ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/exotica/archive/exotica.9707

Internet Message Format | 1997-09-25 | 618KB

From: "J. Diamond" <[e-mail]>
Subject: (exotica) Jacques Dudon
Date: 25 Jul 1997 17:53:57 -0700


Hello,

Does anyone know if there are any records by Jacques Dudon
He was on that Ellipsis Arts...Gravichords, Pyrophones, etc
CD compilation. I think he has an album of Water Music...

Thanks

-Jack


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From: [e-mail]
Subject: (exotica) Re: Music For The Head
Date: 01 Jul 1997 07:46:20 -0400


     Ashley wrote:

          I think the example of the Beatles is excellent, in fact I
          was thinking the very same thing regarding those early
          Beatles albums with the instruments on one side and the
          vocals on the other when writing my post (boy what were the
          EMI engineers thinking back then????)

     According to "Shout!" by Phillip Norman and the book about the
     Beatles recording sessions (the name escapes me at the moment),
     George Martin and Geof Emerick labored mightily over the mono
     mixes of the Beatles tunes. The stereo mixes were usually given
     to the second engineer as these were not considered the primary
     focus. Most kids at the time ('63-'65) did not have stereos, but
     had record players. I remember that there was a small tempest
     when the albums were being re-issued on CD in the '80s; purists
     wanted the original mono mixes, but I don't think they got them.

     Craig


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From: [e-mail]
Subject: (exotica) Lounge Attack / What I Got
Date: 01 Jul 1997 08:23:05 -0400


     Is it just me, or do all of these lounge attacks have a faint
     aroma of sour grapes about them? I think they're just jealous.

     From the $2 bin at he local anitquarium this weekend:

     Edmundo Ros - Bongos From the South (Phase 4). Does that mean
     Dorset? Ever notice how the British players make up in enthusiasm
     what they lack in salsa?

     Katie Lee - Songs of Couch etc. You know the one; I've been
     looking for this one since day one, now I've found two in as many
     weeks...It really is clever, though. Note about the label: it's
     not really Commentary Records, it's "Maelstrom Presents the
     Commentary Album..." the address is Boston, Mass; Kenmore
     Station. Interesting.

     John Fahey - Requia (Vanguard, 1967) Fingerpicker's delight on
     side one, exotica curio on side two, with all kinds of "samples"
     of old '78s, train noises, and plenty other weirdness on the
     "Requium for Molly", parts 1-4. Tricky, indeed.

     Tito Puente - Mucho Cha Cha (RCA, 1959) The real thing from Tito.
     Recommended. Also RCA cover blurbs at their finest. This LP is
     Living Stereo with a Miracle Surface in New Orthophonic on the
     Wide World Series. Late nights in the marketing dept.

     Roger Price - Roger and Over (A.A. Records, 1960) Silliness from
     Roger. Jazz was invented in Vermont, stereo check outs, etc. I
     love this guy. Anybody have a copy of "What Not to Name the Baby"
     or Grump Magazine (which changed my life as much as Mad did)?

     John Barry - The Knack (and How to Get It) (U.A., 1965) Classy
     soundtrack to a fun movie about swinging and attempted swinging
     in London ca. 1965.

     Mike Curb - Skaterdater (Mira, 1966) Soundtrack to an Academy
     Award nominated short from 1965. This was Davie Allan's first
     soundtrack and also featured Al Casey, Larry Knetchel, Joe
     Osborne and Jim Horn. Thanks to m. ace for the info on this one.
     The fuzz is on there.

     Ahmad Jamal - Macanudo (Argo, 1963) Exotica from the jazz
     pianist. Great cover, excellent Carribean-flavored jazz. Arranged
     and conducted by Richard Evans. Who he?

     Chet Atkins - Chet Atkins in Hollywood (RCA, 1959) This is my
     favorite C.A. album so far; unbelievable tone (how did he get
     that sustain and still sound so clean and warm?), string section
     that doesn't suck and nice choice of material.

     Also non-exotica: The Byrds' "Dr. Byrds and Mr. Hyde" and
     "Sweetheart of the Rodeo". I think the Columbia "360 Stereo"
     albums are second only to RCA Living Stereo in sound quality.
     These two just knocked my ears off.

     Definition of a music lover: He hears a girl singing in the
     shower and puts his ear to the keyhole.

     Craig


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From: [e-mail]
Subject: Re: (exotica) FORD PUMA campaign
Date: 01 Jul 1997 13:30:51 +0000


Richard Jay wrote:
>Here in the UK (and I suspect, elsewhere) there's a new TV campaign
>for the rather groovy looking Ford Puma; driven by none other than
>Steve McQueen (through the magic of TV !)  It's accompanied by even
>groovier music which is obviously authentic 70's film music with
>it's use of bass flute, jazz guitar, brass stabs, etc.  I suspect
>it's from some well-known film by McQueen that's before my time, but
>if someone could let me know what it is I'd appreciate it.

