing a forum where such important issues can be debated
openly and honestly, and where no one takes offense at each others' opinions.

Sincerely,


Bill Wynne
[e-mail]


-------------------------------------------------------------------------------

From: "A.S.P." <[e-mail]>
Subject: Martin Denny's Moog Exotica
Date: 11 Jan 1996 06:31:46 -0800 (PST)

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I was recently looking for this on usenet and someone responded saying
there's a boot CD of it out.  Anybody know where I can find it?  I'd just
as soon get the original, but it seems very hard to find.

R>


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Martin Denny's Moog Exotica
Date: 11 Jan 1996 10:36:39 -0500

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-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Record Price Catagories
Date: 11 Jan 1996 10:43:33 -0500

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>Does anyone know why record
>marketers insist on having no prices between the budget and "full price"
>record?  Seems kind of stoopid to me.
>
>-dx

actually, there was such a price point...the "mid price" cd of 13 or 14.98.=
 however, as companies got greedier and greedier and consumers continued to=
 pay full price, the mid price was given up. it is now almost solely the=
 realm of the independant label.
basic problem as i ahve had it explained to me is that major labels have to=
 marketing, distriution, and a larger artist roster and catalog. therefore=
 they need more money to operate that an indie does. i do not agree with=
 this position ut see the logic.
why, however, re-issue titles which have been gathering dust for 30 years at=
 full price makes less sense....except to cash in on the trend as quickly as=
 possible. this way...when mainstream consumers have moved on to whatever is=
 the next "hot thing", the laels have made their money and can then turn=
 these re-issues into budgget lines or cut them out entirely.=20

viktrola@nai,net

            http://www.chaoskitty.com=20
"where chaos and lounge meet the great bhuddah kitty"

@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@ chaos never died @@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@




-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Re: "Recent Topics"
Date: 11 Jan 1996 10:23:20 -0700 (MST)

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> In the case where REsearch was unable to contact the artists (as the
> record company is out of buisness or whatever) money is being keep in
> escrow should anyone call and claim rights on the performance and full
> royalty will be paid.  All current rights owners are being paid and in
> all cases the publishing is being paid.

But when all is said and done, this is still bootlegging.  Copyright isn't
just meant to make sure the copyright holder gets paid for the use of
their intellectual proerty; it's meant to give the copyright holder
control over who uses that intellectual property in the first place.  If I
were to start making copies of the latest Pearl Jam album and selling them
over the net, it wouldn't be to my advantage in court later on to argue
that I'd made sure the mechanicals were paid -- I still didn't have
permission to copy the material in the first place.

Please be aware that I'm not arguing against bootlegging in general or
against the Re/Search CDs in particular; I just think that if there is
music on the Re/Search discs that was used without the copyright holder's
permission, it's inconsistent to decry bootlegs as "illegitimate" and
simultaneously hold up the Re/Search discs as "legitimate".

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Re: "Recent Topics"
Date: 11 Jan 1996 10:48:10 -0700 (MST)

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> Please be aware that I'm not arguing against bootlegging in general or
> against the Re/Search CDs in particular; I just think that if there is
> music on the Re/Search discs that was used without the copyright holder's
> permission, it's inconsistent to decry bootlegs as "illegitimate" and
> simultaneously hold up the Re/Search discs as "legitimate".

Erik Gilbert has kindly reminded me that all the tracks on Volume 2 were
properly licensed.  I knew that and should have made it clearer in my
message above -- sorry for any implied guilt-by-association, Erik.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: [e-mail] (Eric Drysdale)
Subject: Scott, Klezmer, Boots, Popularity,etc.
Date: 11 Jan 1996 12:49:08 GMT

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Hi,

 I've recently  been absolutely entranced by a record called "Freilach in
Hi-Fi" and klezmer in general
 and wondering whether Raymond Scott was
 influenced by this music.  The columbia CD mentions that his real name is...
I forget... something
Jewish-y anyway.  Anyone know for sure if he's Jewish or what his connection
to Klezmer is?
To explore further, I went last night to the Knitting Factory here in NY to
check out Don Byron, a Jazz musician
who's put out a CD of Mickey Katz stuff, doing an evening of Raymond Scott
and Klezmer favorites.
I couldn't really raise my hand and ask him to lecture about the
connection... but the show was great.
His ensemble was excellent, and they played letter-perfect versions of
"Powerhouse (twice)",
"Penguin", "Carmen", "War Dance For Wooden Indian" and others.  He stuck to
the no-improv
transcriptions, and swung very well.  He also played "Sharon's Song" the very
Klezmer tune by Sami Musica
that helped me make the connection in the first place.   Anyway, I'm still up
in the air as to the direct
connection, if there is,  between Scott and Klezmer... anybody care to
enlighten us?  Is Mr. Chusid out there?

I'm also kicking myself for not remembering the name of the artist who he
compared to Scott, and
played a song from.  Kirby?  Is that it?  Anyone?

My two cents on bootlegging:

Well, booting obscure exotica is a bit different than booting Bigrockstar,
for which the
classic rationalization goes something like this:  Most people picking up
Bigrockstar
boots have probably already paid for all of the legitimate releases, and most
likely a bunch of legit imports with
alternate versions, etc., for which the artist also recieves money. Fan has
also dropped a bunch of
money on Bigrockstar concerts, where he's able to buy officially licensed
Bigrockstar
T-shirts, neckties, keychains, and salad bowls.  At this point, Fan has done
everything within legal means to satisfy his hunger for Bigrockstar, and will
turn to the boots.  It's
Bigtimerecords fault that they cant keep up with the  Star-Trekish
completist madness of Fan, and Bigrockstar is so hopped up on heroin and has
so much money
that he's not going to notice anyway.   (I'm not wholly in agreement with
this, but at least
in this scenario, the artist gets as much money as he's provided for himself
to  come to him)

With exotica, we're left with the choice between getting used 25 cent used
records, for which the artist gets
no additional money, or with a boot, for which the artist also gets nothing.
Now, If we were really so
concerned about this, wouldn't we find the Three Suns and mail them a check
for, what, 50 cents for
that  copy of Movin' and Groovin' we found stuffed in a mattress?

Exotica boots are just a pit stop between obscurity and legit reissues.  Much
of
this stuff would never get re-released otherwise, and the only other way we
would hear it is
with the 25 cent used version, for which the artist also gets screwed.  I
don't see much of a difference
except that in one version the artist knows who he's sold his soul to, and in
the other he doesn't.

I also hold the unpopular opinion  that sampling should be free, or at least
on the honor system,
but that's a whole other can of worms.

- -E

P.S. as for the poplularity of Exotica... what's MTV?  never heard of it.





-------------------------------------------------------------------------------

From: [e-mail]
Subject: Sound Gallery
Date: 11 Jan 1996 14:13:50 -0800

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I loved the Sound Gallery LP ( I got it on Vinyl) I use it a lot when I DJ.
People are always coming up to me and asking "what the hell is that?!" I
think Sound Gallery is a good example of the transition to a more psychedelic
esthetic as well as the stylistic musical differences between England and the
U.S.A. But primarily I think we have to make a distinction between pre and
post psychedelic easy-listening and acknowledge the far reaching influence of
the psychedelic esthetic and events of the time on the middle of the road
Easy-Listening sounds. This can be heard on records of the late 60's and
early 70's of Hugo Montenegro, Dick Hyman, Enoch Light for example. I'm
finding these records generally much more exciting than the pre '67 cocktail
fair. As well as some Boogaloo records from about '66 to '71. Tracks like Hit
the Bongo by Tito Puente, Smoke Shop by the Lat-teens and Freak Off by Larry
Harlow.
My latest hunt is for The Easy Project on Vinyl.
Best wishes, Love, Jonny Sender




-------------------------------------------------------------------------------

From: "DaveL"  <[e-mail]>
Subject: Re: the "hot" topic
Date: 11 Jan 1996 16:38:16 -0600

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"bill wynne" writes:
> How much
> money do the artists and composers receive when we're all frantically raiding
> the record bins at flea markets, swap meets, auctions, and thrift stores?
> One copy of a record might get sold and re-sold three or four times in its
> lifetime (i.e. before some jerk throws it away because he doesn't realize how
> badly WE all want it!).  The artist and composers see the revenue ONCE - only
> once.

..and what about used books? On the surface, it would seem that they might be
subject to the same kind of scrutiny, but no one's mentioned them. (?)

I have a feeling, though, that there's more at stake/different expectations for
people who make music. Once again - (?)

dave


                     /\\ \\ \\ \\
                    /  \\ \\ \\ \\         arouet records
                   /    \\ \\ \\ \\
 ZING! ZING! -----------// // // //------> [e-mail]
                    \  // // // //
                     \// // // //          fnast! image



-------------------------------------------------------------------------------

From: [e-mail]
Subject: MTV
Date: 11 Jan 1996 13:49:59 -0500 (EST)

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> How about...Not Watch it?  Every TV has at least two buttons, one to change
> the channel, and one to turn it off.

I meant, where to go geographically to avoid it.  Actually, I don't own a TV.


-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Re: The exploitation of cool music
Date: 11 Jan 1996 15:00:58 -0800

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At 12:04 PM 1/10/96, Jeff wrote:
>How long is it going to be before Tower and all the record labels push all
>these reissues so much that annoying drama students and mallrats with tiny
>black backpacks flock to their local record stores to buy this ultra-hip,
>"totally alternative" stuff?

On a similar note, the new issue of the Columbia Record Club mailer lists
"History of Space Age Pop, Vol. 1) in the "Alternative" section. The BMG
club, which also only offers Vol. 1, at least has it in "Easy Sounds" (or
whatever they call that section).

____________________________________________

"Sanitarium? Alright. If you want me to go, I'll go."

                                                - Neely O'Hara,
_Valley_of_the_Dolls_




-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Re: Silver Apples question
Date: 11 Jan 1996 15:01:05 -0800

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At 11:48 AM 1/9/96, kevin king wrote:
>> can anyone tell something about this new cd by Silver Apples "1968/CONTACT
>> 1969" (MYSA014 or TRC 78737, Holland, 1995)? what kind of music is it?
>> thanx!
>
> I would
>think that it would only be classifiable as exotica, though, through
>the use of make-shift instruments and electronica.

From my dim but first-hand memory of that period, Silver Apples were a New
York duo who were steeped in the contemporary electronic concert music of
the time (Stockhausen, Ligeti, et al.) as well as the art-rock music of the
day.

They took themselves seriously as composers and only in retrospect would we
call their electronic equipment "makeshift."

In a similar vein, one of the first electronic LPs I bought back then (I
was real young -- honest!) was a piece called "Time's Encomium" by Charles
Wuorinen. I think it was on Vanguard or maybe a contemporary-classical arm
of Vanguard. Is anyone familiar with the composer or this work? What I
remember is the unusual sonic soundscape and how much it added to the antic
pot parties of my freshman year of college.

kjm




-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Bootlegging, my $8.98 worth
Date: 11 Jan 1996 15:01:12 -0800

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There is no ethical distinction between purchasing a bootleg and purchasing
a legitimate recording second-hand.




-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Silver Apples question
Date: 11 Jan 1996 19:34:38 -0500

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> >> can anyone tell something about this new cd by Silver Apples "1968/CONTACT
> >> 1969" (MYSA014 or TRC 78737, Holland, 1995)? what kind of music is it?
> >> thanx!
> >
> > I would
> >think that it would only be classifiable as exotica, though, through
> >the use of make-shift instruments and electronica.
>
> From my dim but first-hand memory of that period, Silver Apples were a New
> York duo who were steeped in the contemporary electronic concert music of
> the time (Stockhausen, Ligeti, et al.) as well as the art-rock music of the
> day.
>
> They took themselves seriously as composers and only in retrospect would we
> call their electronic equipment "makeshift."

Didn't mean that as a negative description, nor really as an accurate
description of what instruments they were using (as I worded it :).  I
was trying to describe the sound, which to me is playfully
experimental and amateurish (in a good sense).  There's a classical
electronic album I have by John Pfeiffer (Electronomusic) that sounds
to me like similar instruments played much more deliberately.  Maybe
a better description of Silver Apples' music is garage tech?  They
sound to me much more like the art rock you mentioned than any
classical I've heard.  The difference between them and most other
70's art rock (which I like much, much less) is their playfulness -
it sounds a bit thrown together, even if it was merely planned
casualness.  Exotica?  You decide.

kevin


-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Re: Another major joins the trend...
Date: 11 Jan 1996 15:56:55 -0800

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At 10:47 PM 1/10/96, Lazlo Nibble wrote:
>Volume 1 is the only one available so far (and that only direct from Rhino's
>mail-order division) but volumes 1, 2, and 3 are due in the shops later
>this month.

Vols. 2 & 3 also available from Rhino mail order.




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: the "hot" topic
Date: 11 Jan 1996 20:54:40 -0500

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Bill, the bootleg issue is not just one of artists getting their share.  From
the perspective of anyone who is working for a label who would like to
legally reissue titles in a proper remastered version with good liner notes
etc are often stopped in their tracks by the guy who has been putting out the
recent set of easy listening/exotica titles.  Wouldn't you rather get a well
put together CD package with pristine sound then have to pay a lot more money
for a CD that's been pressed off a vinyl copy some guy may have picked up at
a garage sale?  That's the main objection I'm getting at.
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Scott, Klezmer, Boots, Popularity,etc.
Date: 11 Jan 1996 21:12:48 -0500

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Let's not confuse the artist not getting royalties on a used record with an
artist not getting royalties from a bootleg.  Remember the artist was paid
the first time around.  A bootlegger is producing a NEW item for sale, not
reselling the same physical product that the artist already got paid on.
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Record Price Catagories
Date: 11 Jan 1996 23:11:28 -0500

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     At the risk of this turning into another major label bashfest (but, let's
face it, sometimes they just ask for it, don't they...?) it's worth pointing
out that many of Rhino's titles that had been priced at a very reasonable
$11.98 list price when Rhino was distributed by Capitol, including the
excellent "Blues Masters" series, suddenly became $15.98 list titles when
Rhino signed its distribution deal with Atlantic.  While no one can doubt that
the deal has been mutually beneficial to both companies, it's illustrative of
the way major labels operate.  I run a record store and we're *still* getting
in copies of formerly-$11.98 Rhino C.D.'s now at $15.98 that still have budget
stickers on them.  I feel like a real shmoe putting them out on the shelves at
full list price with the old budget stickers still on them.
                                    --Jon Johnson
                                      [e-mail]



-------------------------------------------------------------------------------

From: [e-mail] (Erik Gilbert)
Subject: Incredibly Strange Music Volume 2
Date: 11 Jan 1996 12:46:45 +0000

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Just to confirm that ALL the tracks on Incredibly Strange Music Volume 2
were directly licensed from the owners.  And the publishing is being paid
on all the tracks.  We made the decision not to include tracks where we
could not trace the rightful owners.   Of course, I can only speak for
Volume 2 as the licensing for Volume 1 was handled by the good folks at
Caroline Records.

Erik Gilbert
Asphodel




-------------------------------------------------------------------------------

From: "K. Schiele" <[e-mail]>
Subject: How to aviod MTV
Date: 11 Jan 1996 10:32:43 -0800 (PST)

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Without intention of ruffling feathers,

On Wed, 10 Jan 1996 [e-mail] wrote:
> Where are you going to go to avoid MTV?



How about...Not Watch it?  Every TV has at least two buttons, one to change
the channel, and one to turn it off.

Ken S.

PS - My $.02: I'd love to see an interview with Esquivel, no matter who the
hell broadcast it.  But someone will have to tape it for me, I don't have
cable.


-------------------------------------------------------------------------------

From: [e-mail]
Subject: First MTV, now this ...
Date: 11 Jan 1996 14:18:34 -0500

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FYI, Billboard will cover "Lounge, Surf & Exotica" in its Feb. 10 issue.
 "Current releases will be included in editorial coverage, plus a
label-by-label product guide to forthcoming releases."

Preston


-------------------------------------------------------------------------------

From: [e-mail]
Subject: EXOTIC TRILOGY
Date: 11 Jan 1996 16:00:20 PST

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     If anyone can pick up a copy of The Exotic Trilogy for me, I'll send
     the money OR trade some Bacchus/Dionysus stuff. I'd really like a copy
     of this CD and can't find it anywhere in LA.


     "Please hear my plea"


     Thanks,


     Lee Joseph



-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: RE: response to a message from B.Stewart
Date: 11 Jan 1996 10:29:13 -0700 (MST)

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Just a reminder: Please do not reply to or repost private email on the
list unless you have permission from the original sender FIRST.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: "Sadin, Glenn" <[e-mail]>
Subject: Martin Denny's Moog Exotica
Date: 11 Jan 1996 10:35:01 PST

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I was recently looking for this on usenet and someone responded saying
there's a boot CD of it out.  Anybody know where I can find it?  I'd just
as soon get the original, but it seems very hard to find.

R>

        Man, do you have great timing, or what! <gg>

        Glenn



-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Thunderbirds
Date: 11 Jan 1996 20:42:55 +0100

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someone mentioned a Thunderbirds CD here, and the only stuff of which i
found a reference are these 2:

MUSIC FROM TV SHOWS BY BARRY GRAY FAB      950923 C-SIL124      1292 CD
        (STINGRAY/JOE 90/THUNDERBIRDS   CAPTAIN SCARLET)
ROYAL PHILHARMONIC OR   FAB THUNDERBIRDS   950119 T-FILMCD124   1193 CD

VARIOUS   POWER THEMES THUNDERBIRDS ETC    950119 T-CDSR022     0993 CD

is anyone familiar with these? the first one seems to contain stuff from
several tv shows for which barry gray wrote mysic...

- -johan




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Recording project
Date: 11 Jan 1996 13:37:08 -0500

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I am currently beginning a project to document the various "advancements" in=
 recording techniques during the exotic perid. The introductioon of=
 stereophonic sound brought with it an avalanche of record label marketing=
 ploys. "Living Stereo", "Orthophonic sound", "3D Mono", and the like are=
 the fcus oof my research. Anyone wishin to help me can send info to:

[e-mail]

Thanks in advance....

viktrola@nai,net

            http://www.chaoskitty.com=20
"where chaos and lounge meet the great bhuddah kitty"

@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@ chaos never died @@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re[2]: "Recent Topics"
Date: 11 Jan 1996 10:53:34 PST

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     Ashley,

     Were the artist paid or where the licenses paid to the labels? ( I
     mentioned something about that in one of my tirades,  regarding the
     Les Baxter track on ISM #2, and it might have come off sounding
     wrong). I assume they were paid to the labels BUT what happens to the
     money at that point? I was just wondering?

     Man, the lid to Pandora's Box won't go back on now!

     Lee



______________________________ Reply Separator _________________________________
Author:  [e-mail] at INTERNET


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In speaking for both Caroline and Asphodel, Yes sir theseREsearch releases
are legit, the artists are getting paid and yes where masters were not
available because they were lost or destroyed we had to resort to the vinyl.
 I just want point out your posting concerning wether these releases are
legit is an example of the confusion that our friend the bootlegger is
causing.

Ashley



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re[2]: "Recent Topics"
Date: 11 Jan 1996 10:49:32 PST

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     Bravo to vinyl! (as long as it's mastered from analog tapes).

     In fact, here is a whole new can of worms for you all to think about.
     Why take a digital signal to go to an analog playback format? Did you
     know that (at least some of) the Del-Fi vinyl reissues were mastered
     from CDs? Icky Poo!


     Lee


______________________________ Reply Separator
_________________________________
Author:  [e-mail] at INTERNET


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><# Replies to this message will go to:
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>
>I've got a question.  Are the RESearch compilations legit?

Sorry, I'm to LayZ to type in all the word >) But on the 1st RESearch comp,
it says they have tried to track down all the artists, etc. But could not,
and anyone with additional info blah blah blah should contact them.
Hope this helps........
On another note...since there are some rekkid industry folks on this
list..Howz about re-issuing some of this on Vinyl since I am getting on in
years and am having problems reading the teeny tiny print on the CDz. Yes -
please - some kind folks re-issued Esquivel on vinyl - howz about it Rhino,
Ryko and u others!!!!

tired fingerz..
richard



_`~=~=~`boom~~`boom~=~=

_-I-__\ /__
   `      ~
  / \_  -I-





-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: "Recent Topics"
Date: 11 Jan 1996 15:31:37 -0600

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><#     Lazlo Nibble <[e-mail]> wrote:

>
>> Please be aware that I'm not arguing against bootlegging in general or
>> against the Re/Search CDs in particular; I just think that if there is
>> music on the Re/Search discs that was used without the copyright holder's
>> permission, it's inconsistent to decry bootlegs as "illegitimate" and
>> simultaneously hold up the Re/Search discs as "legitimate".
>
>Erik Gilbert has kindly reminded me that all the tracks on Volume 2 were
>properly licensed.  I knew that and should have made it clearer in my
>message above -- sorry for any implied guilt-by-association, Erik.
>

I would like to point out that many mom & pop music retailers (who
specialize in new and used vinyl and cater to serious collectors) are able
to realize significantly higher profits on bootleg CDs simply because, like
most contraband, the margins on boots are so much higher than on legit
goods. Sales of bootlegs are what is keeping some of these stores in
business. Is it fair to the artists? Is it morally "right?" No--but neither
are many of the other financial practices of the music industry.
Merchandise and live show gate are the ways *musicians* make any serious
money in the biz, along with publishing if they are fortunate enough to
have some hits. The sort of limited edition bootlegs aimed at the
collector's market you've been discussing here are the least of an artist's
worries.

Some of this exotica product has been out of print so long and has been
through so many changes of ownership that by the time one could figure out
who the copyright holder truly is, the moment of interest in the material
would have passed.


    /
- -----
 ---
  -   Mimi Schneider                   [e-mail]
  |                 The Roots of Lounge
 [|]  http://www.expanse.com/ads/kiwr/rootsoflounge.html








-------------------------------------------------------------------------------

From: "bill wynne" <[e-mail]>
Subject: Better late than never...
Date: 11 Jan 1996 13:12:31 EST

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The record auction/set sale that I announced in OCTOBER is finally HERE!  It
took a long time to clean, grade and price the first 200 records.  But there
is truly something for everybody on this list.

If you're already on the mailing list for this sale, you probably received my
earlier message today.  I'm writing to the "exotica" mailing list, as well,
in case anyone expressed an interest in this sale previously and has NOT
received my earlier message today.  That means I missed your name, so...WRITE
ME AGAIN!  I want you on my list!

AND, if you're new to the "exotica" mailing list and don't know what the hell
I'm talking about, I'm clearing out my precious vinyl collection.  I'm out of
room and I need the money.  Interested?  Look what's on the block:

Martin Denny (30+ titles)    Arthur Lyman (30+ titles)
Esquivel  Henry Mancini  Les Baxter  Ferrante and Teicher  The Three Suns
Enoch Light (and other Command and Project 3 label "gems")
Tony Mottola (a dozen titles on Command and Project 3 featuring Enoch Light)
Billy Mure, Al Caiola, George Barnes, Laurindo Almeida, Mundell Lowe, Jorgen
Ingmann, Toots Thielemans and other guitaristes extraordinaires
Allan Sherman, Stan Freberg, Rusty Warren, Smothers Brothers, Bob Newhart,
Irving Taylor (the great comedians/parodists of their time)
George Shearing, Joe Bushkin (lounge lizards r' us)
Baja Marimba Band (marimba playing by Martin Denny band alum Julius Wechter)
Buddy Morrow, Stan Kenton, Quincy Jones (the wall-of-sound big bands)
Ping-pong stereo by no-name, budget label, misunderstood musical geniuses
How to do hypnosis, How to belly dance, How to do striptease, How to throw a
Bacardi party...

WHAT THE HELL MORE DO YOU WANT?  I'VE GOT IT ALL!

No.  It's not all mint.  But they're not all $50 dollars, either!  Why not
take a peek?  If you want to be on the list, send your e-mail address to
"[e-mail]" with a message that reads...well, I'll let you improvise on
the message.  If you're interested, you must send me your e-mail address.  I
will not clutter the "exotica" mailing list (and your mailboxes) with "junk
mail."

Bill Wynne
[e-mail]








-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: The Exploitation of Cool
Date: 11 Jan 1996 11:57:06 -0500

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I never implied that exotica music should only be accessible to 'us'.  Jeff had
raised a concern about MTV backpacking mall-rats suddenly discovering this music
and the majors exploiting it.  He raised the question, not me.  All I asked is
if this is such a big problem, what would he suggest be done about it.  I
certainly would not make it inaccessible for anyone (except bootleggers).
Bryan


-------------------------------------------------------------------------------

From: "bill wynne" <[e-mail]>
Subject: re: the "hot" topic
Date: 12 Jan 1996 8:59:36 EST

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In that sense, i.e. the quality issue concerning a number of bootlegs (some
of which I have heard), you are absolutely correct.  I suppose I was
primarily addressing those individuals who are taking their stand against
bootlegs based on an ethical code that I consider to be in some ways
hypocritical.  If one doesn't buy bootlegs because they were pressed from
scratchy vinyl, who can argue?  But to say that they won't buy bootlegs
because of some concern for the artists and composers, yet continue to
scrounge the used record bins, is a moral contradiction.

Bill Wynne


-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: re: the "hot" topic
Date: 12 Jan 1996 06:40:07 -0800

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> But to say that they won't buy bootlegs
> because of some concern for the artists and composers, yet continue to
> scrounge the used record bins, is a moral contradiction.