The whole ad is a spoof on the opening sequence of "Bullitt" with
(fantastic) music by Lalo Schifrin.  Although the soundtrack was
originally issued on LP it's yet to appear on CD - though I know the
opening theme appears on a couple of Schifrin comps.  I think
Footlight records (www.footlight.com) have a copy of the LP - for
$40!

I suspect that, as with many current ads, the music will be issued as
a CD-single soon!


Robbie

Spaced Out - the Enoch Light WWW Site  ** ** ** ** ** **
** ** ** http://easyweb.easynet.co.uk/~rcb/light/  ** **


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From: [e-mail]
Subject: (exotica) Barbarella soundtrack
Date: 01 Jul 1997 13:30:52 +0000


Well, Barbarella was on British TV last night - the first time I'd
actually watched it all the way through: what a movie!

One nagging question - those whacked out guitar effects on the
soundtrack MUST be Vinnie Bell, mustn't they?

I have the soundtrack LP: plenty of kooky sleeve notes but there's no
listing of who actually played the music!

Does anyone know what the line-up was?


Robbie

Pygar: "I've regained the will to fly!"

Spaced Out - the Enoch Light WWW Site  ** ** ** ** ** **
** ** ** http://easyweb.easynet.co.uk/~rcb/light/  ** **


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From: [e-mail]
Subject: (exotica) More Theremania
Date: 01 Jul 1997 13:30:51 +0000


While watching footage of last weekend's Glastonbury Festival I was
pleasantly surprised to see a brief appearance by two members of the
"Radio Science Orchestra" which seems to consist of 3-4(!) theremins
and other electronic instrumentation (I think there are 10 players
altogether).  The two band members who were being interviewed
were Theremin's great-niece Lydia something-or-other and Bruce
Woolley.  Does anyone know anything about this "orchestra" and
whether they've released anything?


Robbie

** Spaced Out - the Enoch Light WWW Site   ** ** ** ** **
** ** ** http://easyweb.easynet.co.uk/~rcb/light/   ** **

** Space Safari - To Hi-Fidelity and Beyond!  ** ** ** **
** http://easyweb.easynet.co.uk/~rcb/space/   ** ** ** **
** Next Night: 20 July 1997 - Filmhouse Bar, Edinburgh **
** ** ** also broadcasting locally Sundays 6-8 on * ** **
** ** ** **  T in the Park Radio 105.4 FM  ** ** ** ** **


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From: [e-mail] (Jill Mingo)
Subject: Re: (exotica) FORD PUMA campaign
Date: 01 Jul 1997 07:55:43 -0600


>The whole ad is a spoof on the opening sequence of "Bullitt" with
>(fantastic) music by Lalo Schifrin.  Although the soundtrack was
>originally issued on LP it's yet to appear on CD - though I know the
>opening theme appears on a couple of Schifrin comps.  I think
>Footlight records (www.footlight.com) have a copy of the LP - for
>$40!

I still haven't seen this commerical, but there is a CD of Bullitt. Japanese
import. It is available at my local record store. (Fopp, Robbie). It is
worth the money. "Bullitt" is one of my fave records.

Jill





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From: [e-mail]
Subject: (exotica) Product Music
Date: 01 Jul 1997 10:24:40 -0400 (EDT)


Found something interesting-----a CD with direct from vinyl sources called
"Product Music"--Subtitle: "Industrial Show Tunes In Praise Of The Products
We Like". Stuff like "Standin' On The Corner Watchin' All The Fords Go By",
"Look At This Tub", "Dance The Slurp", "Madison Avenue Tango", "Gentle On My
Mind" (Mary Kay Cosmetics), "Hooray For Human Engineering" (Clark
Equipment).......Its on Honest Abe Disc out of Japan.....Jimmy


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From: Tony Wilds <[e-mail]>
Subject: (exotica) 4th Surfmen LP found
Date: 01 Jul 1997 10:56:59 -0400


It's hardly worth paying attention to the endless marketing ploys of budget
labels, but when it comes to the #1 Denny-knockoff group --the Surfmen
(Alvino Rey, Jack Costanzo, Irv Cottler, etc.)-- with occasional abstract
exotic female vocals...

"Aloha from a Hawaiian Paradise" on Oscar Records (Burbank, CA) is largely
a reissue of tunes mostly from the second LP, "The Surfmen in Hawaii"
(Somerset, reissued as "Colorful Romantic Hawaii" on Alshire). Fortunately,
they are all the exotic tunes plus a few of the Hawaiian. Three new tunes
are mush (strings), so they're not the original jazz group. The band is
credited as the "Surf Serenaders" this time, as opposed to the Surfmen or
South Sea Serenaders.