There is no moral contradition if your morality is based on the notion that
physical property is the basic measure of our remunerative system for
producers.  That is, in the case of a used record, the artist is thought to
have already been compensated for the physical object, which is being passed
from one owner to another.  In the case of bootlegs, a third party is
creating a new physical object, for which the artist receives no compensation.
In the case of a used record, the artist is compensated for a linear series
of uses by different people, in the bootleg case, the artist is not being
compensated for a parallel series of uses by different people.

Whether or not one agrees that this is a fair meaure of compensation to the
original artist is certainly open to interpretation, but to suggest that
there is absolutely no distinction between buying used records and buying
bootlegs is to ignore fairly obvious differences.

- -dx


-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: re: the "hot" topic
Date: 12 Jan 1996 06:40:07 -0800

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> But to say that they won't buy bootlegs
> because of some concern for the artists and composers, yet continue to
> scrounge the used record bins, is a moral contradiction.

There is no moral contradition if your morality is based on the notion that
physical property is the basic measure of our remunerative system for
producers.  That is, in the case of a used record, the artist is thought to
have already been compensated for the physical object, which is being passed
from one owner to another.  In the case of bootlegs, a third party is
creating a new physical object, for which the artist receives no compensation.
In the case of a used record, the artist is compensated for a linear series
of uses by different people, in the bootleg case, the artist is not being
compensated for a parallel series of uses by different people.

Whether or not one agrees that this is a fair meaure of compensation to the
original artist is certainly open to interpretation, but to suggest that
there is absolutely no distinction between buying used records and buying
bootlegs is to ignore fairly obvious differences.

- -dx


-------------------------------------------------------------------------------

From: "Dave Lamont" <[e-mail]>
Subject: Re: the "hot" topic
Date: 12 Jan 1996 10:19:03 EDT

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"bill wynne" writes:
> How much
> money do the artists and composers receive when we're all frantically raiding
> the record bins at flea markets, swap meets, auctions, and thrift stores?
> One copy of a record might get sold and re-sold three or four times in its
> lifetime (i.e. before some jerk throws it away because he doesn't realize how
> badly WE all want it!).  The artist and composers see the revenue ONCE - only
> once.

There is a fundamental difference between the resale of a
legitimately purchased recore or book and the sale of a bootleg.  In
purchasing a record, the artist receives a royalty and the purchaser
gets to use and enjoy the product as they see fit.  If that includes
selling it - fine, the artist has still received their due amount.
No such transaction takes place with a bootleg.
Read your software licenses.  You are not prohibited from reselling
software, just from duplicating it.


-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Thunderbirds
Date: 12 Jan 1996 10:24:07 -0700 (MST)

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> someone mentioned a Thunderbirds CD here, and the only stuff of which i
> found a reference are these 2:
>
> MUSIC FROM TV SHOWS BY BARRY GRAY FAB      950923 C-SIL124      1292 CD
>         (STINGRAY/JOE 90/THUNDERBIRDS   CAPTAIN SCARLET)
> ROYAL PHILHARMONIC OR   FAB THUNDERBIRDS   950119 T-FILMCD124   1193 CD
>
> VARIOUS   POWER THEMES THUNDERBIRDS ETC    950119 T-CDSR022     0993 CD
>
> is anyone familiar with these?

I have Power Themes (originally issued as Power Themes '90), which is an
album of house-music covers of British genre TV-show themes (Thunderbirds,
Joe 90, The Avengers, The Prisoner, etc.).  I can provide more detailed
information if anyone's interested -- it's an entertaining disc but I
don't think it's what you're looking for.

Along similar lines (i.e., contemporary reworkings of music and concepts
from old Gerry Anderson shows) is Fuzzbox's song "International Rescue",
which you can find on their easy-to-find-cheap CD Big Bang.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Re: the "hot" topic
Date: 12 Jan 1996 10:37:54 -0700 (MST)

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> From the perspective of anyone who is working for a label who would like
> to legally reissue titles in a proper remastered version with good liner
> notes etc are often stopped in their tracks by the guy who has been
> putting out the recent set of easy listening/exotica titles.  Wouldn't
> you rather get a well put together CD package with pristine sound then
> have to pay a lot more money for a CD that's been pressed off a vinyl
> copy some guy may have picked up at a garage sale?

I always prefers legit reissues to bootlegs, but this is a real Catch-22
situation for the listener -- we had/have no reason to believe most of the
recently-bootlegged exotica would ever have *been* reissued legitimately.
One is then given the choice of either buying the bootleg during the short
time it's available or never hearing the material at all.  Speaking for
myself, I'd rather live with the shame of buying the bootleg.

Realistically, if a record company thinks the market for a given release
is going to be saturated by a 1000- or 2000-copy bootleg pressing, the
chances of them doing a legal issue of that release were nonexistant anyway.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Scott, Klezmer, Boots, Popularity,etc.
Date: 11 Jan 1996 14:27:01 -0500

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> Well, booting obscure exotica is a bit different than booting Bigrockstar,
<snip>

I agree with everything you've said.  It seems ridiculous to feel
self-righteous boycotting bootlegs.  If they're popular enough, I
would think the majors would re-release them (are the Grammy's based
on innovation and milestones, or sales figures?)  Finding a truly
ethically/politically correct way to purchase music is beyond me, I
admit - music is such a commodity.

Speaking of which...  As to MTV, as awful as television generally is,
the visual artist/pop culturist in me finds it irresistible to switch
it on now and then.  MTV's station I.D.'s are particularty wonderful
(many done by recently unearthed animators) - but to the point...
Esquivel's music has been used in a contest ad.  It's mainly a couple
of sound effects from SABPM that have been slowed, sped up and mixed.
 It's yummy and fits the visuals well.

This maybe falls along the lines of your comment about sampling.
Does anyone know of any contemporary bands besides Stereolab and
Portishead and P5 who sample Exotica?  This seems relevent in the
context of this thread, but if it's too far of the list subject
please ignore.

kevin


-------------------------------------------------------------------------------

From: "Sadin, Glenn" <[e-mail]>
Subject: Re: Martin Denny's Moog Exotica
Date: 12 Jan 1996 10:07:46 PST

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>         Man, do you have great timing, or what! <gg>
>
>         Glenn

What? Because I'm willing to pay money for a boot?


        No! It just struck me as kinda humorous that amidst all this heated
        discussion about the ethics of purchasing bootlegs, that you should
        innocently ask if anybody knows where to purchase one!

        To be sure, in no way was I dissing you!

        Glenn


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: re: the "hot" topic
Date: 12 Jan 1996 13:14:25 -0500

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When someone re-sells a piece of furniture, a painting, a car, should
some of the profits go to the designer/painter?  I'm just addressing
the eternal connection being made between original *object* and it's
creator once the initial sale is made.  Bootlegs are another story.
And after thinking about the above analogies the issue seems even
more complicated.  But frankly, I'm happy to be able to hear rare
music without paying inflated dealer prices, and will welcome the
more pristine, official re-releases when and if the come.  Until
then, I'll get it as I can and leave the dilemma to the profiteers.

kevin


-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Ferrante & Teicher
Date: 12 Jan 1996 20:53:46 +0100

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there's also only 1 prepared piano track on "Around the world with F & T"
(UA LA681-G, USA, 1976), but a truly great one, it's called "African
echoes"

- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Huh?
Date: 12 Jan 1996 20:53:54 +0100

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David Howard <[e-mail]> wrote:

>...Ken Nordine absolutely.
>Martin Denny of...Les Baxter maybe...Arthur Lyman I guess I can see it.   But
>some of the dreck that people seem to be getting excited about is baffling.
>Hollyridge Strings?  Ferrante &Teicher---c'mon!  Dick Hyman, Montovani?!? This
>is some of the lamest stuff ever recorded.  It sucked then and it still sucks
>now. Even more baffling is this stuff getting pressed onto CD's.

from this posting i can only conclude that you've probably never heard a
prepared piano album by ferrante & teicher, or a moog lp by dick hyman; the
problem is that these guys also made what you call dreck, hence the
confusion.
i agree about mantovani though: that IS crap ...IMHO.
and what cd's are you talking about? the rhino cocktail is great, so are
the RCA SAP comps, and persuasive and provocative percussion, and Esquivel
off course... "lame" would be the last word i'd use to describe HIM...
but then, as the romans used to say "de gustibus et coloribus non disputandum!"

- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Eric Drysdale)
Subject: Exotica Sampling
Date: 12 Jan 1996 13:09:57 GMT

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>>Does anyone know of any contemporary bands besides Stereolab and
>>Portishead and P5 who sample Exotica?

Soul Coughing samples some Carl Stalling and Raymond Scott, I think... , if
that counts...
I've not heard the records, but I recognized some of these when I saw them
live.  Confirm?


- -E


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Exotica Sampling
Date: 12 Jan 1996 13:13:12 -0800

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A new band, Family of God. They'll have a double  LP on vinyl out in a few
weeks.
Jonny Sender


-------------------------------------------------------------------------------

From: [e-mail] (STEFAN KERY)
Subject: re: the "hot" topic
Date: 13 Jan 1996 01:02:38 +0100

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Aloha Everybody.

I run a record label here in Sweden, Xotic Mind/Subliminal Sounds. 7 months
ago I wrote a letter to Sony requesting a licensing deal to put out Michel
Magne & his Orchestra=B4s beautiful LP "Tropical Fantasy" on a 1000 copies=
 CD=20
reissue. Two days ago I finally got the reply were they stated:=20
We are not interested.
I'm really happy to see that this LP was now booted on CD by some one in the=
=20
USA. I'm missing the moving "bongo playing hands" window though.=20

Good luck to all you record collecting bootleggers who spread the rare stuff=
=20
You're doing a wonderful job.   =20

Stefan



-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Administrivia: Advertising Policy
Date: 12 Jan 1996 19:53:55 -0700 (MST)

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In response to some questions people have posed about my feelings towards
advertising on these lists, I've added a short blurb on this issue to the
list information file, as follows:

  * The list is not meant to be used as an advertising forum, though short
    notices of the form "I have <this sort of thing> for sale; please email
    me for a full list" are acceptable as long as the items for sale are
    directly relevant to the topic of the mailing list.

We haven't really had any abuse of any of these lists for advertising
purposes, it just seemed appropriate to let everyone know where I stand
ahead of time.  And of course I reserve the right to call a halt to any
behavior I consider inapproriate, whether or not it seems "acceptable" by a
letter-for-letter reading of the list info file.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: "Recent Topics"
Date: 13 Jan 1996 00:21:53 -0500

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n the contrary Mimi,
Please understand that as a secondary party attempting to license material
from the record companies who own the rights you have to provide a guarrantee
of sales.  For some of the titles that have been bootleged, sales of one to
two thousand copies can seriously ruin the market for a proper reissue in
terms of an indie being able to recoup their investment.
Ashley


-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: Scott, Klezmer, Boots, Popularity,etc.
Date: 13 Jan 1996 00:39:03 -0500

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>This maybe falls along the lines of your comment about sampling.
>Does anyone know of any contemporary bands besides Stereolab and
>Portishead and P5 who sample Exotica?

Check out Towa Tei's (x-Dee Lite) excellent "Future Listening" (Sony)

br cleve




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Re[2]: "Recent Topics"
Date: 13 Jan 1996 00:49:54 -0500

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The money the labels get from licensing goes back to the artists.  That's the
way it should work and I have seen it in action.  I just ran into an acting
friend of mine on the subway who just received a residual check for the small
part he had in a majpor studio produced movie, so this is very commonplace,
and as I said early Martin Denny has no complaints regarding foyalties from
the CD's that are out on the market currently.  The larger the company the
better the chance of getting paid - this is due to the fact that accounting
departments of larger multi-national companies are very vigilient when it
comes to keeping tracking payments and keeping their books correct.  The most
recent stories I have heard of artist non-payment come more from newer
alternative rock bands not seeing any money from some less reputable
independents.
Ashley


-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Re: "Recent Topics"
Date: 12 Jan 1996 10:15:58 -0700 (MST)

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> No this is not bootlegging because it appears that in the case where there
> is neither an artist or record company still around you have a situation
> where no copyright has been renewed precluding a situation of public domain.

As far as I know (and feel free to correct me), none of the music we're
talking about here is old enough to have fallen into the public domain.

> And as you pointed out it is clearly stated in the CD booklet that should
> the one or two artists who cannot be found do make contact the money is
> there, ready and waiting for them.

Again, the issue isn't one of making sure you've left the door open for
people to get paid, it's one of making sure that you have permission
before you make copies of someone else's copyrighted work.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: My apologies
Date: 12 Jan 1996 15:43:40 -0500

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Lazlo correctly pointed out that I shouldn't directly e-mail people without
their permission.  I did send a couple of messages out this morning (1/12/96)
like that.  For breaking proper channels, I deeply apologize.  I will no longer
do this without permission.
Bryan


-------------------------------------------------------------------------------

From: Jeff <[e-mail]>
Subject: "Alternative" kids with Esquivel T-shirts
Date: 12 Jan 1996 11:05:22 -0700 (PDT)

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I'm not suggesting that this music shouldn't be accessible to everyone.
All I really meant to do was say how disappointing it would be to see
everything we've all hunted for for years in thrift shops and specialty
stores suddenly reissued on CD in a marketing blitz aimed toward
"Generation X". That's all. I think that everyone should hear this music,
and be able to buy it. I just despise the way MTV convinces its viewers
that they'll be "cool" or "alternative" if they'll only buy the latest
thing they're plugging. I think too many people underestimate the
influence MTV has on the 15-25 age group.

Jeff


-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Billboard (Was Re: First MTV, now this ...)
Date: 13 Jan 1996 02:28:26 -0800

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At 2:18 PM 1/11/96, [e-mail] wrote:
>FYI, Billboard will cover "Lounge, Surf & Exotica" in its Feb. 10 issue.
> "Current releases will be included in editorial coverage, plus a
>label-by-label product guide to forthcoming releases."

Billboard did a cover feature on exotica last year around the same time. As
I recall, the main thrust of the article was, It's not a trend till it can
sell 100,000 units.

(On the other hand, I've always appreciated the columnists and record
reviewers of Billboard for championing unusual and uncommercial music.)




-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: re: the "hot" topic
Date: 13 Jan 1996 02:28:38 -0800

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At 6:40 AM 1/12/96, dx wrote:
>In the case of a used record, the artist is compensated for a linear series
>of uses by different people, in the bootleg case, the artist is not being
>compensated for a parallel series of uses by different people.

You may believe that (and you may actually work for a record label, I don't
know), but that point of view runs counter to the opinions of major US
labels and music publishers, in my experience.

If they could, labels would love to control each commercial transaction
undertaken by a record in its long life. As it is, of course, publishers do
license (with varying degrees of success) the environments in which their
property is performed (including radio stations, restaurants and other
commercial environments).

Controlling copyright through the life of a record was one of the
interesting proposals (along with the standard "home taping" and "buying
promos" restrictions) put forward by a record industry watchdog group in
the early 1980s. (Maybe at other times too -- that's when I was on a lot of
record labels' mailing lists.)

All this talk of shunning bootlegs of rare music in the name of fairness to
the artists seems rather romantic to me. Having seen the inside of major
recording companies (as the employee of a group with a major label
recording contract and as a journalist) has led me to the conclusion that
everything that happens within an artist's contract with a recording
company benefits -- and profits -- the label much more than, and often to
the exclusion of, the artist.

My point of view, which may also seem romantic to some, is that bootlegging
rare and otherwise unavailable music is a valuable service to the artists
and the artists' fans. Opera aficionados worldwide (not to mention
Deadheads) would certainly agree. Bootlegs actually _stimulate_ interest in
the artist's catalog. For these reasons I find nothing objectionable to
purchasing bootlegs. _Counterfeit_ recordings** are, of course, another
kettle of fish entirely.

Many of the posts I've been reading on this topic seem drawn directly from
record label propaganda I've seen over the years.

**That is, recordings that attempt to duplicate the appearance of a popular
record which is otherwise currently commercially available.

kjm




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Enough with the bootlegs (please)
Date: 13 Jan 1996 12:20:59 -0500

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I don't want to suggest that the bootleg issue is not worth serious
discussion, but it seems that this list has has become mostly a forum for
this topic rather than the music itself. The postings on bootlegs seem to be
outnumbering everything else.I wonder if anyone else feels the same and if
people would agree to go back to the original subject. Once again I do not
want to suggest that I think that the subject of bootlegs is not important
and I hope that the people discussing it do not take this suggestion as an
insult. I have found this list to be extremely enjoyable and enlightening so
far .
Sincerely, Bob


-------------------------------------------------------------------------------

From: [e-mail] (Helene McNeill)
Subject: Esquivel, MTV, Gen X'ers, and Music (Glorious Music!)
Date: 13 Jan 1996 10:34:09 -0700

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Greetings All,

I just returned from MacWorld with a zillion messages waiting, but there
were a few posts here that I just have to address.

Some of you actually seem upset that Exotica, Lounge, Surf...etc...music is
hitting the mainsteam. What is the problem? I say <with martini in hand>
SPREAD THE WEALTH...I'd give everyone in the known world an Esquivel album
if I could. It's marvelous music! Is the music anyless wonderful if we
don't soil ourselves from fingering endless thrift store bins? NO! Is the
music any less valid if John the Pear Jam Junkie tosses it on his boom box
a few times a day? NO! Does the heart and soul of Enoch Light go up in
flames because a few folks at MTV have finally realized that percussion is
a Good Thing? Hell, NO!

And as for "Gen X'ers" ...get off it! You don't have to be old to
appreciate this stuff! You don't have to be young to hip! I thought all
that 'kid' calling business was over when I kissed mah and pah good-bye and
started paying my own mortgage.

Don't hold the music hostage!
Don't label my toe-tappin, hip-swingin, music-lovin ass!

Helena




-------------------------------------------------------------------------------

From: [e-mail] (Daniel Taub)
Subject: Bootlegs: Enough! Enough! Enough!
Date: 13 Jan 1996 11:35:42 -0800

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I agree with Bob. Is this list about exotica music or a debate over the
ethics of buying and selling bootlegs? It was interesting at first, but
ENOUGH!

Besides, it's become mind-numbingly repetitive anyhow.

                                                                Daniel




-------------------------------------------------------------------------------

From: "Robert P. Krajewski" <[e-mail]>
Subject: Re: Russ Meyer Soundtracks
Date: 13 Jan 1996 18:23:45 -0500

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I've only seen it once, but the music for "Finders Keepers..." struck me
as pretty cool.


-------------------------------------------------------------------------------

From: "Robert P. Krajewski" <[e-mail]>
Subject: Re: Scott, Klezmer, Boots, Popularity,etc.
Date: 13 Jan 1996 19:21:47 -0500

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>Does anyone know of any contemporary bands besides Stereolab and
>Portishead and P5 who sample Exotica?

I think Skylab (ambient techno) does...


-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: Re: the "hot" topic
Date: 13 Jan 1996 18:25:07 -0800 (PST)

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actually i'm pretty sure i'd rather have a scratchy vinyl copy for 50
cents, but a tape from a friend is nearly as good. - rwang

On Thu, 11 Jan 1996 [e-mail] wrote:

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>
> Bill, the bootleg issue is not just one of artists getting their share.  From
> the perspective of anyone who is working for a label who would like to
> legally reissue titles in a proper remastered version with good liner notes
> etc are often stopped in their tracks by the guy who has been putting out the
> recent set of easy listening/exotica titles.  Wouldn't you rather get a well
> put together CD package with pristine sound then have to pay a lot more money
> for a CD that's been pressed off a vinyl copy some guy may have picked up at
> a garage sale?  That's the main objection I'm getting at.
> Ashley
>


-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: My apologies
Date: 13 Jan 1996 22:48:40 -0700 (MST)

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> Lazlo correctly pointed out that I shouldn't directly e-mail people without
> their permission.

Actually this wasn't what I was pointing out -- the problem is with
reposting other people's private email messages in public, which Bryan
didn't do and therefore needs not apologize for.

You don't need anyone's permission to send them private email, though it's
impolite (and in fact can be legally considered harrassment) not to stop
if they ask you to stop and its *definitely* impolite to use private email
to send unsolicited advertisements.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: [e-mail] (Jack Diamond)
Subject: just talkin'
Date: 13 Jan 1996 23:13:06 +0000

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>Sounds Orchestral "Cast your fate to the Wind" - any good?
>I liked the cut on "Easy Project" & those string arrangements! :-)

I don't know what you like.  I'm SUPER saturated with all of this and have
been for many, many years.
What I think is OK was the highlight of someone else's month !!:))
Know what I mean ?

So to answer your question, Yes!!  Sounds Orchestral is good
It's a flowing sound, some light latin, small light jazz combo w/ string
arrangements with piano and or harpsicord (which I love) up front.  It's
good :))

>Tony Mottola "Warm Wild & Wonderful" (cool title!) sounds intriguing.
>would you recommend?
Not as Wild as I'd like it to be BUT Tony Mottola is Great !!!!!!!!
with a Capitol G.
After all.  He is the guitarist in the Enoch Light Orchestra and on all of
those records and hundreds more.
He was even called "The greatest guitarist in America"
>I think all of his records are worth getting and I would consider cutting
>you a good deal if you take some more of them from me.
I do, do that.  As opposed to some other "record people"
I was on a big Tony Mottola kick for a few years, a few years back.

>Moreno Buendia Orch (crazy name, crazy guys!) "Spain goes Percussion"
>is this any good? what sort of style?
Phil, this has sold and I can't remember exactly.

I do know that all of those types of records and there were many, are
heavily percussive.  Heavily ;)

People were experimenting with recording on 35 MM film tape and other
similar projects and it seemed that percussive sounds were the best way to
go AND people dug it.  They must have !!
All the "enoch light/esquivel percussive sounds and the styles usually vary
Mambo, cha cha, merengue, tango.
Scratchers, boo bams, bongos, congas, drums, claves etc, etc, etc
Really just like an enoch light record.  Many different styles.
Maybe,... I might post this letter to the exotica mailing list ?
It's a good one :))  Without the business stuff of course.

This was a period that followed the Big Band Era which was heavily dance
oriented stuff.
We were approaching the 60's and there were alot of things changing
musically and the dance thing was a big part of it.

>>>unless you can take Amex or Visa!
>>I'm looking into that as well as e-cash !
>
>sure would help us foreign folk <g>
No doubt.  It will happen.  Alot going on right now

>>So do you like that sexploitation erotic exotica stuff ?  Heavy breathing ?
>>How about Sex Humor ?  Songs of erotica ?
>
>not especially, I was interested in the "Touch" elpee as an oddity really.
>Haven't heard it yet.
>
>I found the sixties MMO disc in a junk shop locally - excellent hunting grounds
>for vinyl fabulosity I'm sure you'll agree! I was passing by this place the
>other day & went in & asked the people in there,
>"so, do you have any records" and they came back with that classic
>line, "oh there's a cabinet full of old stuff out the back". ha! came away
>with a few nice finds, nothing too rare but some cool bargains.
>Tomorrow I may go over to the big Record Exhcnage the other side of town-
>rainy Sunday afternoons are ideal times for hunting through dusty basements!
>Hey I have my vinyl junkie problem under control, honest !!! wibble wibble
>Mine became a business ;))
>>
>>Mystic Moods
>>>Other than that they're a mystery to me too.
>>
>>>Les Baxter theremin album but have heard lots about it. what's it like?
>>>The original was presumably 2 x 10" albums?
>>
>>Correct.  2 10"lp's as well as 4 - 7" 45rpm records in a box
was it ever given a UK release?
I think almost everything that canme out of the US on major labels had
overseas releases.
An example of that is a friend of mine from the station.
Eyore, the guy that designs my page, was just over in London where he scored
A 1970 Britsh reissue release of Esquivel : Latin-Esque !!

It's got a cover I've never seen on any big E record.
It's this young pretty lady eating grapes.
He's scanning it for my page even as we speak!!  I'm so excited !!
So Yes, I think alot of stuff was released and infinitely more rare over
there than here.
>I've not come across the 4 x 7" 45s format before, I wonder how common
>that was.
>and why it was released in both formats. Must be real hard to find now anyhow.
Before 10" records came into existence AND the 33 1/3 rpm format, don't
quote me and I think there were 45's.

Not everyone had a 33 1/3 player.  They had these little 45 players that
they would just schlepp around and plug in, turn on, tune in and drop out.
wait a second, I'm getting ahead of myself here ;)
>
>>The sound is true Easy Listening.  Lots of Ooohhh type vcls, very light
>>except actually for Music Out Of The Moon.

>>This music, these records were designed to put you in "another world/place"
>>
>>For me, there is no time where I think the theremin is a womans voice.
>>It is an electronic sound.  It kind of soars along with the orchestra
>>turned down.  It is beautiful.
>
>a couple of years ago I saw on TV a documentary about Mr Theremin & his
>life & invention. Lots of old footage, interviews with various luminaries
>etc plus with the man himself aged about 92. I wonder
>if it was a bought-in film, I can't recall the title. ANyhow it was real
>interesting. Didn't tape it (drat) but if it's repeated I'll make sure to
>do so.
>did you catch it over there at all?
Yes Phil !!  I did.  It was released on ORION in a ltd release.
It's called Theremin : An Electronic Odyssey, or something like that.
I just about cried.
I saw Sam Hoffman play Someday My Prince Will Come, I think that was it.
Lots of thinking going on here, I know
Anyway, on the Mickey Mouse Club show.  Incredible.
A podiatrist from New Jersey. He hadn't dropped the Dr part of his name and
quit his day job yet:))
>
>Spotted theremin on the soundtrack of "the 5000 Fingers of Dr T" which was
>on TV over Xmas. good film.

I remember talking to Joe Holmes, the genius behind the Space Age Bachelor
Pad Music Web Site about that.  He bought it from this store in Oakland,
California.  I didn't know it had theremin ?!
Great !! Something else to look for.  I'm sure it will be a fortune

The greatest science fiction sountrack of all time is on
>>CD and that is The Day The Earth Stood Still (20 Century Fox)
>>Composed/conducted by Bernard Herrmann with Theremin by Dr. Sam Hoffman,
>>my man !!  I recommend it highly, as high as you can get ;)

>>How about black exploitation sounds ?  Shaft, Shaft In Africa, Blacula...
>>Yma Sumac ?  Korla Pandit ?  or are you just concentrating on Sounds of
>>Crime right now ?
>
>well I like lots of different stuff
>and yourself? where'd your main music tastes lie?

I'd have to say 50's jazz, west coast.
Space age pop, Jungle-y Exotica, wordless group vocals, electric
pop/jazz/steel/fuzz etc guitars, guitars, guitars.
I love sountracks too that are incidental music that are sounds of murder,
mayhem and mystery like
The Bad Seed
In Cold Blood

Action packed is great too like
Stiletto
The Silencers
Lady In Cement

as well as Nino Rota stuff and mondo italiano spy sounds are groovy too :))
7 Golden Men
The 10th Victim
Just got Rota's score for Fellinis 8 1/2.  Pretty swell indeed

Records that sound like sountracks but are not.
Kenyon Hopkins does that really well
Kenyon Hopkins-Shock Music In Hi-Fi(stereo too) and his Nightmare LP that
came out in 64 remind me of that type of sound

I also really love stuff that sounds like cartoon music.
Bernie Green's More Than You Can Stand is fantastic as well as
Roger Erikson-Disney Meets The Wizard on Richmond Percussive Stereo series.
Just sold one of those
And then there is Esquivel's-Strings Aflame.
Super animated/cartoon like sounds on that one.
Andalusian Sky, Parade of the Wooden Soldiers.  Juan plays harpsicor alot
on that record and it works for me BIG !!!

Outer Space Exotica ?  Did I hear outer space exotica calling me.
I think I did.
Russ Garcia-Fantastica
Jimmie Haskel-Countdown
Harry Revel-Music From Out Of Space
Bobby Christian-Space Age Suite
Ferrante & Teicher-almost all of their early records
Dick Hyman & Mary Mayo-Moon Gassssssssss
Walter Schuman Voices w/ Music composed by Leith Stevens, Narrated by
The Voice of Science Fiction Today, Paul Frees
EXPLORING THE UNKNOWN      RCA, 1955    right in the heart of the space age.

Man alive!!!!!!!!!!!!  What a letter.  You don't see letters like this from
aol, I'll tell you that right now ;)

So I'm gonna post this and you'll see it again.
Gotta go and get a life.

Jack





-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: 3,000 Yen for the Pizzicato 5
Date: 14 Jan 1996 01:56:01 -0800

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I'm a moderate-to-fanatic follower of the Pizzicato 5. I have their two US
full-length recordings and their first (of three) US CD EPs. Among the
things I like about them (of interest to exotica/easy-listening fans) are
their Burt Bachrach influences (on the newest US release, that's most
apparent on "Fortune Cookie") and their Sandy Shaw-style drums-a-go-go.

As has been mentioned on this list in the past, they have an extensive
Japanese discography going back about 10 years and one of their first
issues was called "Audrey Hepburn Complex" (I think). And then there's
"Bossanova 2000."

So I spent a good part of this afternoon at the Asahiya Bookstore in Yaohan
Plaza in the Little Tokyo section of downtown L.A. (near 3rd and Alameda)
drooling over the many P5 CDs there (as well as other equally striking pop
combos whom I know nothing about). The CD "Couples" that's been mentioned
here lately has evidently been reissued in Japan along with several other
of their back catalogue, since three of the CDs on the racks there do not
have their original artwork but a new, uniform design.

The breathtaking thing about these import CDs were the prices, which ranged
from =A52,700 to =A53,000. The currency chart on the wall indicated that tha=
t
range is something like $32 to $38 (US) per CD. If anybody has a line on a
less expensive price for these CDs from a source with an equivalent
selection, please let me know

======================================================================
======================================================================

"Itsumade Mo 'Love and Peace'" ("Love and peace forever")

        Maki Nomiya, "Peace Music"




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Scott, Klezmer, Boots, Popularity,etc.
Date: 14 Jan 1996 10:39:03 -0500

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Yep Skylab most certainly does.
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Esquivel, MTV, Gen X'ers, and Music (Glorious Music!)
Date: 14 Jan 1996 10:47:36 -0500

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You have brought up a good point.  While I hate the bandwagon effect it does
create a larger market for releases which otherwise might not warrant the
numbers to release.  And the people on this chat line who have been into this
stuff for many years before will still be listening to this great stuff long
after the johnny-come-latlies and the
I'm-doing-this-because-I-heard-this-was-cool people have thankfully jumped to
the next fad-for-the-masses that MTV will jump on (although they haven't had
much luck trying to salvage Michael Jackson's career with all the Sony money
and far too many Michael Jackson video weekends!)
Ashley


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Godzilla soundtracks
Date: 14 Jan 1996 11:56:57 -0500

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Tower Records here in NYC has started carrying Godzilla soundtracks. They go
for an amazing $14.99. (considering that they're Japanese imports) Can anyone
recommend one over the other?

- -Joe B.


-------------------------------------------------------------------------------

From: Mark Freitas <[e-mail]>
Subject: Re: Exotica Sampling
Date: 14 Jan 1996 17:30:38

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Steroid Maximus (a.k.a. Jim Thirwell, a.k.a. Foetus, a.k.a Clint Ruin) is
another person who samples exotica.  Although, actually knowing the source it
might not all be sampling.

Coil samples a song off Denney's Afro-desia (Mumba?) on a song on the CTC
collection  entitles CORE (It's all Chris & Cosey w/ others).

Mark


-------------------------------------------------------------------------------

From: "C" <[e-mail]>
Subject: Re: Exotica Sampling
Date: 14 Jan 1996 16:56:39 -0600

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As far as bands that sample Exotica ,lets not forget about Laika, Barry Adamson,
and in the world of rap Dream Warriors(sampled Quiet Village) and I think De La
Soul used a bunch of 60's lounge stuff.
other tangential things:

Skylab- this is formed by people from Water Melon who did a couple of Denny
covers(also were members of the plastics?)

Stereolab- correct me if I am wrong but they don't seen to actually sample so
much as play in a similar style.

Keep the bubbles flowing
Chris


     /:::\/::::::\
    /:::::::::::::\
 * /:::::::::::::::\ *
 *********************       " Ho Ho Ho"
  \   ""      ""   /
   \  (@)    (@)  /
    \     J      /                                     -Santa Claus
     \   ---    /
      \________/
         /  \



-------------------------------------------------------------------------------

From: Brad Bigelow (via RadioMail) <[e-mail]>
Subject: Exotica Top Ten List
Date: 14 Jan 1996 15:47:58 -0800

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I sent out a request two months ago for nominees for an exotica all-time ten
best list.  I got a fair number of responses, and have been remiss in
compiling the results.  Nearly everyone who sent in suggestions commented
that it's nearly impossible to narrow the list down to just ten.

I also noticed that while the list of nominated songs is long, there are
consistent trends among virtually all respondents.  So it occurred to me that
there might be another way to tackle this challenge, which is to list the
ten leading categories of exotica numbers, along with the most prominent
representatives.

So, without further ado, here is my proposed exotica top ten.  These are not
ranked in any order--to do that would detract from the individual merits of
those listed:

    * The Juan Tizol/Duke Ellington Song
        --Caravan
        --Runners-up:  Perdido, Mood Indigo

    * The Lecuona (Ernesto, Margarita) Song
        --Taboo
        --Runners-up:  Jungle Drums, Malaguena, The Breeze and I,
          La Comparsa, Siboney

    * The Foreign Film Theme
        --The Third Man Theme
        --Runners-up:  More (Theme from Mondo Cane), Never on Sunday,
          Anna

    * The Hawaiian Number
        --Hawaiian War Chant
        --Runners-up:  Hawaiian Wedding Song, My Little Grass Shack

    * The Leroy Anderson Number
        --Blue Tango
        --Runners-up:  Fiddle-Faddle, Plink, Plank, Plunk!

    * The Raymond Scott Number
        --Powerhouse
        --Runners-up:  The Toy Trumpet, In an 18th Century Drawing Room

    * The Middle/Near Eastern Number
        --Misirlou
        --Runners-up:  In a Persian Market, Hindustan, Song of India,
          Kashmiri Song, Istanbul, Baubles, Bangles, and Beads,
          Excerpts from Sheherazade, Prince Igor

    * The Jungle Number
        --Quiet Village
        --Runners-up:  Moon of Manakoora, Pagan Love Song, Orchids in
          the Moonlight, Jungle Drums

    * The Fast Latin Number
        --Tico Tico
        --Runners-up:  El Manisero (The Peanut Vendor), La Cumana,
          La Cucaracha, El Relicario, Baia, Carioca, Brazil

    * The Mancini Number
        --Peter Gunn
        --Runners-up: Moon River, Charade, Dreamsville, Pink Panther

There are only a few nominees I couldn't fit into one of these categories:
Harlem Nocturne, Jalousie, and Poinciana being the top three.

I welcome any discussion the list stimulates.

Brda Bigelow
[e-mail]


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Exotica Sampling
Date: 14 Jan 1996 20:48:32 -0500

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> Stereolab- correct me if I am wrong but they don't seen to actually sample so
> much as play in a similar style.

They have sampled quite a lot - Transient Random Noise Bursts With
Announcements uses Perrey & Kingsley's Strangers In the Night, One
Note Samba and The Savers.  On Mars Audiac Quintet, they sample Lucia
Pamela at the start of International Colouring Contest.  Visual and
verbal references are everywhere in the packaging and song titles.

What does Laika sample?  IMHO, that's one of the most incredible
releases from last year.  Is it at all obvious?  There's nothing
listed in the credits.

kevin


-------------------------------------------------------------------------------

From: Joseph Holmes <[e-mail]>
Subject: Re: Exotica Top Ten List
Date: 14 Jan 1996 19:53:56 EST

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>So, without further ado, here is my proposed exotica top ten.  These are not
>ranked in any order--to do that would detract from the individual merits of
>those listed:

Brad, brilliant list! I love the categories, and the batch of runners-up.

Unless you have other plans, how about if everyone refines the list and
we put it up as its own page at Space Age Bachelor Pad Music: "The
Exotica Mailing List Top [Twenty?]" compiled by Brad Bigelow. The list
should definitely be preserved.

If you want to expand to top twenty, how about:

The Prez Prado Song (Patricia, Cherry Pink...)
Goofy Instrument Number (Leo Addeo - Stumbling, any Zounds What Sounds)
All-Percussion Tune (D. Carroll - Hells Bells, Schory - Crocodile Crawl,
Schory - That's A Plenty)
Classical Ripoff (3 Suns - Danny's Inferno, Breuer - Samba Macabra, any
Scherezade)

Also -- where can we fit Delicado, if not as a winner, at least as a
runner-up??

- -=-Joe



-------------------------------------------------------------------------------

From: Ryan Matheson <[e-mail]>
Subject: Re: Exotica Sampling
Date: 14 Jan 1996 17:32:30 -0800 (PST)

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On Sun, 14 Jan 1996, C wrote:
> Stereolab- correct me if I am wrong but they don't seen to actually sample so
> much as play in a similar style.
>
TRANSIENT RANDOM NOISE BURSTS WITH ANNOUNCEMENTS has a few Perrey and
Kingsley samples on it, but just as between-song filler; the songs aren't
structured around it.  Also, "International Colouring Contest" samples
the voice of Lucia Pamela, obviously.

- --Ryan


-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Bootlegs, my last 1 cent
Date: 15 Jan 1996 00:09:07 -0500

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It seems that we have two camps that will not budge either way.  A lot of you
know the way I feel and that has not changed, regardless of altruism.

It was good battle while it lasted.  Now, on to the tunes!
Bryan


-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Generation X and Enoch Light
Date: 15 Jan 1996 00:27:28 -0500

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I don't think MTV  or generation X, will in any way damage exotica.  This
special kind of music was around long before MTV and it will be around long
after.  So I try not to feel threatened by any of these 'commercial'
developments.  They aren't important.

I want to thank everone for their suggestions regarding Provacative Percussion.
I just bought it and I can't stop listening to it.  Persuasive Percussion is
next!  If the generation Xers dig Enoch Light, great!  All the power to them.
Bryan


-------------------------------------------------------------------------------

From: Henk Rijks <[e-mail]>
Subject: Re: response to a message from B.Stewart
Date: 11 Jan 1996 14:35:11 +0100

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| Here is my opinion, again. I ain't sugarcoating NOTHING. Do you want
| me to LIST circumstances where bootlegs have helped both artist and
| fan?

Here's a few of those:

1. The Beatles
Probably the most 'legged band in the world. I'm not sure if they would
have considered releasing Anthology if it wasn't for the steady flow of
bootlegs already circulating. This way, the fans get what they asked for
for years (and more) with decent liner notes, good sound quality, and
the Threetles make another billion or so.

2. Greatfull Dead
Allowing

3. Paul Westerbeg
Bought a live boot myself, liked some of the stuff that he performed,
went out and bought




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Exotica Top Ten List
Date: 15 Jan 1996 09:54:22 -0500

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>Classical Ripoff (3 Suns - Danny's Inferno, Breuer - Samba Macabra, any
>Scherezade)

In this catagory it HAS to be all those versions of "Flight of the Bumblebee"
- - Bumblbee Boogie!

- - Joe B.


-------------------------------------------------------------------------------

From: Robert Baldock <[e-mail]>
Subject: Alan Moorhouse/F&T/other bits
Date: 14 Jan 1996 15:41:53 +0000 (GMT)

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Hi all -

Just back from my regular Sunday car-boot foray - the first decent one of
the year...

Picked up:

Alan Moorhouse and his Bond Street Brigade LP (1972) - this is the LP with
"Funky Fever" which appears on the Sound Gallery LP.  There's another
nice Moorhouse original "Drum Diddley" on the other side and an over the
top "Tea For Two" (tight tango rhythm interspersed with huge military
massed band drum rolls!!!) - oh and they manage to make "Chirpy Chirpy
Cheep Cheep" sound like a funeral dirge!

I also have an LP Moorhouse put out a year earlier ("Beatles, Bach
and Bacharach go Bossa") which has an exquisite rendering of "Air on
a G String" - one of my all time faves.

What else...

Oh, two Ferrante & Teicher LPs ("Golden Piano Hits" and "Golden Themes
from Motion Pictures") which mostly fall into the "dreck" category but
"Piano Hits" has some moments where a bit of humour is allowed in -
especially on 'Misirlou'.

Oh, and Telly Savalas' "Telly" - er... need I say anything about this!

Reporting again soon!


Robbie

PS: Aren't you impressed I managed to avoid mentioning BOOTLEGS!  Shit -
    and I was doing so well up to that point!


-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: Exotica and "Gen. X"
Date: 15 Jan 1996 10:13:47 -0700 (MST)

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> Believe it or not some of us young (24 y.o.) "Gen. X'ers" are capable of
> appreciating exotica and lounge without having to have MTV to lead the way.

Folks participating in this thread should keep in mind that a "Gen-X'er"
created and maintains this mailing list.  (Though if you call me that to
my face, you'd better be prepared to duck. :-)

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: review: Max Roach: "M'Boom" CD
Date: 15 Jan 1996 20:43:42 +0100

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OOOOOO _____    I like this EXOTIC music !     :-D

DETAILS:
- -------
......artist:   Max Roach
.......title:   M'Boom
......origin:   USA
........type:   CD
.......label:   Sony/ Columbia/ Legacy 7464-57886-2
........year:   1994 re-release of 1979 recording
.......genre:   percussion
....duration:   48:15

..TRACK LIST:   Onomatopoeia
                Twinkle toes
                Caravanserai
                Januar V
                The glorious monster
                Rumble in the jungle
                Morning/Midday
                Epistrophy
                Kujichaglia

        This is an album that would fit very nicely next to your
"Persuasive Percussion", "Provocative Percussion", "The RCA History of
space age pop" and  Rhino's "Cocktail mix vol.1" CD's. It makes me also
think just a little bit of Harry Partch, not because of the style of music,
but because "M'Boom" is also nothing but percussion; Partch found a lot of
his inspiration in Indonesia, while "M'Boom" has it's roots in jazz music.
        As the excellent liner notes to this CD tell you far better than I
ever could what this music is all about, I've taken the liberty to quote
from them:

(CUT: this quote is rather long, and i didn't want to overload the
newsletter, so i only posted it to the rec.music.reviews newsgroup)

- -johan




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Godzilla soundtracks
Date: 15 Jan 1996 11:26:31 -0800

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I got a Godzilla LP when I went to DJ in Japan around 1984. It's great but
it's mostly  monster sound FX of various members of the monster family and
fueding relatives. There were also a few tracks of street scenes which
include the sounds of trucks , machine guns, fleeing humans, electric cables
snaping and what I think is a reporter commenting over short wave. ("Godzilla
has entered Shinjuku prefecture and is heading towards Mothra! Fires are
raging through out the area, the citizens are fleeing, run for your
lives!!!") But in Japanese of course. On the whole, I would recomend owning
at least one volume. You can put it on your answering machine if nothing
else.
Jonny Sender


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Exotica and "Gen. X"
Date: 15 Jan 1996 12:09:16 -0800

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I don't think age or Exotica are are really the issue. I think what I react
to is the speed in which the underground now goes overground and becomes
co-opted in the process for advertising a product by selling a life style.
 For example, I feel Hip-hop has really been diluted in the last few years by
the major labels; jumping on the band wagon and trying to sign up every crew
on the block that appears to be "Down wid ' it and represent wit da real" so
to speak.  Especially when a major can get a Hip-Hop album made for less than
a tenth of the cost of your average Rock album.
 Cetainly there is a difference between Hip-hop and Exotica not the least of
which is race and that the majors and advertising companys make a lot of
there decisions based on race.
 I certainly find it offensive when I hear a piece of music that I hold near
to my heart being used to sell a car or soap such as John Coltrain or Jimi
Hendrix. More often than not its the Label not the artist's family that owns
the right to the sound recording as is doing the licensing and reaping the
profits.
Once we start to hear the strains of Escovel, Hugo Montenegro and other easy
listening favorites on Nike or Maybelene commercials I'm not sure we won't
all feel a bit violated. Having had the music we hold near and dear ripped
from us chewn up and digourged to a mass audience, most of whom don't really
care one way or another. Its not there fault, there just watching TV.
Once you start the process, inocent enough, of compelation re-releases its
only a matter of time before we get... Radio shows, the book, the movie, the
sit-com etc. "Escovel" staring Keanu Reeves and Sandra Bulock... coming...
Spring '97... from Miramax ...

Anyway... Blah, blah...

Jonny Sender


-------------------------------------------------------------------------------

From: [e-mail]
Subject: The Mass Marketing of Exotica
Date: 15 Jan 1996 16:02:50 -0500 (EST)

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Perhaps it is just me but I fail to understand the problem that everybody
seems to have with the growing resurgence of exotica in the media. So what
if Martin Denny is used someday to sell running shoes or Esquivel singles are
given away with kids fun meals at McDonalds! If some 15 year old kid reads an
article in Rolling Stone and runs out to buy an Esquivel CD then I'm glad. It
doesn't diminish my enjoyment of the music one bit if other people are listening
to it, in fact it greatly increases my chances of hearing it.

When I hear Eddie Vedder compared to Jack Kerouac I don't get incensed at the
comparisson, instead I am glad if it gets soemone to read Kerouac who
ordinarily wouldn't. By the same token if hearing Arthur Lyman used as the
background for an "alternative" rock radio station's voice over bits (and I
have heard this) gets someone to listen to exotica then I am all for it.

Is it no longer enough that we enjoy the music, must we control how others are
allowed to hear it too?

Something to think about.

Ciao,

Paul McKay



-------------------------------------------------------------------------------

From: [e-mail] (Clark Scheffy)
Subject: Exotcia and "Gen X"
Date: 15 Jan 1996 13:23:05 PST

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Jonny Sender wrote:

Once we start to hear the strains of Escovel, Hugo Montenegro and other easy
listening favorites on Nike or Maybelene commercials I'm not sure we won't
all feel a bit violated. Having had the music we hold near and dear ripped
from us chewn up and digourged to a mass audience, most of whom don't really
care one way or another. Its not there fault, there just watching TV.
Once you start the process, inocent enough, of compelation re-releases its
only a matter of time before we get... Radio shows, the book, the movie, the
sit-com etc. "Escovel" staring Keanu Reeves and Sandra Bulock... coming...
Spring '97... from Miramax ...


Reply:
Oddly enough, a number of people on this list are working for, you guesseit, tvery folks who will co-opt and disgorge.  Young, even hip, "gen x"ers are
the very sort ad agencies, magazines, the media in general are trying to
hire for the very reason that a career septugenarian media man is not going
to have his finger on the latest trend.  The way I figure it, if I was lucky
enough to get any of the jobs I've applied for at magazines and other media,
you can bet I would have found some way to write an article on exotica, etc.,
and so I wonder what exactly the problem is.  If every magazine concerned
itself with only trends of five or ten years ago - the not underground
stuff, they wouldn't survive.  You don't read much about Bon Jovi's latest,
you don't watch "Still the Beaver" on TV.    I'm not defending mindless
drivel which cuts up and removes from proper context, the exotica, and then
fits it to *evil* purposes, such as ruling the world.  But, women in pants
was once an "underground" topic.  Thank goodness for cultural revolution,
and more importantly, thank goodness for cultural discovery and a body of
music that can be viewed with hindsight, to be so rich, and worth modern
discussion.

PS : I use the word "you" loosely, to mean more properly, "one."  This is
not personal. :)
Clark


-------------------------------------------------------------------------------

From: [e-mail] (Erik Gilbert)
Subject: Re: The Mass Marketing of Exotica
Date: 15 Jan 1996 17:34:56 +0000

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Martin Denny's version of 'Quiet Village' was a #2 Billboard hit single in
1959, and Exotica was a #1 album.   That's mass marketing for you.   If
this stuff can reach as many people in 1996, then somebody is doing
something right.

Erik




-------------------------------------------------------------------------------

From: Brad Bigelow (via RadioMail) <[e-mail]>
Subject: Records without Jackets
Date: 15 Jan 1996 15:13:41 -0800

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Just a personal testament to checking out records without dust jackets--I
scored a copy of Martin Denny's "Quiet Village" for 25 cents at the local
Salvation Army today because I took a tip from the recent thread and took the
time to examine the disks without jackets.

Brad Bigelow
[e-mail]


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: The Mass Marketing of Exotica
Date: 15 Jan 1996 18:46:32 -0500

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> Perhaps it is just me but I fail to understand the problem that everybody
> seems to have with the growing resurgence of exotica in the media.
<snip>

There's nothing wrong with increased popularity (it gives good reason
for cd rereleases for one thing).  The more enjoyment the better.
The question I ask is really very simple and boils down to - why
is it that so many people seem to suddenly like this stuff?  I'm not
saying that anyone doesn't deserve to hear it.  Pop trends are cultural
and are spurred on by *something* whether it be marketing, boredom,
politics, and/or whatever.  Even David Bowie has made mistakes trying
to predict them.  Although I never thought much of pacifiers and
cribs, I understood there were motives behind THAT trend (should've
tried that ecstasy).

> Is it no longer enough that we enjoy the music, must we control how others are
> allowed to hear it too?
<snip>

It's probably more of an over-analysis than a dictation, and not
too dissimilar from characterizing the 90's before we reach the
millenium.

And now for some Georges Delerue....
Just got a multi soundtrack cd of his music and I absolutely ADORE
it!  Jules et Jim, Le Mepris, Hiroshima Mon Amour..  mmmmmm....

cheers,
kevin


-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: The co-opting of exotica/why I'm here.
Date: 15 Jan 1996 22:52:39 -0500

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I'm not sure how Clark Scheffy comes to the conclusion that a 'number' of people
on this list are working for the very folks who will co-opt and disgorge
exotica.  I hope he's not talking about me.  Just on a personal note, I don't
work for MTV, Capitol/EMI or any other record company.  In fact, I work in a
field that is in no way related to anyone in entertainment business.  That said
and done, I still hope that the record companies do read this page a listen to
what's being said.

The reason I joined this list is beacuse I like the sounds.  A while back, I had
read the two volumes of RE-Search's "Incredibly Strange Music" and became
facinated by what the folks in those two books were talking about.  It's only
been in the last couple of months that I have had access to the internet and
discovered "The Exotica Page."  That had nothing to do with MTV.  I don't even
watch MTV.

If the music becomes popular, so what?  I don't think it's ever gonna get as big
as that AOR dribble like Michael Bolton, Miriah Carey or Whitney Houston.
Jezzz.. gimmie a break!

Bryan


-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Movie Soundtrack Listings
Date: 15 Jan 1996 23:14:41 -0500

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I think movie soundtracks are an important source for exotica.  Br Cleve
informed me that there was a soundtrack guide published by West Point Books.
Goldmine has it as an advertisement in their classifieds for movie soundtracks.
Does anyone know about this book?

Please let me know any information you have and I look forward to hearing from
you.
Bryan


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: The Mass Marketing of Exotica
Date: 15 Jan 1996 21:21:50 -0600

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><#     "kevin king" <[e-mail]> wrote:
 Pop trends are cultural
>and are spurred on by *something* whether it be marketing, boredom,
>politics, and/or whatever.  Even David Bowie has made mistakes trying
>to predict them.  Although I never thought much of pacifiers and
>cribs, I understood there were motives behind THAT trend (should've
>tried that ecstasy).
>

The physics of popular culture: for every action there is an equal and
opposite reaction. Early-'80's synth-pop begat late-'80's "folk" revival;
early-'90's grunge (mono-dimentional wall 'o'feedback, heroin, flannel,
power trios fronted by distraught blonde twentynothings)  begat interest in
Lounge culture (highly detailed arrangements/production, cocktails,
dressing up, 4+ piece pop combos in matching outfits fronted by swanky
crooners/chanteuse).

Personally, I'm over 30 and my college pals and I in the backwards Midwest
were having fun grooving on our parents' record collections and waving our
copies of "Music, Martinis and Memories" at each other ten or twelve years
ago. I say: welcome to the party, newcomers, and I hope you brought plenty
of liquor and ice...

    /
- -----
 ---
  -   Mimi Schneider                   [e-mail]
  |                 The Roots of Lounge
 [|]  http://www.expanse.com/ads/kiwr/rootsoflounge.html








-------------------------------------------------------------------------------

From: [e-mail] (Caressa Bennet -- Atty-Caressa Bennett - Washington )
Subject: re: Mass Marketing E
Date: 15 Jan 1996 22:35:08 EST

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 To:    exotica,         Inet


There's nothing wrong with increased popularity (it gives good  >
reason  for cd rereleases for one thing).  The more enjoyment  the
better.   The question I ask is really very simple and boils  down
to - why  is it that so many people seem to suddenly like  this
stuff?

======================================================================

In my view, the reason people seem to suddenly like this stuff is
that they are actually getting a chance to hear it.  If you're not
(a) a vinyl junkie; (b) really into this stuff, or (c) at least
35, you've probably never heard this stuff until now.  Think back
to the first time you heard it.  If you're like me, it hit you
immediately how great it is.  (In my case, it was listening to my
parents' Enoch LIght records as a kid).  Like anything else of
quality, if there's enough exposure, some degree of popularity is
bound to follow.

Michael Bennet




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: The Mass Marketing of Exotica
Date: 15 Jan 1996 21:18:48 -0800

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>
>Perhaps it is just me but I fail to understand the problem that everybody
>seems to have with the growing resurgence of exotica in the media. So what
>if Martin Denny is used someday to sell running shoes or Esquivel singles are
>given away with kids fun meals at McDonalds!
No way! They only had Toy Story stuff last week...:)

>When I hear Eddie Vedder compared to Jack Kerouac I don't get incensed at the
>comparisson,
I do. Toe Jam is alt.complaint.rock not alt.beatnik


>Is it no longer enough that we enjoy the music, must we control how others are
>allowed to hear it too?
>
No disagreement with the above. I just wish those Jackie Gleason LPs didn't
increase in price at tmy local used Record store last month after the owner
switched them for the <dollar bin> to the new bin called <Exotica>.

regards
richard



_`~=~=~`boom~~`boom~=~=

_-I-__\ /__
   `      ~
  / \_  -I-




-------------------------------------------------------------------------------

From: "David J. Strauss" <[e-mail]>
Subject: Re: The Mass Marketing of Exotica
Date: 15 Jan 1996 22:50:09 -0500 (EST)

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> Personally, I'm over 30 and my college pals and I in the backwards Midwest
> were having fun grooving on our parents' record collections and waving our
> copies of "Music, Martinis and Memories" at each other ten or twelve years
> ago. I say: welcome to the party, newcomers, and I hope you brought plenty
> of liquor and ice...

Yes. This can't be said enough times: the whole Lounge Music movement
started in the late 70s and early 80s; Throbbing Gristle and Jello Biafra
were really into it, and it was one of the first Intellectual/Populist
art movements based around ironic re-appreciation. Also, it tweaked the
noses of a generation that still held power. Easy listening stations were
still prevelant; senators still grooved to Montovani.

As much as I enjoy this music (as MUSIC), it strikes me as pathetic when
I see the kitsch results of it's recent popularity simply because the
generation that spawned this music has inched into senility -- when you
see a Donna Reed type in a t.v. ad, the ad is making fun of people that
might have been legitimate targets 20 years ago, but are now
marginalized. After all, Martin Denny is sublime; the real kitsch is
Journey.Somehow RnR has managed to keep its patina of rebellion. This is
something I will never understand.

Also, any thoughts on the oft stated rumor that the RE/Search duo ripped
the entire INCREDIBLY STRANGE MUSIC gig off of giddy Neo-Nazi Boyd Rice?
They sure jumped on the bandwagon late (for San Franciscans, anyway).

DS


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Nothing New
Date: 15 Jan 1996 21:21:32 -0700 (MST)

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I share with many of you the sense that the current
revival is the latest (though admittedly one of the most
intense) such revival in a long history of revivals following
on from punk.  Let's not forget Vic Godard's lounge stuff
after he left punk band The Subway Sect; the cocktail revival
in 1981-1982 in England, which had the New Musical Express
printing martini recipes and sending everybody scouring
thrift stores for Julie London albums; the Marie Wilson
album and the Compact Organization label, which devoted
itself to recreating the feel of mid 1960s spy films and
Scandinavian swinger lifestyles; intermittent articles
on Yma Sumac in hip music papers throughout the 1980s;
the spy/private eye motif which has been fairly consistent
through postpunk culture, even bits of bands like the
Raybeats and the Monochrome Set, which, while not exotica
by a long shit, play around with an idea of easy listening.




======================================================================
Will Straw
Associate Professor, Graduate Program in Communications/
Director, The Centre for Research on Canadian Cultural
Industries and Institutions
3465 rue Peel, Montreal, Quebec H3A 1W7

Phone: [phone]; Fax: [phone]
http://www.facl.mcgill.ca/gpc/crccii/crccii.html



-------------------------------------------------------------------------------

From: Robert Baldock <[e-mail]>
Subject: Died and Gone to Heaven
Date: 15 Jan 1996 19:23:24 +0000 (GMT)

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Well today brings the final arrival of the "Persuasive Percussion"
one-and-a-halfer CD reissue at my local record store... Unbelieveably
good!  I'm beginning to wonder if there's a limit to the number of
phenomenally good but strange LPs/CDs from this time period... bliss!

And later the same day (and somewhat cheaper!)...

101 Strings' "Million Seller Movie Themes - Latin Style"!  I was a
bit wary of getting a 101 Strings LP, but this actually quite nice -
though the LP of theirs I really want to get my hands on is Astro
Sounds.


Robbie


-------------------------------------------------------------------------------

From: [e-mail] (Keith Doyle)
Subject: Generation X/MTV Exotimedia Blitz
Date: 15 Jan 1996 14:13:50 PST

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>I'm not suggesting that this music shouldn't be accessible to everyone.
>All I really meant to do was say how disappointing it would be to see
>everything we've all hunted for for years in thrift shops and specialty
>stores suddenly reissued on CD in a marketing blitz aimed toward
>"Generation X". That's all. I think that everyone should hear this music,
>and be able to buy it. I just despise the way MTV convinces its viewers
>that they'll be "cool" or "alternative" if they'll only buy the latest
>thing they're plugging. I think too many people underestimate the
>influence MTV has on the 15-25 age group.
>
>Jeff

I'm not automatically opposed to rereleases and "Generation X"
marketing blitzes, but what I find disappointing is the tendency to treat
the old releases similar to how television treats "classic TV commercials"
where instead of just showing you the old commercials complete and in their
original form, they insist on adding an inane MC to introduce them all, and
only show you excerpts of them and then add modern video effects and
dissolves which to me, destroys the whole feel.  Part of the point of my
interest in such things, is to "suspend disbelief" for a time, and by
enjoying the music or commercials in their original form without any
modern interventions, can better imagine what it was like to enjoy them
for the first time, at least in my imagination of the context they were
originally in.  I'm afraid MTV would try to "update" Exotica to the point
that it would ruin it.  A year from now we may be reentering the same old
argument that occurred with the term "Industrial" claiming that Real(TM)
Exotica is original Martin Denny - oh no it's not, it's really the latest
angst-Exotica, and when you go to the Exotica section at Tower, all you
find is Nine-Inch-Nails "Exotica" albums.

And in music, this sort of "Classic Commercials" re-release distortion is
usually done through "compilation" albums, or "best of" albums, where
someone else decides which are the best examples of the genre on a
particular original.  I've found quite often that my favorite piece
on a record is an obscure one which does not appear on the equivalent
compliation or "best of."  Currently the biggest "Exotica/EZ-Listening
/Cocktail" offender I've noticed in this regard is the current Jackie
Gleason CD releases.  At first, I was seeing (and buying) complete
original albums, such as "Music, Martinis, and Memories" and I found a
double package of original albums (Music to make you Misty and
Night Wind, I think), but now all I see are "best of" compilations, when
I'd like to buy Oooo... and Lonesome Echo and a bunch of his others in
their original form on CD.  And of course now, gone are those great
two-album package deals where you could get two original albums in
there entirety on a CD.  Now that Exotica has taken off, they can make
twice as much if they re-release them seperately.  Well, Ok, but
if they're not complete in their original form with the original cover
artwork, I'll just make tapes of my thrift scores.  You can stuff the
comp albums as far as I'm concerned.

I suppose it would be different if I haven't already been into this
genre for the last 10-15 years via the thrift store route, and am
already familiar with a lot of it.  If I was new to it, perhaps a
compilation or two would help me decide what I like and what I don't,
but even then if I couldn't find complete original releases of what I
liked so that I can buy more of it, it would be darn frustrating.


At any rate, enough.  Here's my list of the albums that ought to
be considered for re-release:

Music out of the Moon (Les Baxter) this is the great EZ-listening
theremin album that was used briefly in the Theremin movie.  A
truly unique album deserving attention. (actually two 7 inchers
in an early "twofer" package).

More Jackie Gleason (lots more, he has dozens of albums, and they're all
good)

Les Baxter (I hear there's some in the works) - particularly Tamboo and
Sacred Idol in their original form, but the others as well.

Bob Thompson (his orchestra and chorus?).  There's an example or two on
one of the comps, I've noticed.  Great stuff, roughly a cross between Ray
Conniff and Esquivel.  I noticed there are a couple of his on one of the
comps.

Milt Buckner - I've only seen one of his albums but it is one of my
favorites, the cover has a sultry gal smoking a cigarette, I forget the
name of it at the moment.

Frankie Stein and his Ghouls - this is actually surf instrumental, with
"monster sounds" but it's great stuff (Shock, Terror, Fear!).  I've also
discovered a "discotheque" album by the same musicians under the name of
Busby Lewis which has some of the exact same tunes but without the "monster
sounds."

Stanley Black "Tropical Moonlight" - I've found that not all of Stanley
Black is as good IMHO, but "Tropical Moonlight" is great, and my thrift
store copy is pretty scratchy.

George Shearing - all the "Satin" albums, at least.  I did buy a Black
Satin/White Satin twofer CD a while ago, don't know if it's still available.

And I'm sure there's plenty others, that's just off the top of my head.


Keith Doyle
[e-mail]



-------------------------------------------------------------------------------

From: [e-mail]
Subject: RMI-Rock-Si-Chord! Wow
Date: 16 Jan 1996 05:29:12 -0500

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Just picked up a wild Impulse lp by Steve Allen & Oliver Nelson called
Soulful Brass. Mid-60s 'hip' covers stuff that's great but I was more
impressed by this interesting electronic keyboard Steve Allen is playing
called the RMI-Rock-Si-Chord which has a really cool melodic sound.

Any other recordings out there that feature this instrument?
From the picture, it looks like a Wurlitzer/Acetone kind of thing.

Also- cool threads are worn by both cats on the cover. Steve especially in
ascot and shocking pink sweater.


-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: The Mass Marketing of Exotica
Date: 16 Jan 1996 01:55:26 -0500

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 >The question I ask is really very simple and boils down to - why
>is it that so many people seem to suddenly like this stuff?

Simple, because they're finally hearing it. All of us who have been into
this music for awhile can undoubedly remember when we first heard it and
thought - wow, this is unbelievable! And then you're hooked, digging deeper
and deeper, taking chances on records that look like they might be genius,
going further in and learning more. But to know about this stuff, you had
to be exposed to it - either you were the thrift store/flea market type, or
the used record store type, or into the underbelly culture (psychotronic
films, girlie mags, lurid paperbacks etc, and/or the 'industrial' thread
through Throbbing Gristle etc), - or, of course, all of the above ( or in a
combo platter, perhaps). And yeah, the covers sure were great.

But this music is so great, it just takes a hold of you. It doesn't matter
what your age, gender, backgound, etc (unless you're of the one group that
doesn't like it, and I've met a lot of these - the type that says "This is
our parents music, this is what we rebelled against. It's schlock!" To
those people I say, get your attitude out of your ears.) Now with CD
reissues (the mass populace doesn't have turntables, because they were
told/sold that they were out of date) people are hearing this stuff fresh,
and falling in love with it. And really, are we any different just because
we've been listening a little longer?

br cleve




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Godzilla soundtracks
Date: 16 Jan 1996 08:44:39 -0500

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>I got a Godzilla LP when I went to DJ in Japan around 1984. It's great but
>it's mostly  monster sound FX of various members of the monster family and
>fueding relatives.

That's exactly what I was hoping to find on these releases, but they are
hopelessly devoid of all but a few sound effects. (what, no monster roars!?
Sounds of tanks crunching underfoot!?)

- - Joe B.


-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Re/Search & Boyd Rice
Date: 16 Jan 1996 05:54:40 -0800

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> Also, any thoughts on the oft stated rumor that the RE/Search duo ripped
> the entire INCREDIBLY STRANGE MUSIC gig off of giddy Neo-Nazi Boyd Rice?
> They sure jumped on the bandwagon late (for San Franciscans, anyway).

I don't think I'd say they ripped it off from Boyd, but he was certainly
involved with the concept before the books came out.  I was in contact with
Boyd and Re/Search around the time that the film book came out, and hosted
Boyd, Jim and the Re/Search editors on my radio show a couple of times to
talk about the book and play obscure movie music they had.  Around that time
they were already planning out the Incredibly Strange Music books.  I had
tentatively agreed to write a few chapters for them, but in the "breakup"
between Re/Search and Boyd, I was mostly lost in the shuffle.  I talked to
Boyd a few times after that, and he seemed to be thinking of puting
together his own strange music book (this was before the first of the two
Re/Search books came out), but it seems nothing came of it.

I couldn't say whether Boyd had the idea first, before I hooked up with any
of them - but by the time I was in contact, it was a shared proposal.

As for jumping on the badwagon late - they were planning this out around
'86 or '87, I think.

- -dx


-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Re: The Mass Marketing of Exotica
Date: 16 Jan 1996 06:05:40 -0800

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> And really, are we any different just because
> we've been listening a little longer?

If it were just the length of time we'd been listening to this music, then I'd
suggest, no, there was no difference.  But that isn't the only distinction.
The difference - perhaps unimportant - is that some of us went out and
discovered this music in a more raw form, rather than buying it in nicely
packaged reissues.  There is a difference in aesthetic between sifting
through junk shops and thrift shops, picking up things based on a personal
sense of style created over years of overexposure to all things pop culture,
and latching onto a scene of style through someone else's condensation of
the aesthetic in, for example, a book.

I'm not suggesting that anyone is any more true to or appreciatative of the
art, and everyone certainly brings their own twist to the listening... but
neither would I suggest that there is no fundamental difference between
those who write the books and those who read them.

- -dx


-------------------------------------------------------------------------------

From: "Paco Ojeda_Gonzalez" <[e-mail]>
Subject: Exotica Dress Code
Date: 16 Jan 1996 09:24:28 -0500

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Mail*Link(r) SMTP               Exotica Dress Code

Henk Rijks <[e-mail]> recently contributed this:

> MTV Europe last week organised a huge Exotica-oriented
> party in The  Hague, the Netherlands. Dress code was
> strictly Cocktail...

Now, this makes me wonder, plain and simple: what is "cocktail" (or "Exotica")
dress code?

Any takers?

Another question that pops up is this: we are experiencing Exotica as an aural
thing (recordings, CD's, etc.), right? And we've come to associate the Exotica
"sound" or style with certain soundtracks (Mancini et al...) or musical styles
often found on TV shows of the 60's and 70's (Batman, UFO, etc.). right? Now,
these movies/shows' subject matter or plot was NOT necessarily related to any
specific lifestyle that can be identified as "cocktail" or "Exotica."

With that said, are there any films whose subject-matter deal with "cocktail"
or Exotica as a lifestyle? I mean, John Water's "Hairspray" is a perfect
example of a film that not only has period music, but the plot deals
(segregation aside) entirely with the lifestyle associated with the music.

Any thoughts anyone?

Paco Ojeda
Boston, MA



-------------------------------------------------------------------------------

From: [e-mail] (kerri mahoney)
Subject: les baxter
Date: 16 Jan 1996 10:35:51 -0400

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My friend heard yesterday on the radio (WFMU) that Les Baxter died.  Not
knowing the state of Les Baxter, is this true?  Or had he already passed
away?  (snif)

kerri  mahoney

also:
[e-mail]




-------------------------------------------------------------------------------

From: Brad Bigelow (via RadioMail) <[e-mail]>
Subject: Re:  Mass Marketing of Exotica
Date: 16 Jan 1996 08:42:52 -0800

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<#     [e-mail] (dx) wrote:

>There is a difference in aesthetic between sifting
>through junk shops and thrift shops, picking up things based on a personal
>sense of style created over years of overexposure to all things pop culture,
>and latching onto a scene of style through someone else's condensation of
>the aesthetic in, for example, a book.

I think this is at the heart of the debate over marketing/exposure/reissues/
MTV-ization of exotica in recent threads.  It IS an aesthetic difference, but
it's a mistake to assign a higer or lower value to either experience on
anything but a personal level.

I love exotica, but I prefer to appreciate it based on sifting through thrift
shops and operating under an arbitrary limit of $5 an LP or less (unless
I REALLY need it, man).  So I've avoided the compilations and bootlegs.  Part
of my aesthetic experience is based on the fact that I CAN find good things
to listen to for as little as 25 cents at the local Salvation Army.  That's
my choice, nothing more.

I also love surf, and in years of thrift shopping, I have yet to see an
original surf LP.  This stuff long since disappeared into the realms of
high-priced collectors.  So I buy the CD compilations and reissues.  The
packaging and hunting are not particularly important elements of my enjoyment
of surf music.  The packaging, hunting, and overall funkiness of original
junk exotica are definitely part of my enjoyment.

I'm surprised no one has pointed out that the conoisseurs of ur-exotica
would argue that exotica can only be experienced when purchased for $2.98
as a new release in the LP section of a furniture store and listened to
on some console hi-fi system.  Even us thrift-shop veterans are partaking
of this stuff second-hand for the most part.

I do hope it'll be long time before exotica disappears from the thrift shelves,
since what's left appears to be evenly divided between mediocre 70s disco
and Andy Williams records.  But that time will come--we are talking about a
finite comodity, after all.  And if I'm still into exotica when that happens,
I'll probably switch to CDs or their successor.  The experience will change,
of course--CD notes rarely match the visual appeal of a great dust jacket--
but the enjoyment at the core will not.

From whatever direction we start, I think we all ultimately converge on this
point:  enjoyment.  I may not know exotica, but I know what I like.

Brad Bigelow


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Exotica Dress Code
Date: 16 Jan 1996 12:12:55 -0500

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>are there any films whose subject-matter deal with "cocktail"
> or Exotica as a lifestyle?

Was it Blake Edwards who did "The Party"?  Others that come to mind
are "Bob, Carol, Ted & Alice," all the Bondish spy movies plus the
spoofs, "Breakfast At Tiffany's," there's got to be tons more (these
are just a few that also have exotica/cocktail soundtracks).

kevin


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Exotica Dress Code as dictated by film.
Date: 16 Jan 1996 09:16:55 -0800 (PST)

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Paco wrote:

>Now, this makes me wonder, plain and simple: what is "cocktail" (or
>"Exotica") dress code?
>
>Any takers?
>
>With that said, are there any films whose subject-matter deal with "cocktail"
>or Exotica as a lifestyle?

>Any thoughts anyone?

"How to Murder Your Wife" starring Jack Lemmon comes to mind instantly.  An
amazing comic turn on the destruction (read: marriage) of a confirmed bachelor
and his ultra-suave lifestyle.  Incredible physical humor rendered by Mr.
Lemmon (Dick Van Dyke, take notes!) and British wit/sarcasm delivered by Terry
Thomas as his "singles only" butler.  Swank New York bachelor pad, cool sound-
track (Neal Hefti?) and SalomΘ-type belly dancer with a jewel in her belly-
button!  I demand that you all see this film.

And what about obvious choices like "The Apartment" (another Jack Lemmon) or
"Breakfast at Tiffany's" for the party scene alone?  Way cool films with
snappy dressers all over the celluloid.



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: les baxter
Date: 16 Jan 1996 12:45:17 -0500

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><# Replies to this message will go to:
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>
>My friend heard yesterday on the radio (WFMU) that Les Baxter died.  Not
>knowing the state of Les Baxter, is this true?  Or had he already passed
>away?  (snif)
>
>kerri  mahoney
>

Sadly, Mr. Baxter died around midnight on Sunday,January 14. I had heard
that he had been in ill health of late- apparently a stroke prevented him
from performing at or even attending the Orchestral tribute that was
mounted for him in LA recently.

This is a moment I've been dreading...a lot of our exotica heroes are
pretty old...




-------------------------------------------------------------------------------

From: [e-mail] (kerri mahoney)
Subject: Les Baxter?  Is it true?
Date: 16 Jan 1996 12:49:04 -0400

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My friend heard yesterday on the radio (WFMU) that Les Baxter died.  Not
knowing the state of Les Baxter, is this true?  Or had he already passed
away prior to this?  (snif)

kerri  mahoney

also:
[e-mail]




-------------------------------------------------------------------------------

From: "Sadin, Glenn" <[e-mail]>
Subject: Godzilla soundtracks
Date: 16 Jan 1996 09:53:52 PST

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Tower Records here in NYC has started carrying Godzilla soundtracks. They go
for an amazing $14.99. (considering that they're Japanese imports) Can anyone
recommend one over the other?

     YES! Do they have a disc on the Apollon label called "History Of
     Mothra"? It's a five-star disc all the way. It even has the Peanuts
     (the twin Fairy Princesses) singing "Mothra no Uta" (Mothra's Song).

     Another cool one, one the Sony label, is "HOWL! All the Grunts and
     Groans of the Toho Monsters" (or something like that!).

     Only $14.99? Sheesh - those suckers go for at least $20-25 each in
     Japan!

     Glenn


-------------------------------------------------------------------------------

From: [e-mail] (David Schafer)
Subject: Re: Exotica Dress Code
Date: 16 Jan 1996 13:06:43 -0500 (EST)

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Paco wrote--
>Now, this makes me wonder, plain and simple: what is "cocktail" (or "Exotica")
>dress code?
>With that said, are there any films whose subject-matter deal with "cocktail"
>or Exotica as a lifestyle?


Well, The 'Party' starring Peter Sellers, 1968, also stars Claudine Longet,
the famed singer/wife of Andy Williams, she sings a couple of songs and the
whole thing is absurd and truly great!!!!

I just finished reading Joseph Lanza's book 'The Coctail'-- and the movies
he mentions in the book would make an interesting screening series--someone
should do it, not to mention the variety of cocktail 'dress codes' that
would be revealed.

David Schafer
[e-mail]




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Rhino cocktail
Date: 16 Jan 1996 13:14:23 -0500

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Say,this is slightly tangential,but can anyone explain the  presence of
Combustible Edison's "Edisonian" cocktail (Brandy,Campari,Fresh Lemon
juice) in the Ads for the new Rhino Cocktail comps, *without*
acknowledgement?! It's a pretty eccentric formula and widely disseminated
on the back of their "I,Swinger" record, so I find it hard to imagine that
someone at the advertising agency (or wherever) just dreamed that drink up
anew.

puzzled and slightly irritated...

Riviera




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: EXOTIC TRILOGY
Date: 16 Jan 1996 19:35:55 +0100

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[e-mail] wrote:
>     ...I'd really like a copy
>     of this CD and can't find it anywhere in LA.

i think it should be avail. from cdeurope (telnet "cdeurope.com") (it's a
Dutch release)

Greetings from Johan
               [e-mail]          (home: Wivina 15, 1702, Belgium)

                                                       @@@@@@@@@@@@@@@@@@@@@
                                                       @  C:\ONGRTLNS.W95  @
                                                       @@@@@@@@@@@@@@@@@@@@@




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Les Baxter?  Is it true?
Date: 16 Jan 1996 11:22:05 PST

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     Yes, Les died at 12:30 Monday morning of a massive heart attack.


     RIP to a very special man.




______________________________ Reply Separator _________________________________
Author:  [e-mail] (kerri mahoney) at INTERNET


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My friend heard yesterday on the radio (WFMU) that Les Baxter died.  Not
knowing the state of Les Baxter, is this true?  Or had he already passed
away prior to this?  (snif)

kerri  mahoney

also:
[e-mail]





-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Re:Exotica dress code in films
Date: 16 Jan 1996 15:34:06 -0500

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I would include "Bachelor Party" (1957) with Don Murray and "Boys Night Out"
(1962) with James Garner and Kim Novak.  While the music (in my view) was not
too memorable, both films convey a sense of free living that at least, gives the
atmosphere of a batchelor pad.  I can see Esquivel playing in the background.
Bryan


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Swank Joints?
Date: 16 Jan 1996 14:41:35 -0500

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Calling all Lounge Lizards...

As there are members of this list from all over the country and beyond, I
was wondering if anybody could give me the tumble on establishments in
their area that are geared towards Exotica/EZ sounds(particularly ones that
feature live acts), and/or Lounges and Lubritoria of an opulent and exotic
cast that would be enjoyable for a travelin'swinger.

You can Email responses to me,unless this subject is of interest to the
list populace(?).

Curiously...

Riviera




-------------------------------------------------------------------------------

From: [e-mail] (ANITA SERWACKI)
Subject: Re: Swank Joints?
Date: 16 Jan 1996 16:20:19 -0500

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     Though I know most people don't want to reveal their
     favorite joints, I'd be interested in tips on any lesser known
     haunts in New York.


______________________________ Reply Separator _________________________________
Author:  [e-mail] at Internet


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Calling all Lounge Lizards...

As there are members of this list from all over the country and beyond, I
was wondering if anybody could give me the tumble on establishments in
their area that are geared towards Exotica/EZ sounds(particularly ones that
feature live acts), and/or Lounges and Lubritoria of an opulent and exotic
cast that would be enjoyable for a travelin'swinger.

You can Email responses to me,unless this subject is of interest to the
list populace(?).

Curiously...

Riviera




-------------------------------------------------------------------------------

From: [e-mail] (Eric Drysdale)
Subject: Favorite NY Lounge
Date: 16 Jan 1996 17:48:08 GMT

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I'm not much for these newfangled re-creations. But...

One "authentic" NY haunt that I love, though I'm reluctant to share,  is the
"View" lounge, which is a revolving cocktail lounge atop the Marriot
Marquis hotel.  Thursday-Saturday they have live entertainment that falls
into the "Incredibly bad" category, if not exotica.  I've seen two different
acts there.
One does very lame mid-70's EZ jazz stuff, very odd as it's not good for
dancing.
The other does a good selection of standards for Latin-style Ballroom dancing
but
is appropriately shoddily arranged and performed.  If  your kitsch muscles
are in good shape,
you'll have a great time.  They have a 8.95  all-you can eat snack buffet,
but you can fill up on it with a couple of trips.   Drinks are expensive, and
I've
dropped 50 bucks there easily.   I love this place because it
is so relentlessly "B."  People who come from the country think it's very
swank,
but it's aspirations to true class are laughable... I mean, they
gave me a scotch and soda in a wine glass!

Great view though.

- -E






-------------------------------------------------------------------------------

From: Atomic Books <[e-mail]>
Subject: Re: The Mass Marketing of Exotica
Date: 16 Jan 1996 17:55:33 -0500 (EST)

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On Mon, 15 Jan 1996, David J. Strauss wrote:

> Also, any thoughts on the oft stated rumor that the RE/Search duo ripped
> the entire INCREDIBLY STRANGE MUSIC gig off of giddy Neo-Nazi Boyd Rice?
> They sure jumped on the bandwagon late (for San Franciscans, anyway).

Well, Re/Search DID rip off the entire Incredibly Strange Films Volume
from Rice, even to the point of removing his name from the credits is
futures volumes. Juno and Vale are culture vultures, and I wouldn't be
surprised if they sucked the lounge music stuff out of Rice's brain also.

ATOMIC BOOKS "Literary Finds for Mutated Minds"
229 West Read Street, Baltimore, MD 21201 USA
410.728.5490  Fax [phone] BBS 410.889.3543
Send $3 for our 100+ page magazine/catalog!
http://www.atomicbooks.com/atomicbk/




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re:Exotica dress code in films
Date: 16 Jan 1996 22:09:33 -0500

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Kris  mentioned THE APARTMENT as being an obvious choice for "cocktail
lifestyle film," but I would nominate KISS ME STUPID as a better choice from
Billy Wilder, mainly because Dino plays himself.

And Kevin King mentioned spy movies and spoofs, but I'd single out OUR MAN
FLINT for two reasons: the scene in which Flint dances with his
ethnically-balanced harem as the title track arrangement morphs
internationally, and the fact that the key mcguffin is a cold cream jar that
reads "Exotica!"

BTW, I've said it here before, but the soundtracks to both Flint movies are
supreme and of great interest to the exotica afficianado.

Arn
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail] (Ben Mancine)
Subject: Roger Roger
Date: 16 Jan 1996 22:48:49 -0500

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I recently came across an LP by Roger Roger and his Orchestra, entitled
"Thrilling"  MGM Records, E3201.  I bought it for the cover, which still
seems to be its only saving grace.  Since Roger Roger is listed in the
WFMU Catalog of Curiosities, the music must have some merit which escapes
me.  Sounds like Music To Visit Grandma By.  Can anyone clue me on this
fine artist?  Is this a particularly weak offering?                - Ben

- --
        The subterranean miner that works in us all, how can one tell
         whither leads his shaft by the ever-shifting, muffled sound
                      of his pick?   - Herman Melville


-------------------------------------------------------------------------------

From: [e-mail] (Lucien Samaha)
Subject: the ENDLESS discussion
Date: 17 Jan 1996 00:25:48 -0500

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>I don't want to suggest that the bootleg issue is not worth serious
>discussion, but it seems that this list has has become mostly a forum for
>this topic rather than the music itself. The postings on bootlegs seem to be
>outnumbering everything else.I wonder if anyone else feels the same and if
>people would agree to go back to the original subject. Once again I do not
>want to suggest that I think that the subject of bootlegs is not important
>and I hope that the people discussing it do not take this suggestion as an
>insult. I have found this list to be extremely enjoyable and enlightening so
>far .
>Sincerely, Bob

I agree with Bob.  I have precious little time where I have thoroughly
enjoyed reading, learning and benefiting from this list; however, I had to
send my fateful "unsubscribe" message today because I just can't afford to
stay up past midnight every night just to read about the "over-hashed out"
and redundant topic of legit vs bootleg, regardless of how worthy it is.

As far as being concerned about the mass marketing of exotica et al to GenX
by MTV or whoever, I've been there, but, let's not forget where we live...
censorship and restrictions by an elitist group may very well lead to the
end of the very forum in which we can discuss these matters.

I have been making exotica and surf tapes for my 5 year old nephew who
loves a lot of it, and who is not afraid to make funny faces at some of it.
With his budding musical talents and of others in his generation, I am
looking forward to Exotica, The Third Generation a few years down the
road...  and hopefully a more relaxed, loungy and enjoyable EXOTICA mailing
list in the very near future.

lucien




-------------------------------------------------------------------------------

From: "Robert P. Krajewski" <[e-mail]>
Subject: Re: Exotica and "Gen. X"
Date: 17 Jan 1996 00:35:02 -0500

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>for far longer than you've been able to
>hear Combustible Edison on MTV.

So, for how long *have* you been able to hear Combustible Edison on MTV ?
Are there any videos ?


-------------------------------------------------------------------------------

From: "C" <[e-mail]>
Subject: Re: Les Baxter?  Is it true?
Date: 17 Jan 1996 00:21:34 -0600

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 By now we all know of the passing of Mr. Baxter, and I guess I feel compelled
to share some stuff I have been thinking about.  I never knew Les Baxter
personally, but while working on this tribute record, I have felt a renewed
connection to his music, and the ideas therein.  I am not necessarily the most
knowledgeable person on the subject of Exotica, but it is a music I care a great
deal about.

I  first heard Les Baxter as a kid, when I would listen to my uncle DJ the
overnight shift at the local radio station where he would mix Les Baxter and
Martin Denny into Elvis Costello and Cheap Trick.  Baxter's soundscapes
infiltrated my young mind and warped it accordingly.  Like most things not
related to the attracting of the opposite sex, I forgot about it during
pubescence.  It wasn't until my freshman year of college and a total immersion
into Throbbing Gristle and Yellow Magic Orchestra did I rediscover the
soundsmith of my youth.  Now the music was more then weird sounds and odd
stories - there was a complex arrangement of ideas and melody that went beyond
anything else I knew of, it still does.

It seems weird that at this time there has been a recent discussion about the
bad side of the popularity of Exotica, and the kitsch value of it.  I think if
the whole world starts grooving on Mr. Baxter's music, great - they can
appreciate the work of an amazing composer and arranger - skills that seem lost
today. People should know about this music. The mass populi tend to blow off any
composer (especially American) after 1930's as inconsequential simply because it
falls out of the "classical" mode. The position composers like Baxter and Prado
are in should be compared to composers like Haydin and Chopin, Not the biggest
composers of their day, but definitely remembered,  revered and their influence
still felt on the next generations.

Les Baxter wasn't the greatest composer of the 20 th century (couldn't even
hazard a guess as to who would take that title) but he was up there. He wrote
songs that were hard to make a bad version of, and arraignments that were
challenging, he helped to paint pictures that changed the face of post war
America, and that is something that should not be forgotten.

Thanks for letting me vent

your friend

Chris






T H I S   S P A C E    F O R    R E N T


                                                              Chris Strouth
              Ph 612.874.2418  Fax [phone] email(alternate) [e-mail]
                                        http://www.tt.net/prospective/index.html



-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Seeking Hawaiiana Traders
Date: 17 Jan 1996 06:04:25 -0800

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Does anyone have an e-mail or surface mail address for Hawaiiana
Traders?

- -dx


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Korla Pandit television show
Date: 17 Jan 1996 09:21:52 -0500

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To all exoticats,

Does anybody out there have any information on obtaining videos of Korla
Pandit's televison shows from the fifties?  I have heard they are out there,
but have no idea where to begin my search.  Please help.

My wife and I will be seeing him perform this Saturday at Bimbo's in San
Francisco and I promise a "review" to the list.

Les Baxter, rest in peace.

Ford




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Re:Exotica dress code in films
Date: 17 Jan 1996 07:23:29 -0800

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Fellini's "La Dolce Vita," staring Marcello Mastroianni and Anita Ekberg,
is one of my favorite Exotica films. Besides the aforemention talent, there
is the wonderful music of Nino Rota.

>richard


_`~=~=~`boom~~`boom~=~=

_-I-__\ /__
   `      ~
  / \_  -I-




-------------------------------------------------------------------------------

From: Joseph Holmes <[e-mail]>
Subject: Re: Swank Joints?
Date: 17 Jan 1996 10:15:48 EST

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>As there are members of this list from all over the country and beyond, I
>was wondering if anybody could give me the tumble on establishments in
>their area that are geared towards Exotica/EZ sounds(particularly ones that
>feature live acts), and/or Lounges and Lubritoria of an opulent and exotic
>cast that would be enjoyable for a travelin'swinger.

I maintain a short list of Nouveau Lounges, New Cocktail Joints, and
Nuevo Bachelor Clubs at
http://www.interport.net/~joholmes/sabpsr.html#lounge

BTW, please email me complete info on clubs I haven't yet listed -- exact
address and phone number appreciated. And it's especially important to
drop me a line when one of these clubs disappears.

- -=-Joe


=----------------------------------------------------=
= Space Age Bachelor Pad Music on the World Wide Web =
=   http://www.interport.net/~joholmes/index.html    =
=----------------------------------------------------=




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Rhino, JGE and "4 Rms." Sndtrk
Date: 17 Jan 1996 08:49:32 -0800 (PST)

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I got my copy of _Entertainment Weekly_ yesterday and whilst flipping through
the new issue saw that the 2-page record review spread was a critique of the
Rhino Cocktail compilations and the "Four Rooms" soundtrack with a side-bar
interview with Juan Garcia Esquivel.  They are usually quite fair and ocas-
sionally brutal in their reviews... overall the reviewer liked all three vol-
umes, preferring the instrumentals over the vocals and gave Vol. 1, 2 & 3 a
B+, B & B- respectively.  "Four Rooms" soundtrack received a B and helped
them tie together their introduction regarding the origin of SABP and it's
recent revival.

The Esquivel inset was brief but funny.  Just a small bio about the man and
a fairly recent picture.  Excellent "sound-bites" (the "interview" couldn't
have been more than five minutes... there are only a few sentences worth of
dialogue) in which Esquivel responds to uneducated generalizations that his
music is Easy Listening: "...my music has never been easy to listen to!"

(I beg to differ.)

Anyway, it's worth a glance at the library if not the $1.95 for your own per-
sonal copy.  The mainstream is catching on...



-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: RCA Living Stereo CDs
Date: 17 Jan 1996 19:17:39 +0100

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just received these 3 CDs from the German RCA Living Stereo reissue series:

   Esquivel, his Piano & Group   4 Corners of the World (RCA985627)
   Henri Mancini                 The Blues and the Beat (RCA604726)
   The Three Suns                Twighlight Memories    (RCA605020)

the first 2 are ok - Esquivel has 3 and Mancini has 4 bonus tracks - , but
i didn't like the "Twighlight Memories" CD: too mellow & cheesy, with the
exception of these 4 great tunes: "Jalousie", "Delicado", "Moonlight and
roses" and "Jet"; the CD has 4 bonus tracks, 3 from "Fever and smoke" and 1
from "Fun in the sun".
someone on this list also recommended:

   Chet Atkins                   Teensville (RCA/BMG)

but i was afraid to order it when i saw that GMX catalogs it as "country"!
is it really country, or does it have some exotica value?

- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Re: Nothing New
Date: 17 Jan 1996 10:44:17 -0800

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At 9:21 PM 1/15/96, [e-mail] wrote:
> ...  the Marie Wilson
>album and the Compact Organization label, which devoted
>itself to recreating the feel of mid 1960s spy films and
>Scandinavian swinger lifestyles [snip]

Mari Wilson and the Wilsations! Her version of "Cry Me A River" is
priceless; and her pop stuff (I'll have to check the titles on my Compact
compilation when I get home) are really worth seeking out.

>even bits of bands like the
>Raybeats and the Monochrome Set, which, while not exotica
>by a long shit, play around with an idea of easy listening.

I'm sure you mean long shot. In any event, Viva the Raybeats and the
Monochrome Set! The Raybeats, a downtown band that grew out of NYC's "No
Wave" scene, were definitely into surf and early '60s instrumentals, which
they performed live with great abandon.

I would also draw the attention of our fellow readers to the work of the
Lounge Lizards (the Lurie brothers), Defunkt, and James Chance and the
Contortions / James White and the Blacks, who did a rip-out-your-eyes
version of "(We're Havin' A) Heatwave." Early '80s cocktail conversation
should also include Kid Creole and the Coconuts and their various spinoff
mutations, who added a Latin beat to the sounds emanating from Ze Records,
as well as Arto Lindsay's melding of Brasilian sounds and downtown noise.

Peter Principle of Tuxedomoon pointed out here a while back that there was
a burst of '80s "lounge" activity (there were even "new wave" lounges, at
least in Chicago, where I was then), but the music back then had a distinct
dark edge, at least in comparison with today's sunny view of the culture.

____________________________________________

"Sanitarium? Alright. If you want me to go, I'll go."

                                                - Neely O'Hara,
_Valley_of_the_Dolls_




-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Re: Exotica Dress Code
Date: 17 Jan 1996 10:45:18 -0800

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At 9:24 AM 1/16/96, Paco Ojeda_Gonzalez wrote:
>With that said, are there any films whose subject-matter deal with "cocktail"
>or Exotica as a lifestyle? I mean, John Water's "Hairspray" is a perfect
>example of a film that not only has period music, but the plot deals
>(segregation aside) entirely with the lifestyle associated with the music.

John Waters is our spiritual godfather. We should genuflect when we hear
his name. In reality, he was cramming this stuff into his films from "Hag
in a Black Leather Jacket" and "Eat Your Makeup."

To me, the classic "cocktail couple" is Connie and Raymond Marble of "Pink
Flamingos" and the couple from "Female Trouble" who tell Divine, "Oh no, we
never touch any form of noodle!"

OK, if you don't see the humor in that, here are some more traditional
views of Cocktail Culcha on the big screen:

"Days of Wine and Roses," where Jack Lemmon and Lee Remick show us how to
down a cocktail or three, to a soundtrack by Mancini.
Most Doris Day movies, often with Rock Hudson and occasionally Tony
Randall, including "That Touch of Mink," "Man's Favorite Sport?" and those
other gender-benders
"The Lost Weekend" - Ray Milland's finest moment; who did the incidental
music for that one?
"What a Way to Go!," with Shirley MacLaine floating in a two-story
champagne glass
...well, you get the picture...

kjm

CONFIDENTIAL to dx: Do you still do a radio show? Where? When?




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Nuthin'New
Date: 17 Jan 1996 14:23:54 -0500

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....And,of course,The Lounge Lizards deserve a mention;they've been around
since the early 80's- but another band from around the mid-'80s that never
got much attention was The Wayfarers, from New Jersey. They played a sort
of New Wave/Bossa Nova/Folk Rock/Italian Film Music hybrid. Their sole LP
was entitled "World's Fare", though I can't remember the name of the label
(I believe they put it out themselves).It included a swingin' Jet-Set
version of the Buzzcocks' "Harmony in my Head", and other, moodier
originals.

Riviera




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Seeking Hawaiiana Traders
Date: 17 Jan 1996 11:56:52 PST

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     It's [e-mail]



     Lee


______________________________ Reply Separator _________________________________
Author:  [e-mail] (dx) at INTERNET


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Does anyone have an e-mail or surface mail address for Hawaiiana
Traders?

- -dx



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Nuthin' New
Date: 17 Jan 1996 12:10:04 -0800 (PST)

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All this talk of modern lounge/lounge influenced bands from the recent past
lead me off on a bit of a tangent.  There is an album by Little Stevie Wonder
called "The Jazz-Soul of Little Stevie" (Mowtown) that can be purchased on
CD with relative ease at any chain store which, given it is usually found in
the "Soul/R&B" section, fits quite nicely alongside the sound of "The Easy
Project" compilation.  Albeit, the arrangement is spare when compared to most
of the Exotica orchestras, but it is no less lush and packs a little more
bite than most as it leans more towards rock & soul.

I think it was originally released somewhere between '62-'66, most of the
tracks combine a sleek cosmopolitan feel with mod/spy-style flutes, bongos
and brass... all instrumental and highly recommended.  Check it out and let
me know if I'm the only one who feels this way.

Thanks for reading my babble,


Kris.



-------------------------------------------------------------------------------

From: Mark Freitas <[e-mail]>
Subject: Liberace NOW!
Date: 17 Jan 1996 16:40:15

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I'm not a big Liberace fan, but bought this album something like eight years
ago for its weird pseudo psychedelic cover.  But it has one song that is
painfully funny.  In the middle of "The Impossible Dream" Liberace breaks out
into a spoken word recitation of the lyrics that is, well, really weird.  And
actually kinda of ironic in a sad way.

mark


-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: Re: Re:Exotica dress code in films
Date: 17 Jan 1996 14:50:05 -0800 (PST)

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and lets not forget nico's cameo. hard to get anymore "exotic" than that.

On Wed, 17 Jan 1996 [e-mail] wrote:

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>
> Fellini's "La Dolce Vita," staring Marcello Mastroianni and Anita Ekberg,
> is one of my favorite Exotica films. Besides the aforemention talent, there
> is the wonderful music of Nino Rota.
>
> >richard
>
>
> _`~=~=~`boom~~`boom~=~=
>
> _-I-__\ /__
>    `      ~
>   / \_  -I-
>
>
>


-------------------------------------------------------------------------------

From: Mark Freitas <[e-mail]>
Subject: Exotica - the album
Date: 17 Jan 1996 17:40:33

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Does anyone know the history of this album as regards the stereo and mono
versions.  I know it was first recorded with Arthur Lyman in mono.  I have this
version, but I also have a stereo version, which sounds a bit different.  Did
they re-record it in stereo minus Lyman (as someone once told me) or did they
just overdub the original mono with more drums and sound effects to make it
stereo?

Jus' wondrin'

Mark


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: RCA Living Stereo CDs
Date: 17 Jan 1996 23:07:35 -0500

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[e-mail] (Johan De Vis) wrote:

> just received these 3 CDs from the German RCA Living Stereo reissue series:

Has anyone seen these in the States yet? What are they selling for?

>   Esquivel, his Piano & Group   4 Corners of the World (RCA985627)
>   Henri Mancini                 The Blues and the Beat (RCA604726)
>   The Three Suns                Twighlight Memories    (RCA605020)

>  i didn't like the "Twighlight Memories" CD: too mellow & cheesy, with the
>  exception of these 4 great tunes: "Jalousie", "Delicado", "Moonlight and
>  roses" and "Jet"; the CD has 4 bonus tracks, 3 from "Fever and smoke" and
1
>  from "Fun in the sun".

Except for "Fever & Smoke," I've been somewhat disappointed in a lot of the
Three Suns records I've picked up -- not quite quirky enough or something.
Most of them I've passed along to a friend who's a 3 Suns completist,
including my NM copy of "Twilight Memories."  There are a few tracks I really
like on "On a Magic Carpet" and "Love In the Afternoon" though; haven't heard
"Movin' and Groovin'" but I'd wager I'd probably dig that one as much as
"Fever & Smoke."

Michael.
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Exotica - the album
Date: 17 Jan 1996 23:15:02 -0500

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You have very perceptive ears!  Exotica was originally recorded in mono in
1956 in Hawaii and did at the time feature Arthur Lyman. (Martin Denny
confirms there was no available stereo-ready recording studio in Hawaii at
the time). The album was later re-recorded on the mainland (Hollywood) with
Julius Wechter in 1958 or 1959 (the correct date escapes me now) in stereo
with poor Julius having to replicate Lyman's parts.  To most listeners may
not have realized the difference but it is apparent in the mono album's
longer intro for "Quiet Village" and some tempos which are a little slower on
the stereo version.  When the stereo version was released, Liberty decided to
retain the original mono version rather than mixing the stereo version down
to mono.  Just so all you Denny fans don't start a manhunt for other mono
versions Exotica is the only album where there are two different recordings
for the stereo and the mono versions.  By the way look for this original mono
version to appear soon on CD from Scamp. (I know Lazlo..enough with the
plug!)
Ashley


-------------------------------------------------------------------------------

From: [e-mail] (Jack Diamond)
Subject: I need a theremin player !!
Date: 17 Jan 1996 23:33:12 +0000

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>hello,
>
>I'm looking for someone in the NY city area who owns and can play a
>Theremin in a session for a soon to be released film.  If you or anyone you
>know can help me please contact me at the above email address or call
>David Beal at Noise Production, Inc. 212 714-9074.
>
>Thank you very much,
>Sheldon Steiger




-------------------------------------------------------------------------------

From: Joseph Holmes <[e-mail]>
Subject: Re: Exotica - the album
Date: 18 Jan 1996 10:01:42 EST

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>Just so all you Denny fans don't start a manhunt for other mono
>versions Exotica is the only album where there are two different recordings
>for the stereo and the mono versions.

But not the only *artist* who recorded twice, once for mono and once for
stereo. Jack Diamond was among the first to mention around these parts
that Esquivel recorded "Exploring New Sounds in Hi-Fi in mono, and then
went back to the studio to record "Exploring New Sounds in Stereo." Not
having compared the two versions, I can't tell if there are any
significant differences other than the stereo mix.

- -=-Joe



-------------------------------------------------------------------------------

From: [e-mail] (Clark Scheffy)
Subject: stereo/mono
Date: 18 Jan 1996 09:33:46 PST

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Joe wrote:

But not the only *artist* who recorded twice, once for mono and once for
stereo. Jack Diamond was among the first to mention around these parts
that Esquivel recorded "Exploring New Sounds in Hi-Fi in mono, and then
went back to the studio to record "Exploring New Sounds in Stereo." Not
having compared the two versions, I can't tell if there are any
significant differences other than the stereo mix.

- -=-Joe


I remember a few weeks back there was a brief mention of Hanry Mancini's
"The Versatile Henry Mancini."  My impression was that this was a reprocessed
stereo release of "Driftwood and Dreams," an earlier Liberty title.  Someone
else on the list said that "The Versatile" was indeed true stereo, suggesting
another title which would fall into this category.  Does anyone know for sure?
It sounds like reprocessed to me, but given the Denny re-recording on the
same label, maybe Mancini did it too.
Clark


-------------------------------------------------------------------------------

From: Henk Rijks <[e-mail]>
Subject: Re: RCA Living Stereo CDs
Date: 18 Jan 1996 19:46:09 +0100

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Johan De Vis wrote:

> someone on this list also recommended:
>
>    Chet Atkins                   Teensville (RCA/BMG)
>
> but i was afraid to order it when i saw that GMX catalogs it as "country"!  is it really country, or does it have some exotica value?
>
It does have some Exotica value, be it in the Countrypolitan
category. Chet does some incredible things on his guitar, amazing
sounds you wouldn't expect form a six stringed axe. Liner notes are
noteworthy, too: Don and Phil Everly penned them. Vocals are OK too.
Alas, no bonus tracks.
BTW: there's another in this series called "Have guitar, will
travel". Forgot the artist, but not really worthwhile.
Regards, Henk


-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: cartoon-like stuff
Date: 18 Jan 1996 19:46:10 +0100

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Jack Diamond mentioned a couple of Space Age Pop LPs that have a
cartoon-like sound. I'd like to add this one to this list:
        Harry Breuer: "Mallet magic" (AF 5825)
which has extensive use of the vibraphone and other mallet instruments,
which produce a very funny sound indeed; you'd think you're listening to a
cartoon!
Are the other "Mallet" albums of Harry Breuer of the same genre?

- -johan




-------------------------------------------------------------------------------

From: [e-mail] (kerri mahoney)
Subject: Harry Breuer?
Date: 18 Jan 1996 14:29:22 -0400

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I've heard of an album called "Mallet Mischief", maybe he sticks to
similiar naming conventions for him albums.  And there's always Raymond
Scott and Carl Stalling.

K M

also:
[e-mail]




-------------------------------------------------------------------------------

From: Bryan Jare Cuevas <[e-mail]>
Subject: Dick Schory's New Percussion Ensemble
Date: 18 Jan 1996 14:35:25 -0500 (EST)

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Any information on the new reissue of Schory's "Music for Bang,
Barroom and Harp" (RCA). I noticed somewhere that this was due
out on vinyl in the Fall. Has it been released?

bryan j cuevas



-------------------------------------------------------------------------------

From: [e-mail] (Brett Leveridge)
Subject: Pineapple Princess
Date: 18 Jan 1996 15:38:54 -0500

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She may be borderline for this list but I think some of her stuff fits. I'm
speaking of Annette Funicello. My zine, BRETTnews, is sponsoring a contest,
The Beauty and The Beach Giveaway. Enter to win one of seven 2-CD boxed
sets, featuring most, if not all, of Annette's recorded output, including
Pineapple Princess and Jo Jo the Dog-Faced Boy! No purchase necessary to
enter and you can easily enter right from our Website.

http://www.brettnews.com/~brettnews

Brett


 * * * * * * * * * * * * * * * * * * * * * * * * * * *

"Without BRETTnews, I would wander aimlessly through the cultural
wilderness. With it, I enjoy enlightenment and the love and esteem of
family, friends and strangers."
 -- Bob Costas

Enjoy BRETTnews, the Peppy Zine for Active People!
http://www.brettnews.com/~brettnews




-------------------------------------------------------------------------------

From: Lazlo Nibble <[e-mail]>
Subject: RCA Living Stereo CDs
Date: 18 Jan 1996 14:14:27 -0700 (MST)

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> i was afraid to order [Chet Atkins's "Teensville"] when i saw that GMX
> catalogs it as "country"!  is it really country, or does it have some
> exotica value?

I can't speak specifically to "Teensville" but while Atkins's work is
definitely country-influenced, I think of him more as a jazz performer than
a country artist.  He's not necessarily exotica, but he's damned talented.

- --
::: Lazlo ([e-mail]; http://www.swcp.com/lazlo)


-------------------------------------------------------------------------------

From: [e-mail] (Keith Doyle)
Subject: Have guitar, will travel...
Date: 18 Jan 1996 13:36:12 PST

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Henk Rijks <[e-mail]> writes:
>BTW: there's another in this series called "Have guitar, will
>travel". Forgot the artist, but not really worthwhile.
>Regards, Henk

I believe that is Duane Eddy, and I don't agree that it's not
worthwhile, but YMMV....


Keith Doyle
[e-mail]



-------------------------------------------------------------------------------

From: Watterworth Jay <[e-mail]>
Subject: Re: Bootlegging, my $8.98 worth
Date: 18 Jan 1996 16:49:14 -0700 (MST)

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I assume that you think it is ok.  IMHO second-hand records is ok.  The
artists have gotten their money already.  The market for second hand
books, like college texts, provides no $ for the authors, but it is a
common practice by the INDUSTRY to forward used texts to book stores
along with the new ones.
Jay Watterworth (Protesting the high cost of learning at)
CU Boulder

On Thu, 11 Jan 1996, Kevin Martin wrote:

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>
> There is no ethical distinction between purchasing a bootleg and purchasing
> a legitimate recording second-hand.
>
>
>


-------------------------------------------------------------------------------

From: [e-mail] (Jack Diamond)
Subject: House of Games Playlist
Date: 18 Jan 1996 16:35:39 +0000

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Lazlo,
Will you please forward this to your list for me ?
I just typed this up for an overseas music friend of mine and thought I'd
share it with anyone who would be interested.  Thanks in advance, Jack

http://www.cygnus.com/misc/kfjc/diamond is where you can see my page and
all that that entails like album covers, hawaiin print shirts, links,
Esquivel and other really cool stuff like KFJC-FM !!


Planets-Chunky
Les Baxter-Banana Boy (African Jazz)
Buddy Morrow Orch-Hiway Patrol Theme
Martin Denny-Summertime (Hypnotique)
Herbie Hancock-Bring Down The Birds (Blow Up)
Lord Sitar-I Can See For Miles
Gerry Mulligan/Chet Baker-Orinthology (58/pj/1st pressing)
Mel Henke-The Twisters (La Dolce)
Al Caiola/George Barnes-Straight Ahead (62)
Don Elliot-Blues for Max
Esquivel-Fantasy (strings afalme/59/rca)
Dom Frontiere-Venus Girl (pagan festival)
Fred Lowery-Moon Love
Leith Stevens-Perry Mason (58)
Johnny Pate-El Jardia  (Shaft Africa)
Earle Hagen-Rickshaw Ride (I Spy)
Mike Pacheco-Number 4 (Tampa/58)
3 Suns-White Xmas (Ding dong dandy xmas)
Ken Nordine-TWINK (3/4 tracks running)
Quincy Jomes-Dreamsville (Mancini)
Animated Egg-Dark (alshire/67)
Andre' Popp-Java Martienne (mid 50's)
Tom Disvelt/Kid Baltan-Twilight Ozone (Limelight/67 ?)
Bobby Christian-Space Suite : Countdown (Aud Fild/62)
Attileo Mineo-Century 21 (Seattle state worlds fair records)
Russ garcia/Ted Keep, Eng-Frozen Neptune (57,8/Liberty)
John Dankworth Orch.-There's a Fight Outside (The Idol)
Phil Baugh-Dry Camel         (Country Guitar)
Babs Gonzalez-Be Bop Sta Claus (55/Doc Bagby)
Pete Rugolo/Jack Costanzo-Bongo Riff (In Hi-Fi)
Electric Flag-Flash, Bam, Pow ! (The Trip)
Davie Allen/Stu Phillips-Skip To My Mary J (Hells Angels On Wheels)
Cecil Holmes Soulful Sounds-2001 (Black Motion Pic....Buddah)
Martin Denny-Delilah (69/last lp)
Ray Martin Orch.-Whodunnit ??!! (Phase 4)
David Amram-Switchblades On Parade, The Last Taco (Young Savages. Columbia)
Joey Altruda-Playboys Theme(Cy Coleman) New CD, Cocktails With Joey
Frank Comstock-Galaxy (Paul Tanner-Theremin)
Earle Hagen-New Interns Watusi (New Interns)
Robert Drasnin-Orinaco (Voodoo/Per. Exotique, being reissued !!)
Frank Hunter-White Goddess (Ondioline)
Johnny Gunn w/ Don Ralke orch-Last Thought (Warner Bros)
Vinnie Bell-You don't have to say you love me (electric sitar/decca)
Sascha Burland/Mason Adams-The Record Reviewers
Jack Costanzo,Eddie Cano-Bongo Festeris
Danny Guglielmi-Bull Frog
Pete Rugolo Orch-Diamond on the move (58, stereo)

If you've enjoyed the sounds you have heard instrumental and otherwise, I
call it the house of games.  Tune in next Sunday starting at 9am for more
of the same.
Leaving you off here with Pete Rugolo's diamond on the move.
That's me, Jack Diamond, on 89.7 KFJC








-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: Re: Bootlegging, my $8.98 worth
Date: 18 Jan 1996 17:35:19 -0800 (PST)

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On Thu, 18 Jan 1996, Watterworth Jay wrote:

> I assume that you think it is ok.  IMHO second-hand records is ok.  The
> artists have gotten their money already.

well MAYBE they got some money. most artists don't see much of that to
begin with (a label deal is most often more of a loan than anything
else.) if a bootleg is a recording of a live performance, then the artist is
just as likely to have gotten some money too of course. textbook
companies may be one of the few "industries" that are actually more evil
than major record labels (their audience is pretty damn captive!) - rwang


-------------------------------------------------------------------------------

From: Phil Clark <[e-mail]>
Subject: Exotica & ads & mass appeal etc
Date: 16 Jan 1996 22:51:06 GMT

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Hi all

Have been following the "exotica mass appeal" thread with interest.
Someone mentioned the use of classic tunes in commercials.
Over here in the UK, a couple years ago, Guinness used Perez Prado's
"Guaglione" to advertise their beers, with a commercial featuring
a guy doing a fairly loopy dance around a giant pint of same, but
strangely unable to actually reach and drink the stuff.
As usually happens the single was then reissued and made it into the charts,
with quite a good comp album ("King of Mambo") on its heels.
Hopefully some royalties will have made it back to the artist on the
back of this renewed interest.

Hasn't AFAIK led to a whole string of other exotica-tinged UK ads.
Yet anyhow. But we do get a lot of "classic" rock tracks, or crafty
soundalikes thereof, tacked on to advertise all manner of different
products. Which brings me on to mention MTV - we get the European version
here which is apparently slightly less vacuous than the US original -
but it's often so seamless, how can viewers tell when the music vids finish
and the ads begin? Maybe that's the point.

toodle pip!

Phil






-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Exotica Dress Code
Date: 18 Jan 1996 23:34:56 -0800

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Synthetics all the way!! ( And cotton underneath)

Jonny Sender


-------------------------------------------------------------------------------

From: "bill wynne" <[e-mail]>
Subject: Yesterday's News
Date: 19 Jan 1996 8:51:32 EST

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Catching up on the 1/18/96 digest...

- - All you have to do is LISTEN to the mono and stereo versions of "Exotica"
to know there are differences.  The longer intro on the mono version of
"Quiet Village" definitely creates a slowly-mounting excitement to that
version that is not experienced on the stereo cut.  Call it "exoticus
interruptus."  (Ironically, there are BEAUTIFUL copies of both the mono and
stereo LPs for sale in my Great Vinyl Blowout of 1996.)

- - "The Jazz Soul of Little Stevie Wonder" definitely has exotica value,
something just short of old Buddy Morrow albums.  Stevie actually PLAYS the
bongos on some cuts.  But dig that mouth organ (harmonica, for you uncool
cats) and brass arrangements.  (Ironically, there is a copy of this for sale
in my Great Vinyl Blowout of 1996.  Have YOU signed up, yet?)

- - Obscure example of exotica music in film: For some strange reason (I'm
still trying to figure out the reason myself, actually), I rented
"Rhinestone" with Dolly Parton and Sylvester Stallone.  In the closing scene,
when Dolly's lusty agent tries to seduce her, he grabs the remote control,
and witha few quick key punches, the bed falls carefully out of the wall, the
electric-neon fireplace flickers, and "Quiet Village" comes whispering out of
nowhere.  So...It's NOT "Four Rooms."  And IT'S NOT really worth renting the
movie to catch those 30 seconds.  Just thought I'd mention it.

Have a great weekend...

Bill Wynne




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Never know what you will find
Date: 19 Jan 1996 09:44:06 -0500

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Catching up on a small mountain of CDs to listen to, I came across this gem:

Hank Garland "Jazz Winds From A New Direction" (Sony Special Products 75027)

This features Gary Burton on vibes. Very nice after five cocktail jazz. Just never know what you might have around...

viktrola@nai,net

            http://www.chaoskitty.com
"where chaos and lounge meet the great bhuddah kitty"

@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@ chaos never died @@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: message for Bill Wyne
Date: 19 Jan 1996 19:44:18 +0100

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i thought i was on Bil Wyne's (hope i got his name right?) auction mailing
list, but as i haven't received the list yet, which was announced to arrive
last monday, i'm afraid i got off it somehow, and i really can't find his
e-mail address anywhere... so Bill, if you read this, please include me in
your sale.
- - sorry for the inconvenience to other readers

        -johan




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: cartoon-like stuff
Date: 20 Jan 1996 00:28:36 -0500

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"Incredibly Strange Music Vol 1" features a track from the wonderfully kooky
"Mallet Mischief Vol 2" album called "Minute Merengue"
Ashley


-------------------------------------------------------------------------------

From: Brad Bigelow (via RadioMail) <[e-mail]>
Subject: Good 101 Strings LPs
Date: 20 Jan 1996 05:23:10 -0800

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I picked up "Strings After Dark" by 101 Strings recently, and was surprised
by how good it was.  The sound is more like Hugo Montenegro with strings than
the Kostelanetz/Mantovani syrup that's on the other two 101 Strings LPs I've
bought.

I recall from Lanza's book that "Backbeat Symphony" is pretty good, and of
course "Astro Sounds from the Year 2000" seems to be up there in the exotica
Hall of Fame.  But can anyone recommend other 101 Strings LPs worth listening
to?

Brad Bigelow
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail] (David Schafer)
Subject: Re: Good 101 Strings LPs???
Date: 20 Jan 1996 09:54:00 -0500 (EST)

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>Brad Bigelow wrote:
>But can anyone recommend other 101 Strings LPs worth listening
>to?
>

Brad -- I have had 'some' luck in listening to 101- but it's real sketchy
going.

On 'Sounds of Today'-- a sitar is featured on the songs  'Strings for Ravi'
and 'Karma Sitar', this LP has tunes from the Mamas and the Papas, Procul
Harum, The Association and Bobbie Gentry.

'Million Seller Hits of Today'--This LP contains two songs that are on
'Astro Sounds'--'Surlistic' and 'Sock it My Way', the rest of the LP is ok,
but these 2 cuts are totally mad within the context of the LP.

I have found that the following LPs have 2 or 3 cuts each that are worthwhile.

'Dynamic Percussion'-(good cover)
'Million Seller Hits of 1967'
'Million Seller Hits of 1966'

EZ duz it--David






-------------------------------------------------------------------------------

From: Richard Jay <[e-mail]>
Subject: Stanley Black
Date: 20 Jan 1996 12:36:40 EST

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WOW!!!  I've just discovered a brilliant record that used to belong to my Dad;
it's "Great Continental Hits - Caterina Valente with Stanley Black & his
Orchestra".  I think he's a brilliant arranger, and I'll buy any vinyl of his
that I come across, but I was just wondering if there is some sort of
retrospective available on CD, or if anyone has anymore info on him.



-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: RCA Living Stereo CDs: $
Date: 20 Jan 1996 19:26:27 +0100

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[e-mail] asked about the new CDs from the German RCA Living Stereo
reissue series:

>Has anyone seen these in the States yet? What are they selling for?

>>   Esquivel, his Piano & Group   4 Corners of the World (RCA985627) $ 16.12
>>   Henri Mancini                 The Blues and the Beat (RCA604726) $ 17.51
>>   The Three Suns                Twighlight Memories    (RCA605020) $ 17.90

prices are from GMX (telnet: "musicexpress.com") and they only ask $3 for
postage, regardless of destination or number of ordered cd's! (i think
cdconnection & cdnow should take an exemple at that!)

- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: 3 suns lps
Date: 20 Jan 1996 19:26:37 +0100

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[e-mail] wrote:

>Except for "Fever & Smoke," I've been somewhat disappointed in a lot of the
>Three Suns records I've picked up -- not quite quirky enough or something.
>...There are a few tracks I really
>like on "On a Magic Carpet" and "Love In the Afternoon" though; haven't hea=
rd
>"Movin' and Groovin'" but I'd wager I'd probably dig that one as much as
>"Fever & Smoke."

yes, =B1 the same goes for me: most 3 suns album i found contains a couple o=
f
truly great twisted arrangements, and then a lot of sweet, easy easy stuff;
their few big masterpieces seem to appear on the rca and rhino comp's; i
did like these lps though:

"The things I love in hi-fi" because of the use of a pipe organ!
"Movin' and groovin'" is the one i like most, because it is the most
inventive (of the ones i know off, that is); this is the one with "caravan"
and "danny's inferno"

- -johan




-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: Dick Schory's New Percussion Ensemble
Date: 20 Jan 1996 13:54:58 -0500

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Bryan Jare Cuevas <[e-mail]> wrote:

>Any information on the new reissue of Schory's "Music for Bang,
>Barroom and Harp" (RCA). I noticed somewhere that this was due
>out on vinyl in the Fall. Has it been released?

Yes, it is available. It's part of a series of classic Living Stereo LP's,
reissued on heavy virgin vinyl. They cost around $30 a piece. The series is
almost completly classical titles, with the exceptions of the Schory album
and "Bob and Ray Throw A Stereo Spectacular" (long considered an audio
great), which is compilation hosted by the comedians, and features tracks
by Schory, Sauter-Finnegan, Abbe Lane/Tito Puente, among others.

The records are available at some audiophile stores. You can probably get
more info in "Absolute Sound" or "Stereophile" mags.

br cleve




-------------------------------------------------------------------------------

From: [e-mail] (Brother Cleve)
Subject: Re: Good 101 Strings LPs
Date: 20 Jan 1996 13:54:55 -0500

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On 1/20/96  Brad Bigelow <[e-mail]> wrote:

>But can anyone recommend other 101 Strings LPs worth listening to?

"A Night In the Tropics" isn't bad, although I wouldn't remortgage the
house to procure a copy.

br cleve




-------------------------------------------------------------------------------

From: [e-mail] (Asphodel)
Subject: Ken Nordine
Date: 20 Jan 1996 18:20:53 +0000

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Thursday 25th January 1996
5pm PST / 8pm EST / 1am GMT

KEN NORDINE will be the guest in the weekly chat forum at Club Wired
This event will also feature a special RealAudio broadcast

For More information, set your web browser to http://www.hotwired.com/club
************************************************************

KEN NORDINE performing live at The Knitting Factory, New York (March 23rd)
More details to follow






-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: Re: Good 101 Strings LPs
Date: 20 Jan 1996 17:09:33 -0800 (PST)

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Hit Songs For Girls is great and worth it just for the sexy cover.
La Palma is a very decent "exotica" effort.
Back Beat Symphony IS really good, because of the intent stated in the
liner notes of trying to "turn on" teenagers to classical music. yeah right.

anybody heard their Grand Canyon Suite? it looks like a good one, but i'd
like to know more before i risk a whole dollar at value village.

- - ricardo wang

On Sat, 20 Jan 1996, Brad Bigelow wrote:

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> <# For help unsubscribing, say "HELP" in a message to [e-mail].
>
> I picked up "Strings After Dark" by 101 Strings recently, and was surprised
> by how good it was.  The sound is more like Hugo Montenegro with strings than
> the Kostelanetz/Mantovani syrup that's on the other two 101 Strings LPs I've
> bought.
>
> I recall from Lanza's book that "Backbeat Symphony" is pretty good, and of
> course "Astro Sounds from the Year 2000" seems to be up there in the exotica
> Hall of Fame.  But can anyone recommend other 101 Strings LPs worth listening
> to?
>
> Brad Bigelow
> [e-mail]
>


-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: Re: Good 101 Strings LPs???
Date: 20 Jan 1996 17:11:10 -0800 (PST)

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oh yeah and With Dynamic Percussion is absolutely fabulous!  the best of
both worlds audio wise ("rollercoaster" fucking rocks!) and what a cover!
- - ricardo wang


-------------------------------------------------------------------------------

From: [e-mail]
Subject: An Evening with Korla Pandit
Date: 21 Jan 1996 16:18:46 -0500

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To all out there in exotica land....

Saw Korla Pandit last night at Bimbo's in San Francisco.  He opened his
performance with Nautch Dance from Ed Wood (which is a great soundtrack - if
you don't have it - get it).  Mr. Pandit was just an absolute gentleman.
 Friendly, very sweet and so small and fragile looking.  He spoke to the
crowd often and talked of the "universal language of music".  Korla Pandit
knows how to play his pipe organ - that's for damn sure.  Just beautiful.
 During the applause after each tune, he would gaze around smiling - soaking
in the appreciation - and seemed quite touched by it.  I was touched, too.
 He was great.

Unfortunately, there was a down side.  The opening bands sucked.  "Lounge"
covers of songs by Nirvana and The Cars, among others.  Really, really lame.
 I did not see The Wonderful World of Joey - so I don't know what they did.
 The crowd really bugged me, too.  I would be willing to bet that three
quarters of those in attendance did not even know who the hell Korla Pandit
is!!!!  They were there to dress up, go to a lounge show and get drunk.
 There was one time when some whiskey breathed, buck-toothed creep pointed at
Mr. Pandit and asked me if "I know that guy's name."  Quite a few left early
wrinkling their noses as if to say "so this is exotica?"  Good.  Get out and
go back to your Columbia catalog.

Ford

PS...thanks for the tips on finding videos of Mr. Pandit's fities TV show - I
may be looking for a needle in a haystack - but that's half the fun.




-------------------------------------------------------------------------------

From: Bryan Jare Cuevas <[e-mail]>
Subject: Wordless Vocals
Date: 20 Jan 1996 20:59:54 -0500 (EST)

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REQUEST for `best of' lists:
    Anyone care to list their top 5 (or 10) `wordless vocal' lps
I'm searchin'......

Thanks,

- - bryan j. cuevas


-------------------------------------------------------------------------------

From: [e-mail] (Caressa Bennet -- Atty-Caressa Bennett - Washington )
Subject: slack key guitar
Date: 21 Jan 1996 16:58:41 EST

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 To:    exotica,         Inet


I've been in the mood for some Hawaiian guitar lately.  I know
there have been a number of recent reissues of slack key stuff on
(I belive) the Dancing Cat label.  Does anyone have any
recommendations of particular discs?

Michael Bennet




-------------------------------------------------------------------------------

From: [e-mail]
Subject: New releases
Date: 21 Jan 1996 17:43:36 -0500

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Track listings for the next three DCC Bachelor Den's and the next three Capitol Ultra Lounge can be found at Vik's Music News:

http://www.chaoskitty.com/t_chaos/mnews.html

I personally think the DCC volumes beat out the second round of Ultra Lounge but all have something of worth...

i remain...

viktrola@nai,net
Vik's Lounge Of Self Indulgence
http://www.chaoskitty.com/t_chaos/lounge.html


            http://www.chaoskitty.com
"where chaos and lounge meet the great bhuddah kitty"

@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@ chaos never died @@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@




-------------------------------------------------------------------------------

From: [e-mail] (David Bailey)
Subject: Re: An Evening with Korla Pandit
Date: 21 Jan 1996 18:31:23 -0800

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>Unfortunately, there was a down side.  The opening bands sucked.  "Lounge"
>covers of songs by Nirvana and The Cars, among others.  Really, really lame.
> I did not see The Wonderful World of Joey - so I don't know what they did.
> The crowd really bugged me, too.  I would be willing to bet that three
>quarters of those in attendance did not even know who the hell Korla Pandit
>is!!!!  They were there to dress up, go to a lounge show and get drunk.
> There was one time when some whiskey breathed, buck-toothed creep pointed at
>Mr. Pandit and asked me if "I know that guy's name."  Quite a few left early
>wrinkling their noses as if to say "so this is exotica?"  Good.  Get out and
>go back to your Columbia catalog.

I was there, too. But I had a somewhat different reaction to the crowd and
the opening bands. I had presumed that there would be a great deal more
people playing "dress-up," but most were normally attired. Sure there were
the Sc-fi convention types in turbans and smoking jackets, but they were
relatively harmless. And I belive that most everyone there forked over
there money and came out in the rain to see Mr. Koala Panda, and not
Frenchy (one of the opening bands).

The Wonderful World of Joey is hard not to like. I wanted to dislike them,
sure. But  with their unique sound of "suburban soul," I couldn't help but
smile and tap my fingers. Great backing band too, including D.J. Bonebrake
from the band X on drums and percussion, and a theremin player...Also Joey
is personally responsible for getting Mr. Pandit on stage in front of a
very appreciative audience....

Korla Pandit was great, considering he had no bass peddles on his organ
(what gives?!) and his belly dancers were truly bizarre!

DB




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Women in Exotica
Date: 22 Jan 1996 07:13:52 -0500

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I am composing a web page dedicated to the women of Exotica.  Information on
these women is sparse.  If anyone has any information or would like to offer
suggestions on women they feel should (or should not) be included, please let
me know.  My list at this point consists of Peggy Lee, June Christy, Julie
London, Kay Starr, Yma Sumac, and Doris Day.  I am also attempting to find
information on Keeley Smith and Ethel Azama.

The extremely sparse page should e up this week, with updates whenever I get
the info.

Cherie
amy [e-mail]
www.chaoskitty.com


-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Re: Women in Exotica
Date: 22 Jan 1996 10:10:20 -0500

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What criteria are you using?  I know that Peggy Lee and June Christy were
considered primarily jazz vocalists who may have had some lounge background.
Julie London, yeah she would be on the list.  Yma Sumac, definitely!!  Doris
Day?  I don't know.  Kay Starr?? Nahhh!

You might want to consider the two volumes of Incredibly Strange Music.
Eartha Kitt was interviewed there.  They would have other leads as to who might
qualify.  Candi Streckler, Jello Biafra and others mentioned in there might be
of some help.

Also if you really want to get into it, who were the women who made all those
incredible backing choruses for RCA, Capitol, etc..?   The women (and men) who
backed Bob Thompson, Esquivel, Ray Coniff...

Bryan


-------------------------------------------------------------------------------

From: "bill wynne" <[e-mail]>
Subject: ...no subject...
Date: 22 Jan 1996 9:09:11 EST

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There are no bad Dancing Cat slack key releases.  But DEFINITELY try "Sonny
- - Solo" by Sonny Chillingworth, "Leonard - Live" by Ledward Kaapana,  "Kani
Ki Ho'alu" by Ozzie Kotani, and either "Moe 'Uhane Kika" or "Wooden Boat"
by Keola Beamer.  Of the first ten Dancing Cat releases, these are
definitely my top five favorites.  Beamer's and Kotani's styles are so
refined that they border on classical.  But the truest, most authentic
true-to-tradition slack key is played by Chillingworth, Kaapana, and Ray
Kane.

As a slack key player/recording artist myself, I had the rare pleasure of
jamming with Led Kaapana last year, when he, Keola Beamer, and Cyril
Pahinui toured the U.S.  We played in an alley in Northampton,
Massachusetts, in 17 degree weather.  The fingers don't move too quickly
under these conditions...

For more reading on the history of slack key, see the December 1995 issue
of HAWAII magazine, the December 1994 issue of GUITAR PLAYER, and the
September 1976 issue of GUITAR PLAYER.  (You can get the latter by writing
to GUITAR PLAYER, or by finding a library with an extensive microfiche
collection.)  OR write to Dancing Cat, who will INUNDATE you with as much
slack key info as they can find.

Bill Wynne
[e-mail]


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Mike Flowers
Date: 22 Jan 1996 11:08:45 -0500

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Just thought it might be worth mentioning that Mike Flowers' Pop
combo have arrived on MTV Stateside.  Although listenening to it only
made me want to hear Oasis' original (it's such a gorgeous song) it
WAS fun.  Neon pastels, sequins, funky eyewear and do's on the backup
singers with a sparse white background.  It strongly reminded me of
the (funnier)  Rick Moranis lounge singer routine from Second City
where he sings eazy versions of De-Do-Do-Do De-Da-Da-Da and Turning
Japanese.  A side splitter!

kevin


-------------------------------------------------------------------------------

From: "David J. Strauss" <[e-mail]>
Subject: Gerry Mulligan
Date: 22 Jan 1996 11:44:00 -0500 (EST)

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Baritone saxophonist Gerry Mulligan passed away on the 20th. One of the
vanguard "Cool Jazz" composers, it's conceivable that more cocktails were
sipped to his music than any other bandleader of the 1950s.

DS


-------------------------------------------------------------------------------

From: Robbie Baldock <[e-mail]>
Subject: Record Cleaning
Date: 22 Jan 1996 16:39:10 +0000 (GMT)

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Not exactly quick off the mark with this thread but...

I heard that there are two records shops in Edinburgh which do a record
cleaning service - they have the full kit and only charge 50p for a clean
and a new inner sleeve!  Sounds pretty good to me!

This avenue might be worth checking out for those of us unable to afford
our own industrial strength cleaning machine!


Robbie


-------------------------------------------------------------------------------

From: Robbie Baldock <[e-mail]>
Subject: Stanley Black
Date: 22 Jan 1996 16:40:09 +0000 (GMT)

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Yes, I have "The Latin World of..." which has some lovely lush latin sounds!


Robbie


-------------------------------------------------------------------------------

From: Robbie Baldock <[e-mail]>
Subject: Women in Exotica: Elisabeth Waldo
Date: 22 Jan 1996 16:48:00 +0000 (GMT)

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What about Elisabeth Waldo?

I just picked up her "Sacred Rites" CD (which seems to be a sort of
two-fer with "Rites of the Pagans" and "Realm of the Incas" - though each is
only 20 minutes long...?).

Some of it is very nice though it doesn't make me smile in the same way
that, say, Martin Denny does...


Robbie


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Women in Exotica
Date: 22 Jan 1996 12:10:15 -0500

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How about space cadets Lucia Pamela and Francis Canon?

kevin


-------------------------------------------------------------------------------

From: [e-mail] (Clark Scheffy)
Subject: wordless vocals
Date: 22 Jan 1996 09:27:06 PST

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Wordless vocals, or "vocalise" as it is sometimes referred to..
top picks:

Anything by Yma Sumac, especially "Miracles"
Leda Annest "Portrait of Leda"

On a more 20th C classical tip:
Recordings by Kathy Berberian (especially those compsed by her husband,
composer Luciano(?) Berio who wrote especially for her voice

Anything with Bas Sheva

Pretty much any 20th C classical is a place to look for abstract vocal,
but the listening isn't "exotica" as it seems to be defined within this
list, though it is challenging listening.
Clark


-------------------------------------------------------------------------------

From: [e-mail] (Clark Scheffy)
Subject: Dorothy Ashby
Date: 22 Jan 1996 09:38:45 PST

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The "women in exotica" topic has brought to mind Dorothy Ashby.  I have an album
of hers on the Cadet label called "Afro Harping."  It's every bit as cool as
that sounds.  Some of it is exotica in a Denny-esque sense, but more of it is
a funk/jazz groove with heavy exotic africanisms and harp with a small dose
of psychedelic effects to blow your F***in mind.  My understanding is that
she recorded a number (4 or 5) other albums, none of which I've been able to
locate.  She comes highly recommended.

Anyone else heard some of her other stuff?  She seems very versatile on this one
LP and I would imagine the other albums may have entirely different (and
exciting) themes - just a hunch.
Clark


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Gerry Mulligan
Date: 22 Jan 1996 13:44:09 -0500

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>Baritone saxophonist Gerry Mulligan passed away on the 20th. One of the=20
>vanguard "Cool Jazz" composers, it's conceivable that more cocktails were=
=20
>sipped to his music than any other bandleader of the 1950s.
>
>DS

i missed this news...but strangely read this post while listening to the=
 Mobiule Fidelity Gold Disc of Mulligan/Desmond "Blues In My Time". Purists=
 may not call this lounge oor whatever, but if exotica is about=
 swinging...this cat Mulligan will be sorely missed. i salute him with=
 highall glass on high!!!

i remain...

viktrola@nai,net
Vik's Lounge Of Self Indulgence
http://www.chaoskitty.com/t_chaos/lounge.html


            http://www.chaoskitty.com=20
"where chaos and lounge meet the great bhuddah kitty"

@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@ chaos never died @@@@@@@@@@@@@@@@@@@@@@@@
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Baxter eulogy in Variety
Date: 22 Jan 1996 12:03:41 PST

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     Dear gang,

     This piece on Les Baxter appeared in Variety, thought the mailing list
     would like to see it.

     The funeral service was beautiful. Les was eulogized by his daughter,
     and a couple of friends. One of the friends was a neighbor of his from
     Palm Springs, that Les was pals with only in recent years. He told
     many funny stories about Les, including his liking for standing
     ovations. At the end of the eulogy, it was suggested that all
     attendees stand and give Les one more standing ovation.

     Play your Les records often and keep his music alive!



     HOLLYWOOD (Variety) - Les Baxter, the composer, conductor and arranger
     who developed an easy-going yet exotic big band style, died Monday of
     a massive heart attack due to kidney
     failure at Hoag Memorial Hospital in Newport Beach. He was 73.

     Baxter composed more than 250 scores for feature films,
     television and radio shows; his compositions include the whistling
     theme for the TV series ``Lassie.''

     He also worked as musical director on many albums for
     Capitol Records from the 1940s through the 1960s. Among his credits
     are the conducting of Nat King Cole's recording of ``Too Young.''

     Feature scoring credits included ``The Pit and the
     Pendulum,'' ``Black Sunday,'' ``The Raven,'' ``Fall of the House of
     Usher,'' ``The Man With the X-Ray Eyes,'' ``Frogs,'' ``Beach Party,''
     ``Beach Blanket Bingo,'' ``Operation Bikini,'' ``How to Stuff a Wild
     Bikini,'' ``Dr. Goldfoot and the Bikini Machine,'' and ``Black
     Sabbath.''

     Baxter's career began in the 1940s playing saxophone in Los
     Angels jazz clubs, backing performers such as Billie Holiday. As a
     singer, he was a member of Mel Torme's backup group, the MelTones, and
     performed with Artie Shaw.

     After a brief stint with RCA Records, Baxter jumped to
     Capitol where he enjoyed success with his own albums.

     Album credits featuring Baxter as
     conductor-arranger-composer include ``Ritual of the Savage,'' ``Ports
     of Pleasure,'' ``Tamboo,'' and ``Baxter's Best.'' Baxter orchestrated
     and conducted Yma Sumac's debut album, ``Voice of the Xtabay.'' He
     also composed ``Quiet Village,'' which was a hit for Martin Denny in
     1959.

     He was the music arranger for the Bob Hope and Abbott &
     Costello radio shows, conducting his own orchestra. His television
     resume included ``Music of the Sixties (The Les Baxter Special),''
     ``Buck Rogers in the 21st Century,'' ``Cliffhangers,'' ``The Milton
     Berle Show,'' ``The Tycoon'' and ``The Gumby Special.''

     In the mid 1950s, he appeared in several features including
     ``College Capers'' (Universal, 1954) with Eileen Barton and ``Untamed
     Youth'' (1957) with Mamie Van Doren and Eddie Cochran.

     Baxter last performed in public at the Century Club in
     Century City on Nov. 16, 1995.

     He is survived by a daughter, son and grandson.

     Memorial services will be held at 1 p.m. Saturday at Pacific
     View Mortuary in Newport Beach. Reception will follow at the Four
     Seasons Hotel.

     Family requests that in lieu of flowers, donations in
     Baxter's name be sent to the National Kidney Foundation: 800-622-9010.
     (Doug Galloway)



-------------------------------------------------------------------------------

From: Dan Gresham <[e-mail]>
Subject: Re: Mike Flowers
Date: 22 Jan 1996 20:07:22 +0000 (GMT)

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On Mon, 22 Jan 1996, kevin king wrote:
> Just thought it might be worth mentioning that Mike Flowers' Pop
> combo have arrived on MTV Stateside.  Although listenening to it only
> made me want to hear Oasis' original (it's such a gorgeous song) it
> WAS fun.  Neon pastels, sequins, funky eyewear and do's on the backup
> singers with a sparse white background.  It strongly reminded me of
> the (funnier)  Rick Moranis lounge singer routine from Second City
> where he sings eazy versions of De-Do-Do-Do De-Da-Da-Da and Turning
> Japanese.  A side splitter!

I saw the MFP (any coincidence there...?) in London over the Christmas
vacation, and if they come anywhere near you, _go and see them_ - don't
miss it. It's a really entertaining show, and they do great covers of
some great songs. Their Bacharach Trilogy and the Bowie Medley has to be
seen to be believed!

Take it _easy_


Spaceman Dan

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-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: Gary Burton
Date: 22 Jan 1996 12:13:32 -0800

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At 5:06 PM 1/19/96, [e-mail] wrote:
>Catching up on a small mountain of CDs to listen to, I came across this gem:
>
>Hank Garland "Jazz Winds From A New Direction" (Sony Special Products 75027)
>
>This features Gary Burton on vibes. Very nice after five cocktail jazz.

Gary Burton has been making beautiful mallet music since the 1960s. To my
mind, he hit a peak of gorgeosity with "Crystal Silence" (early 1970s ECM
release).

Followers of this list might also seek out the LP "Lofty Fake Anagram" from
the late 1960s. In fact, if anybody knows this music or has a copy, please
contact me. I am interested in discussing it.

Thanks.

kjm

CONFIDENTIAL TO NUTBOY: My mail reader cut your return address of your
message to me (I have to figure that setting out). Will you drop me a quick
note? I want to respond to you.

thx




-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: "Strait Jacket" (Was Re: Yesterday's News)
Date: 22 Jan 1996 12:13:37 -0800

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At 5:06 PM 1/19/96, "bill wynne" <[e-mail]> wrote:

>- Obscure example of exotica music in film: For some strange reason (I'm
>still trying to figure out the reason myself, actually), I rented
>"Rhinestone" with Dolly Parton and Sylvester Stallone.

I rented the Joan Crawford classick "Strait Jacket" this weekend. Its
soundtrack uses theremin quite eerily and effectively. (The plot & script,
written by Robert Bloch, who I think also did "Psycho," is slightly less
eerie & effective. But Joan ... well, this is a discussion for another
interest group.)




-------------------------------------------------------------------------------

From: [e-mail] (Kevin Martin)
Subject: FWD: HotFlash 3.03: Ken Nordine
Date: 22 Jan 1996 12:14:09 -0800

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Here's a tip for all you "Word Jazz" and exotic cocktail fanatics.

>Hello and welcome to HotFlash, the weekly newsletter of events and
>information for HotWired and WIRED magazine - 19 January 1996.

[snip]

>Cocktail: Of Burns, Haggis, and the Rob Roy
>+--+--+--+--+--+--+--+--+--+--+--+--+--+--+-
[snip]
>When all else fails, we turn to the Rob Roy. We can count on this drink,
>with its simple recipe and subtle kick, to put a happy ending on a bad
>day.
>
>And if that's not enough, we'll order the Rob Roy's cousin, the Santiago
>Scotch Plaid, which is perfect for when all subtlety has lost its
>charm. A Chilean friend of ours says this drink was created during the
>mid-18th century by a Scottish general who married a Mapuche (a Chilean
>native), and fought against the Spanish army to free the Mapuche
>people. After battle, they drank this cocktail, mixed with the blood of
>their opponents.
>
>After a bad day at the office, that would sound just fine by us.
>
>The Alchemist tells you how - and why - to become a bartender, while the
>cook and your mixtress serve up the Rob Roy for the Burns Supper, one
>of the Highlanders's finest traditions.
>
>     http://www.hotwired.com/cocktail/
>
>
>This Week in Club Wired
>+--+--+--+--+--+--+--+-
>

[snip]

>Thursday, 25 January,
>5 p.m. PST
>Ken Nordine, audio hipster
>
>Ken Nordine, the original hipster's hipster, has just rereleased his
>1967 album, "Colors." This recording, originally conceived as a series
>of radio commercials for the Fuller Paint Company (of all things),
>superimposed Nordine's signature baritone over groovy jazz tracks.
>
>Nordine is the missing link between Lord Buckley's seminal, metacool
>riffs like "The Nazz," Beat Generation fusions of jazz improvisation and
>poetry, and urban rap. To paraphrase Lord Buckley, when Nordine lays it
>down, it stays there. Now 75, Nordine's voice has been heard in
>hundreds of radio and television commercials, in the essential album
>series "Word Jazz," and in his psychotropic collaboration with the late
>Jerry Garcia, "Devout Catalyst." Join us for an audio Feedback session
>in Club Wired on Thursday, 25 January at 5 p.m. PST (01:00 GMT).

>
>     http://www.hotwired.com/club/




-------------------------------------------------------------------------------

From: "Bryan Stewart" <[e-mail]>
Subject: Gerry Mulligan/Cool jazz
Date: 22 Jan 1996 17:19:51 -0500

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I also want to pay tribute to Gerry.  He was one of the best on the baritone
saxophone, right up there with Serge Chaloff, Pepper Adams, Leo Parker and
Harry Carney.

With Chet Baker, Chico Hamilton and Shorty Rodgers, they defined the cool jazz
of the 50's.  Good, hip penthouse stuff!  So many of them have passed on now.

Bryan


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re[2]: Women in Exotica
Date: 22 Jan 1996 14:14:51 PST

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     How about this "Tiki" person on Les Baxters "Primative & Passionate"
     Beverly Ford?
     Bas Shiva?
     Jonathan and Darlene Edwards!
     And...Louis Prima's pre and post Keely babes?!?!


______________________________ Reply Separator _________________________________
Author:  "kevin king" <[e-mail]> at INTERNET


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How about space cadets Lucia Pamela and Francis Canon?

kevin



-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Re: Women in Exotica
Date: 22 Jan 1996 09:52:51 -0800

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And of course you'd have to include "Miss Exotica", Sandy Warner.  Though
primarily known for her modeling on the covers of Denny's LPs, she had at
least one album as a vocalist.

- -dx


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Robert Drasnin
Date: 22 Jan 1996 18:44:00 PST

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     On Monday, February 5th, there will be a release party for the reissue
     of the "Voodoo" a/k/a "Percussion Exotique" a/k/a "Exotic Percussion"
     CD, which will be coming out on Dionysus Records. Mr. Drasnin will be
     playing the show with a four piece band (featuring DJ Bonebreak of X
     on drums). The show is at Lava Lounge in Hollywood and there is a
     cover charge of an entire dollar bill!

     Also, if anyone on this list is a writer or has a radio show, Mr.
     Drasnin is available for interview! Aside from this great reissue, he
     has a pretty interesting history. His last job was as head of the CBS
     music department! Robert has scored music for Lost In Space, Man From
     U.N.C.L.E., many made-for-TV movies and much more.

     For interviews, send Email to [e-mail] and ask for Aime. For
     any other info, email me!


     Lee Joseph



-------------------------------------------------------------------------------

From: [e-mail] (dx)
Subject: Re:  Generation X/MTV Exotimedia Blitz
Date: 22 Jan 1996 20:19:35 -0800

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Keith Doyle...

> Milt Buckner - I've only seen one of his albums but it is one of my
> favorites, the cover has a sultry gal smoking a cigarette, I forget the
> name of it at the moment.

Which is probably different from "Rockin' With Milt" on Capitol (T642).
The cover features two pictures of Milt, one of him rockin' at the organ
and the other a frightening closeup of his bespectecled face.  Tracks
include "Lean Baby" "Bernie's Tune" "Rockin' With Milt" "Easy to Love"
"Blues For Me" "Robbins Next" "Slaughter on 125th Street" "Little Miss
Maudlin" "Movin' With Mitch" and "Take the 'A' Train".

- -dx


-------------------------------------------------------------------------------

From: [e-mail] (Jack Diamond)
Subject: 101 Strings
Date: 22 Jan 1996 22:44:03 +0000

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Other 101 Strings records, hmmmmmmmmmmmmmmmmmmm.

Sounds of Today is excellent AND Million Sellers with the tune(s)
Surelistic and another one I can't remember are the titles from Animated Egg
WHICH are some of the sessions from Astro Sounds, confused yet ??:))

The label is Alshire on which 101 strings recorded.
Their budget subsidiary is Somerset.

A record called The Animated Egg came out on Alshire which is Organ/Guitar
instro psych.  Surelistic is a title from this lp.
Another record called Hair Cut And The Impossibles came out on Somerset and
were different arrangements of the same tune I believe,
Cleve will know, I don't have it

Tunes combined from both records with the 101 Strings and sound effects and
Pow pow pow !! Astro Sounds From Beyond The Year 2000-101 Strings
I believe all of this happenned in 1967


"Record collecting is no mere hobby, no leisurely
innocuous diversion.  It's a feverish passion
bordering on dementia, driving those under it's
influence to irrational,compulsive and sometimes
fanatical extremes."              3-93
Bye for now,
Jack




-------------------------------------------------------------------------------

From: [e-mail] (Jack Diamond)
Subject: Good 101 Strings
Date: 22 Jan 1996 22:44:51 +0000

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Other 101 Strings records, hmmmmmmmmmmmmmmmmmmm.

Sounds of Today is excellent AND Million Sellers with the tune(s)
Surelistic and another one I can't remember are the titles from Animated Egg
WHICH are some of the sessions from Astro Sounds, confused yet ??:))

The label is Alshire on which 101 strings recorded.
Their budget subsidiary is Somerset.

A record called The Animated Egg came out on Alshire which is Organ/Guitar
instro psych.  Surelistic is a title from this lp.
Another record called Hair Cut And The Impossibles came out on Somerset and
were different arrangements of the same tune I believe,
Cleve will know, I don't have it

Tunes combined from both records with the 101 Strings and sound effects and
Pow pow pow !! Astro Sounds From Beyond The Year 2000-101 Strings
I believe all of this happenned in 1967


"Record collecting is no mere hobby, no leisurely
innocuous diversion.  It's a feverish passion
bordering on dementia, driving those under it's
influence to irrational,compulsive and sometimes
fanatical extremes."              3-93
Bye for now,
Jack




-------------------------------------------------------------------------------

From: [e-mail] (Jack Diamond)
Subject: Wordless Vocals
Date: 22 Jan 1996 23:29:43 +0000

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That's a good 1.

Group One Sings Mancini or something like that
It's on RCA w/ arrangements by George Wilkins and supervised by Hank.

Ray Martin-Dynamica (RCA, Stereo Action)

Anita Kerr Singers-We Dig Mancini (RCA)
This outfit screwed up more records than I don't know what and they hit
paydirt with this one.  Really great

Soundtrack to Seven Golden Men (United Artists)

Bas Sheva-The Passions (Capitol)

Yma Sumac- Everything, especially Miracles

Leda Annest-Portrait of Leda (Columbia)

Mary Mayo w/ Dick Hyman on Moon Gas (MGM)

Lois Hunt on Marty Manning's The Twilight Zone (Columbia)
and I believe she's also on Kenyon Hopkins-Shock Music in Hi-Fi



"Record collecting is no mere hobby, no leisurely
innocuous diversion.  It's a feverish passion
bordering on dementia, driving those under it's
influence to irrational,compulsive and sometimes
fanatical extremes."              3-93
Bye for now,
Jack




-------------------------------------------------------------------------------

From: [e-mail] (Jack Diamond)
Subject: 3 Suns
Date: 22 Jan 1996 22:51:53 +0000

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A Ding Dong Dandy Christmas is amazing.  There's no way in god you would
ever think that White Christamas is actually that tune.
Twisted, beautiful, insane genius.

Moovin' and groovin' brilliant, killer diller stuff and then there's Happy
Go Lucky on RCA Camden.

All of it is mono onnacountta the selections are pre-stereo.
It's a collection from through the years and there are a couple of tracks
that on the liner notes call them the Super 3 Suns with like 5 great studio
guitar players incl Billy Mure, George Barnes...

Jack

"Record collecting is no mere hobby, no leisurely
innocuous diversion.  It's a feverish passion
bordering on dementia, driving those under it's
influence to irrational,compulsive and sometimes
fanatical extremes."              3-93
Bye for now,
Jack




-------------------------------------------------------------------------------

From: "Paco Ojeda_Gonzalez" <[e-mail]>
Subject: An Exotica funny story
Date: 23 Jan 1996 09:26:19 -0500

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Mail*Link(r) SMTP               An Exotica funny story

So I finished reading Joseph Lanza's book "Elevator Music" yesterday. I think
anyone interested in Exotica would enjoy reading this very interesting book.
(Although, I will say that, while seemingly well researched, it surprised me
that in a chapter entirely devoted to space age pop, Esquivel was not
mentioned once!)

Anyway...

In one of the last chapters, Lanza writes about Paul Simon praising Muzak by
saying that Simon knows he's written a hit if he hears it in an elevator.

Well, last night, before going to bed, I was channel surfing, and I landed on
the Comedy Channel, Saturday Night Live reruns. And just as I tuned in they
were showing this spoof featuring Paul Simon, in which he gets trapped in an
elevator and eventually goes to hell. In the background, elevator versions of
Ms. Robinson and many other of his hits are playing endlessly. Eventually the
devil (played by a SNL cast member whose name I forget) shows up. Paul Simon
asks "when do we get to hell"? And the devil answers: "This is it!"

I thought it was a funny coincidence!

Paco



-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: CD overview 1995: INTRODUCTION
Date: 23 Jan 1996 19:43:19 +0100

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INTRODUCTION:
======================================================================

(1) my favorites:
    ''''''''''''
My favorite NEW songs of 1995: Bjork "It's oh so quiet"
                               Pizzicato Five "Twiggy Twiggy"
My favorite OLDY song of 1995: Dick Dale "Misirlou"

The NEW CD I listened to most often: Ken Nordine "Colors"
The OLD CD I listened to most often: "Twin Peaks"
The OLD LP I listened to most often: Ferrante & Teicher "Heavenly sounds"

(2) CD overview:
    '''''''''''
I've made a list of interesting CD's released in 1995 (and some from 1994)
in the exotica & novelty genres. My "EXOTICA CDs from 1995" list is posted
in the "Exotica" Newsletter and the "exotic-music" newsgroup, the "NOVELTY
CDs from 1995" list is published in the "dementia" newsgroup.

Each title in these lists is followed by the label & reference number, the
country code of origin, and the release year.

CD's marked * already got a review from me, CD's marked ** will get one
soon; these reviews were/are posted in the "reviews" newsgroup, and -
depending on their genre - also in either the "Exotica" Newsletter or the
"dementia" newsgroup. The "reviews" archive site for old reviews is
"ftp.uwp.edu". Reviews can be found in the appropriate
"/pub/music/reviews/a-z" directories. This site is generally very busy, so
please try to connect at off-peak times.

If anyone out there with a web page wants to add these lists, pleae contact
me, and I'll send you the html version.

Following lists are not complete; I'm not perfect; the pope does not shit
in the woods... ;)

Finally: if you wonder where to buy these CD's, take a look at the
"Business/Companies/Music/CDs" section in Yahoo.




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: CD overview 1995: part 1: EXOTICA
Date: 23 Jan 1996 19:43:44 +0100

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EXOTICA CDs from 1995:
======================================================================

Eden Ahbez : Eden's Island
  (Del-Fi DFCD 71211, US, 1995)

Combustible Edison : FOUR ROOMS soundtrack
  (Elektra 61861, US, 1995)

Combustible Edison : I Swinger
  (?, US, 1995)

Esquivel : 4 Corners of the World
  (RCA 985627, DE, 1995)

Esquivel : Cabaret Manana
  (RCA, US, 1995)

Esquivel : More of Other Worlds, Other Sounds
  (Now Reprise's Archive series 2-45844, US, 1995)

Esquivel : Music from a sparkling planet
  (Bar None 56, US, 1995)

Esquivel : Space-age bachelor pad music
  (Bar None 43, US, 1994)

Ferrante & Teicher : Autumn leaves
  (Sony SP A 13407, US, 1993)

Ferrante & Teicher : Easy listening favorites
  (MCAD-20733, US, 1993)

Patrick Husson : Le jardinier **
  (Sony/Columbia 478117-2, FR, 1995)

Huun Huur Tu : The Orphan's Lament
  (Shanachie 64058, US, 1994)

Shoukichi Kina : Peppermint Tea House (Asia classics 2)
  (Luaka Bop/ Warner Bros. 9 45159-2, US, 1994)

Enoch Light : Persuasive percussion
  (Varese Sarabande VSCD 5636, US, 1995)

Enoch Light : Provocative percussion
  (Varese Sarabande VSCD 5637, US, 1995)

London Symphony Orchestra : Symphonic music of the Rolling Stones
  (RCA 09026-62526-2, US, 1995)

Henri Mancini : The Blues and the Beat
  (RCA 604726, DE, 1995)

Joe Meek & the Blue Men : I hear a new world
  (P-RPM103, GB, 1995)

Robert Mitchum : Calypso is like so...
  (?, US, 1995)

Robert Mitchum : That man! (w/ "Calypso is like so...")
  (Bear Family BCD 15890, DE, 1995)

Ken Nordine : Colors
  (Asphodel 0954, US, 1995)

OST : The Forbidden Planet
  (Planet PLD 1, US, 1995)

Max Roach : M'Boom *
  (Columbia Legacy Sony CK 57886, US, 1994)

David Shea : I
  (Sub Rosa 79, BE, 1995)

Shu-de : Voices from the distant steppe
  (CAROLINE PLAN 9 # 2339, US, 1995)

Yma Sumac : Live in concert 1961 (the Russian tour)
  (Elect CD 2116, DE?, 1995)

Yma Sumac : Voice of Xtabay/Mambo part 1
  (EMI, FR, 1995)

Yma Sumac : Mambo part 2/Legend of the Jivaro
  (EMI, FR, 1995)

Yma Sumac : Voice of the Xtabay and other exotic delights
  (Rev-Ola Creation O34, GB, 1995)

The Three Suns : Twighlight Memories
  (RCA 605020, DE, 1995)

v/a : A reggae tribute to the Beatles
  (Emporio EMPRCD584, distrib. by Trojan, GB, 1995)

v/a : Cocktail mix, vol.1
  (Rhino R2 72155, US, 1995)

v/a : Hollerin'
  (Rounder 0071, US, 1995)

v/a : Incredibly strange music volume 2
  (Asphodel 0951, US, 1995)

v/a : Legends of accordion
  (Rhino R2 71847, US, 1995)

v/a : Only in America *
  (Arf! Arf! AA-049, US, 1995)

v/a : Stairways to Heaven (Australian version)
  (Vertigo 514 552-2 or 455223?, GB, 1995)

v/a : The easy project
  (Sequel 2164 772 2, GB?, 1995)

v/a : The exotic Beatles part 2
  (Exotica Pele 7, GB, 1994)

v/a : The exotic trilogy vol.1
  (KBZ 292204, NL, 1995)

v/a : The History of Space Age Pop vol.1: The Stereo Action Dimension
  (RCA/BMG, US, 1995)

v/a : The History of Space Age Pop vol.2: Mallets in Wonderland
  (RCA 07863 66646-2, US, 1995)

v/a : The History of Space Age Pop vol.3: Melodies and Mischief
  (RCA/BMG, US, 1995)

v/a : The Sound Gallery
  (?, UK, 1995)

v/a : The Sound Spectrum
  (?, UK, 1995)

v/a : Welcome to Chinatown - Oriental "Popcorn" tracks, vol.1 *
  (Marginal MAR CD 002, BE, 1995)
  (direct mailorder: Patrick Michiels, PB 4, 9100 Nieuwkerke, Belgium)

The Ventures : The Ventures Play Telstar/ The Ventures In Space
  (EMI 80239 CD, US, 1995)

Elisabeth Waldo : Sacred rites **
  (GNP/Crescendo GNPD 2225, US, 1994)

Yat-Kha : Yenisei-punk
  (Global Music Centre GMCD 9504, NL?, 1995)

==== lists compiled by Johan Dada Vis <[e-mail]> January 1996 ====




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Claudine Longet
Date: 23 Jan 1996 19:44:20 +0100

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Claudine Longet is mentioned in one of the ISM books, so I tried one of her
albums, "colours"; i couldn't find anything strange or exotic about it,
it's just ordinary dreamy folk music; am i missing the point, or did i buy
the wrong lp?

- -johan dada




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Good 101 Strings LPs
Date: 23 Jan 1996 19:46:01 +0100

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Brad Bigelow (via RadioMail) <[e-mail]> wrote:

> can anyone recommend other 101 Strings LPs worth listening to?

"101 Strings play the blues - in tribute to W.C. Handy" (Somerset SF-5800)
is very strange; when i first listened to it, i thought: "hmm, just some EZ
strings", but then, very very slowly, i began to hear "the blues", which is
burried somewhere under these tons of strings; it really is a strange
combination, but i like it a lot...

- -johan dada




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Re: Women in Exotica
Date: 23 Jan 1996 19:46:11 +0100

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[e-mail] (Cherie) wrote:

>I am composing a web page dedicated to the women of Exotica....
>If anyone has any information or would like to offer
>suggestions on women they feel should (or should not) be included, please let
>me know.  My list at this point consists of Peggy Lee, June Christy, Julie
>London, Kay Starr, Yma Sumac, and Doris Day.

Elizabeth Waldo should be in it; i'm working on a review of 2 still avail.
lp's and a cd from her, sooooo stay tuned!

- -johan dada




-------------------------------------------------------------------------------

From: [e-mail]
Subject: wordless vox
Date: 23 Jan 1996 14:33:12 -0500

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Another great one is "Ping Pang Pong;The Swinging Ball" by the Creed Taylor
Orchestra (arrangements by Kenyon Hopkins).It features the vocalise of Miss
Flo Handy and boasts "over 100 musical percussive
sounds".(ABC-Paramount,1960)




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Claudine Longet
Date: 24 Jan 1996 02:14:57 -0600

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>
>Claudine Longet is mentioned in one of the ISM books, so I tried one of her
>albums, "colours"; i couldn't find anything strange or exotic about it,
>it's just ordinary dreamy folk music; am i missing the point, or did i buy
>the wrong lp?
>
>-johan dada

Check out "The Look Of Love".  That is a GREAT album.  I also really like
her version of "Love Is Blue".  Maybe not for everyone though...  I
wouldn't call it "exotic".   Definitely strange and wonderful!




-------------------------------------------------------------------------------

From: "DaveL"  <[e-mail]>
Subject: **a Sale of Sorts**
Date: 24 Jan 1996 02:52:14 -0600

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Hi everybody -

I'm selling a few things (lounge, exotica, jazzy stuff, EZ listening) via
auction right now on rec.music.marketplace.vinyl and alt.exotic-music. If you'd
like a copy of the list, feel free to e-mail me at [e-mail] & I'll
send it along.

BTW, I just got an amazing 1962 LP by Ted Heath called "Big Band Percussion"
(London P-54002). This album is loaded with incredibly *dynamic*, groovy,
swinging arrangements. REALLY great! Has anyone else heard it? I have some other
stuff by Ted, natch - but this eclipses even the "Latin Swingers" LP that I
picked up a while back. He's got a huge catalog of stuff, too...

dave


                     /\\ \\ \\ \\
                    /  \\ \\ \\ \\         arouet records
                   /    \\ \\ \\ \\
 ZING! ZING! -----------// // // //------> [e-mail]
                    \  // // // //
                     \// // // //          fnast! image



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Claudine Longet
Date: 24 Jan 1996 05:44:58 -0500

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<---- Begin Included Message ---->

Claudine Longet is mentioned in one of the ISM books, so I tried one of her
albums, "colours"; i couldn't find anything strange or exotic about it,
it's just ordinary dreamy folk music; am i missing the point, or did i buy
the wrong lp?

- -johan dada
<---- End Included Message ---->

     It's funny, but whenever I think of Claudine Longet, I always think of
the old "Claudine Longet Invitational Ski Tournament" on "Saturday Night Live"
around 1977 or so where all of the skiiers kept getting shot by Longet as
they're shooting down the slopes.
                              All the best,
                              Jon Johnson



-------------------------------------------------------------------------------

From: [e-mail] (Jack Diamond)
Subject: Jim Campilongo
Date: 24 Jan 1996 09:36:04 +0000

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There is a new CD by a local guy that if you are a instrio guitar fan then
this is your ticket.
His name is Jim Campilongo and he leads a 4 piece instro outfit that is
bass, drums, lead guitar and steel guitar.

The CD is called Jim Campilongo and His 10 Gallon Cats and all the tunes
are originals.

This guy is amazing on guitar w/out sounding over produced.
Alot of the sound is country jazz with big time echoes of Jimmy Bryant &
Speedy West and Danny Gatton AND swings like all hell.
I've listened to it 3 times straight through and it is really great.

Though track #10 says it's 15 minutes it's actually 7 with 5 minutes of
silence AND then a secret track called Ping Pong kicks in

It's not in stores yet and his phone # is
[phone].

They play every Thursday Eve at The Paradise Lounge, Upstairs and the show
starts at 9:30 pm.
I imagine they are about a million times better live than on tape if you
know what I mean and I think you do.

KFJC-FM is adding it very very soon

If you call him, tell 'em Jack Diamond sent 'cha


"Record collecting is no mere hobby, no leisurely
innocuous diversion.  It's a feverish passion
bordering on dementia, driving those under it's
influence to irrational,compulsive and sometimes
fanatical extremes."              3-93  JD
Bye for now,
Jack




-------------------------------------------------------------------------------

From: [e-mail] (Johan De Vis)
Subject: Fred Lowery question
Date: 24 Jan 1996 19:33:33 +0100

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is Fred Lowery whistling on all of his LPs?

- -johan dada




-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: CD overview 1995: part 1: EXOTICA
Date: 24 Jan 1996 11:33:31 PST

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        You've left out two very important releases:

        Les Baxter "The Lost Episode" (Bacchus Archives Presents/Dionysus
        Records BA07-1/-2) and Joey Altruda "Cocktails With Joey" (Will Records
       039-1/-2)?

        Also, where on earth can I get that live Yma Sumac disc??


        Lee Joseph
______________________________ Reply Separator _________________________________
Author:  [e-mail] (Johan De Vis) at INTERNET


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EXOTICA CDs from 1995:
======================================================================

Eden Ahbez : Eden's Island
  (Del-Fi DFCD 71211, US, 1995)

Combustible Edison : FOUR ROOMS soundtrack
  (Elektra 61861, US, 1995)

Combustible Edison : I Swinger
  (?, US, 1995)

Esquivel : 4 Corners of the World
  (RCA 985627, DE, 1995)

Esquivel : Cabaret Manana
  (RCA, US, 1995)

Esquivel : More of Other Worlds, Other Sounds
  (Now Reprise's Archive series 2-45844, US, 1995)

Esquivel : Music from a sparkling planet
  (Bar None 56, US, 1995)

Esquivel : Space-age bachelor pad music
  (Bar None 43, US, 1994)

Ferrante & Teicher : Autumn leaves
  (Sony SP A 13407, US, 1993)

Ferrante & Teicher : Easy listening favorites
  (MCAD-20733, US, 1993)

Patrick Husson : Le jardinier **
  (Sony/Columbia 478117-2, FR, 1995)

Huun Huur Tu : The Orphan's Lament
  (Shanachie 64058, US, 1994)

Shoukichi Kina : Peppermint Tea House (Asia classics 2)
  (Luaka Bop/ Warner Bros. 9 45159-2, US, 1994)

Enoch Light : Persuasive percussion
  (Varese Sarabande VSCD 5636, US, 1995)

Enoch Light : Provocative percussion
  (Varese Sarabande VSCD 5637, US, 1995)

London Symphony Orchestra : Symphonic music of the Rolling Stones
  (RCA 09026-62526-2, US, 1995)

Henri Mancini : The Blues and the Beat
  (RCA 604726, DE, 1995)

Joe Meek & the Blue Men : I hear a new world
  (P-RPM103, GB, 1995)

Robert Mitchum : Calypso is like so...
  (?, US, 1995)

Robert Mitchum : That man! (w/ "Calypso is like so...")
  (Bear Family BCD 15890, DE, 1995)

Ken Nordine : Colors
  (Asphodel 0954, US, 1995)

OST : The Forbidden Planet
  (Planet PLD 1, US, 1995)

Max Roach : M'Boom *
  (Columbia Legacy Sony CK 57886, US, 1994)

David Shea : I
  (Sub Rosa 79, BE, 1995)

Shu-de : Voices from the distant steppe
  (CAROLINE PLAN 9 # 2339, US, 1995)

Yma Sumac : Live in concert 1961 (the Russian tour)
  (Elect CD 2116, DE?, 1995)

Yma Sumac : Voice of Xtabay/Mambo part 1
  (EMI, FR, 1995)

Yma Sumac : Mambo part 2/Legend of the Jivaro
  (EMI, FR, 1995)

Yma Sumac : Voice of the Xtabay and other exotic delights
  (Rev-Ola Creation O34, GB, 1995)

The Three Suns : Twighlight Memories
  (RCA 605020, DE, 1995)

v/a : A reggae tribute to the Beatles
  (Emporio EMPRCD584, distrib. by Trojan, GB, 1995)

v/a : Cocktail mix, vol.1
  (Rhino R2 72155, US, 1995)

v/a : Hollerin'
  (Rounder 0071, US, 1995)

v/a : Incredibly strange music volume 2
  (Asphodel 0951, US, 1995)

v/a : Legends of accordion
  (Rhino R2 71847, US, 1995)

v/a : Only in America *
  (Arf! Arf! AA-049, US, 1995)

v/a : Stairways to Heaven (Australian version)
  (Vertigo 514 552-2 or 455223?, GB, 1995)

v/a : The easy project
  (Sequel 2164 772 2, GB?, 1995)

v/a : The exotic Beatles part 2
  (Exotica Pele 7, GB, 1994)

v/a : The exotic trilogy vol.1
  (KBZ 292204, NL, 1995)

v/a : The History of Space Age Pop vol.1: The Stereo Action Dimension
  (RCA/BMG, US, 1995)

v/a : The History of Space Age Pop vol.2: Mallets in Wonderland
  (RCA 07863 66646-2, US, 1995)

v/a : The History of Space Age Pop vol.3: Melodies and Mischief
  (RCA/BMG, US, 1995)

v/a : The Sound Gallery
  (?, UK, 1995)

v/a : The Sound Spectrum
  (?, UK, 1995)

v/a : Welcome to Chinatown - Oriental "Popcorn" tracks, vol.1 *
  (Marginal MAR CD 002, BE, 1995)
  (direct mailorder: Patrick Michiels, PB 4, 9100 Nieuwkerke, Belgium)

The Ventures : The Ventures Play Telstar/ The Ventures In Space
  (EMI 80239 CD, US, 1995)

Elisabeth Waldo : Sacred rites **
  (GNP/Crescendo GNPD 2225, US, 1994)

Yat-Kha : Yenisei-punk
  (Global Music Centre GMCD 9504, NL?, 1995)

==== lists compiled by Johan Dada Vis <[e-mail]> January 1996 ====






-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Exotica pronunciation guide
Date: 30 Jan 1996 23:29:08 -0500

I believe the pronounciation of Irwin Chusid is eRRR-wheen SHOE-sit.  Does
anyone have any Four Suns albums("Powerhouse in The Jungle" or "Hoboken
Taboo") with Irwin Chusid before he left and they became the Three Suns?  I
only have a real beat up copy of the later and it's only in mono and it skips
like a motherf*#..opps sorry! . As far as I know these are the only albums
with Irwin.  Does anybody out there know if any solo albums exist?
Regards
Ashley


-------------------------------------------------------------------------------

From: Bruce Rhodewalt <[e-mail]>
Subject: Re: Baxter eulogy in Variety
Date: 22 Jan 1996 20:48:48 -0800

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[e-mail] wrote:
>
>
>
>      HOLLYWOOD (Variety) - Les Baxter, the composer, conductor and arranger
>      who developed an easy-going yet exotic big band style, died Monday of
>      a massive heart attack due to kidney
>      failure at Hoag Memorial Hospital in Newport Beach. He was 73.
>
>
>      Baxter last performed in public at the Century Club in
>      Century City on Nov. 16, 1995.
>

As a supporter of what we now call "exotica," I'm glad a
movement such as this was able to provide a venue for
sincere adulation of a guy who otherwise might have been
ignored.

Bruce

Confidential to Paul Rutner: Regarding that "thing" you
mentioned that you were so worried about: It's better to
drain your sock than to choke your chicken!  What a
gasser!
________________________________________________________


      |    |    |   /     |     Tiki Publishing
--  --     |    |  |      |     http://www.tikipub.com
    |      |      /       |     Bruce Rhodewalt, Owner
    |      |      \       |     78-365 Highway 111, #241
    |      |    |  |      |     La Quinta, CA 92253
    |      |    |   \     |     619/342-3418
  --     --   --   --   --

-------------------------------------------------------------------------------

From: [e-mail]
Subject: The forgotten years
Date: 25 Jan 1996 01:26:52 -0500

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so i am trying to do some research on martin denny...i figure books claiming=
 to be "encyclopedias" of american music would work. one small 2 line=
 listing out of 6 books!!! many didn't even list Arthur Lymsn, Les Baxter or=
 Esquivel!!! on-line "encyclopedias"??? not even a match for "lounge" as a=
 cultural reference, much less artists.

there was once a thread concerning "commercialism" and "mainstreaming" of=
 the lounge/exotica culture. hmmm...where exactly is this happening? these=
 are not old books...some are within three or four months of publication...

it is truly sad to think a 20 or so year history in american music and=
 culture is all but forgotten by the so-called historians. it is up to=
 people like us to ensure this does not become a dead medium. if that means=
 others will have to discover it (via MTV or being tied to a chair and=
 listening to the entire Martin Denny catalog) then so be it!!

does anyone know of books similar to Lanza's "Elevator Music" or decaent=
 comprehensive reference guides containing this era? could use the help!!!

i remain...

viktrola@nai,net
Vik's Lounge Of Self Indulgence
http://www.chaoskitty.com/t_chaos/lounge.html


Have you voted in the Great Grilled Cheese Debate?
http://www.chaoskitty.com/t_chaos/kitchen.html#soup



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Klezmer
Date: 29 Jan 1996 14:55:09 -0500

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a little while back, there was a thread concerning klezmer. today while=
 trying to catch up on years of stuff to listen to, i came across Kapelye On=
 The Air "Jewish-American Radio" (Shanachie 67005). this cd celebrates the=
 heyday for Jewish community radio in the 1920. music, sketches, news=
 recreations...a must for klezmer fans. it also gives a glimpse into reason=
 for the early jerry lewis (the funny one).

also, finally saw the mike flowers video (at the end of MTV's Week In Rock).=
 anyone know where in the NYC area i might get this?

thanks

i remain...

viktrola@nai,net
Vik's Lounge Of Self Indulgence
http://www.chaoskitty.com/t_chaos/lounge.html


Have you voted in the Great Grilled Cheese Debate?
http://www.chaoskitty.com/t_chaos/kitchen.html#soup



-------------------------------------------------------------------------------

From: Lear <[e-mail]>
Subject: FURIOUS SEARCH FOR FOOD INSTRUMENTALS!
Date: 29 Jan 1996 17:49:44 EST

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    Greetings, I'm Lear and I just signed on hoping this mlist will be
a swinging experience.  Found this all from the illustrious World Wide Web
(almost sounds like World War One, doesn't it?).
    Just a quick question:

    Has anyone heard that there is a second and third volume for
    vintage go-go,etc music compilation "Frolic Diner" on Romulan
    Records?????
    This stuff is some of my favorite musics from that era.
    I would also like to hear if any of you cats out in cyberland
    could recommend other releases like "Diner" or "Vegas Grind."
    It seems like the space age bachelor music has been making
    a successful move onto CD reissues, but not as much as the
    go-go stuff.

    My search goes on...
    Lear

&*&*&*&*&*&*&*&*&*&*&*&*                 "CHAOS NEVER DIED...
#[e-mail]#                      ...Eros never grew a beard."
*&*&*&*&*&*&*&*&*&*&*&*&                                   hakim bey

-------------------------------------------------------------------------------

From: JAN FORNELL <[e-mail]>
Subject: Re: Women in Exotica
Date: 30 Jan 1996 22:59:00 +0900

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Please don't forget the wonderful Sondi Sodsai whose album
'Sondi' features "exotic" and other standards sung in Thai
and English, with Hal Johnson conducting the orchestra.
Vintage exotica at its best! The original LP (which I have
never seen) was probably released in the late 50's, but the
album is currently available on CD in Japan (Toshiba/EMI
TOCP-8326; in fact there is quite a lot of exotica available
on CD in Japan, where it isn't any recent fad, but has had a
cult following for decades...) Does anybody know if she ever
made (or is featured on) any other records?

Another mysterious women is the high-pitched "Tiki" who sings
(vocalizes) on Les Baxter's "The Primitive and the Passionate".
Does anybody know anything whatsoever about her?


-------------------------------------------------------------------------------

From: "T. Duda" <[e-mail]>
Subject: Martin Denny band to play
Date: 24 Jan 1996 06:18:40 -1000

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For anyone planning a trip to Hawaii or for those who are already here:


(from the Honolulu Star Bulletin, 20-January-1996):

Martin Denny band to play

THE DENNY band will play for good listening and dancing for the Alzheimer's
Association dinner-dance-auction fundraiser March 30 at the Royal Hawaiian.
Joining Marty are his early musicians: Arthur Lyman, Harold Chang and Archie
Grant...Tickets are $125. Call 591-2771.


Yeah the ticket price is right...fundraiser you know...

To my knowledge, this is the first time the Denny band has played here for
the last couple of years...for all I know they may have not been together in
a very long time... And although Mr Lyman does perform solo every week (and
this is truly incredible!), Martin Denny rarely performs (I think he did do
some stint at the Waikiki Shell a few years back...not sure what that was
though...).

-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: The Spotnicks
Date: 31 Jan 1996 02:06:23 -0500


> Does anyone know more about the 60's Swedish instrumental quartet,
> The Spotnicks?

Jello Biafra mentions them in Incredibly Strange Music vol. 2 and
there's a pic of a goofy album cover.  I quote:

"They produced schmaltz-twang guitar instrumental rock albums, and
(along with the Shadows) were the European Ventures.  They were huge,
and as far as I know are still playing.  This cover shows them not
just in spacesuits, but spacesuits with extra arms, weird mosquito
netting and screendoor material on their space helmets, with wires
going from helmet to helmet.  That's how they could hear each other
on stage."  !

kevin


-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Exotica pronunciation guide
Date: 31 Jan 1996 01:51:23 -0500


> At 1:29 AM 1/29/96, Brother Cleve wrote:
> >he pronounced it "esKEYvel", emphasis on the second syllabol
> >(and spoken quickly). The folks at BMG in Mexico City called him by his
> >full Mexican name - "GARcia esKEYvel" (Garcia being his father's surname,
> >Esquivel his mother's).
>
> Hmmm ... If that is so, would there then be an accent over the "i" in
> Esquivel? From my limited understanding of Espanol, I thought that all
> accents get the same stress unless they were marked with an accent.

If memory serves correctly, the default accent in Spanish
falls on the second of most three syllable words (aBUEla, eSPOsa,
deREcha).  EsKEYvel makes sense if this is true.

What about Cal Tjader?  Is it "CH" or T(CH - as in Chanukah)ader?

kevin


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Exotica pronunciation guide
Date: 31 Jan 1996 07:37:28 -0500


>>What about Cal Tjader?  Is it "CH" or T(CH - as in Chanukah)ader?

actually, as far as i know, the "T" is silent making it "CAL JAY-der"


in the vocalese category...

Babs Gonzales "Weird Lullaby" re-issued on Blue Note 84464

i remain...

viktrola@nai,net
Vik's Lounge Of Self Indulgence
http://www.chaoskitty.com/t_chaos/lounge.html


Have you voted in the Great Grilled Cheese Debate?
http://www.chaoskitty.com/t_chaos/kitchen.html#soup



-------------------------------------------------------------------------------

From: [e-mail] (Johan Dada Vis)
Subject: Ferrante & Teicher discography update
Date: 31 Jan 1996 19:32:14 +0100

Ferrante & Teicher's "Heavenly sounds in hi-fi" (ABC-Paramount ABC-221)
was later (when???) reissued with added strings as "Heavenly sounds with
orchestra and strings" (ABCS-555), and yes folks, you already guessed it,
they left out - no, not 2 - just 1 track this time: "Serenade to a star".
The prepared piano's are mixed too far away in the background, but still a
nice lp.

-johan dada



-------------------------------------------------------------------------------

From: [e-mail] (Johan Dada Vis)
Subject: Les Baxter's "Ritual of the savage" LP
Date: 31 Jan 1996 19:32:23 +0100

Baxter's "Ritual of the savage" (Capitol T 288) was issued both on 10" and
LP. The 10" has a grey cover with a 7" picture stuck on it, and has 8
tracks. The LP (same catalog number, release year ???) has the same
picture, but blown up to 12", and it has 4 extra tracks: Sophisticated
savage
                                Barquita
                                Jungle jalopy
                                Kinkajou

-johan dada



-------------------------------------------------------------------------------

From: "kevin king" <[e-mail]>
Subject: Re: Ferrante & Teicher discography update
Date: 31 Jan 1996 14:05:25 -0500


> Ferrante & Teicher's "Heavenly sounds in hi-fi" (ABC-Paramount ABC-221)
> was later (when???) reissued with added strings as "Heavenly sounds with
> orchestra and strings" (ABCS-555), and yes folks, you already guessed it,
> they left out - no, not 2 - just 1 track this time: "Serenade to a star".
> The prepared piano's are mixed too far away in the background, but still a
> nice lp.

I'd have to disagree about the strings version of Heavenly Sounds.  I
guess it's just a matter of preference, but the pianos seem very
prominent in the mix to me.  In fact I was surprised to find out
after buying the Easy Listening Favorites cd (which is Heavenly
Sounds sans strings and a few songs) that I preferred the strings
versions.  To my ears the strings work well as an enhancement only
and are very unlike F&T's later work with strings that I've heard.

kevin