Anyone with a serious interest in exotica and other ethnic (and whitebread)
pop on the cheap should check out Wilds Sounds (URL below, in sig) now.
About 1/3 of all records will be removed and sold at shows (where buying is
hype-free). Coming soon: over 150 sealed records on a special page.

wilds

The Wilds Scene ->  http://www.charm.net/~wilds/



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From: [e-mail]
Subject: (exotica) Lounge Attacks!
Date: 01 Jul 1997 11:05:07 -0400 (EDT)


For Michelle's benefit and that of anybody on the list who especially
enjoys ranting...here's my two cents.


Ah...the backlash.I've been wondering when it would arrive full-force.

I've always been bemused by the shrill,virulent,very personal and, yes,
knee-jerk nature of the criticisms leveled at the world of smooth sounds.

As far as I'm concerned, the appeal of "Lounge" music (or whatever you want
to call it..I generally prefer vaguer terms like "Mood Music") is that it
offers a sonically and harmonically richer alternative to the pop music
mainstream,and an aesthetic that embraces
strangeness,beauty,experience,maturity,skill and other life-enhancing
qualities.

I don't consider those qualities to be either "retro" or
reactionary,politically or otherwise.

Mood Music is occasionally criticised for not appearing to be
"rebellious",thus implying that it is reaffirming the status quo.In my
opinion, that's a total canard."Rebellion" is reactive; the aesthetic to
which I subscribe is creative.It in fact stands in fundamental and profound
opposition to the status quo.

It also has nothing to do with testoterone-fueled,macho bluster.Just look
to the pop charts if that's what you want.In fact, I've found that there's
an almost disproportionate amount of female enthusiasm for the sounds and
styles that I and the others on this list enjoy.

Of course,there's some validity to the criticism, if you're only talking
about (a segment of) the audience;but blaming an art form for it's audience
is specious logic.The macho white male archetype that was profiled in the
LA Weekly article are just the kind of folks who would kick my ass if they
saw me walking down the street.I'll admit to occasionally looking out at my
own audience in complete dismay.I'm sure anyone on this list knows what I'm
talking about. Of course, an "artist" finding their audience filled with
characters who stand for everything  from which they're trying to liberate
themselves is not a new developement;look at what it did to Kurt Cobain.

Finally, as for the allegation that the whole "movement" is a media
fabrication...well, that's just ridiculous. Of course, it's the media's
job, or at least it's tendency, to pounce on new cultural developements and
flog them to death. You gotta sell magazines/ad time/records/running
shoes/soft drinks! All I can say is that when Combustible Edison first
started playing,several years before a single magazine article was printed
or Easy Listening record was reissued,our shows were consistently
sold-out.Obviously, there were a lot of people out there who found our kind
of music and attitude refreshing, without the media having dictated it to
them.

OK...rant over.

In Jessica Cameron's words "Thanks for the space".

Thee Millionaire




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From: [e-mail] (Brian Salter)
Subject: Re: (exotica) More Theremania
Date: 01 Jul 1997 14:44:02 -0000


Robbie-

Here's some info on the Radio Science Orchestra; turns out they are
friends
with Thomas Dolby (who I work for)...

---------------- Begin Forwarded Message ----------------
Received:    07/01  2:06 PM

Yes, I know a bit about them. Bruce Woolley was the singer in the first
pro band I was ever in, and Matthew Seligman (a co-founder of RSO) is
one of my best friends, and played bass on my 2nd and 4th albums. Bruce
plays very good Theramin. They do a vocal version of Chopin's prelude in
Em. They also got to play live at the London UFO Society's 40th
anniversary where there was a screening of the Alien Autopsy footage. I
have a CD of theirs, I'll try to bring it in.
--
Thomas Dolby
CEO, Headspace Inc.
<http://www.tdolby.com>
--
SUN HAS LICENSED HEADSPACE TECHNOLOGY FOR JAVA
More info and free demo available at:
<http://www.headspace.com>


....The Web Comes Alive with Music.
--

----------------- End Forwarded Message -----------------

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Brian Salter
[e-mail] / [e-mail]
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~





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From: "Lazlo Nibble" <[e-mail]>
Subject: Re: (exotica) More Theremania
Date: 01 Jul 1997 16:17:49 -0600 (MDT)


> Yes, I know a bit about them. Bruce Woolley was the singer in the first
> pro band I was ever in, and Matthew Seligman (a co-founder of RSO) is
> one of my best friends, and played bass on my 2nd and 4th albums...

By the kind of coincidence that seems to happen every other day around here,
Woolley also happened to provide backing vox and cowrite a couple of tracks on
the CD I have in the player right now, namely "Adventures In Modern Recording"
by The Buggles.  Woolley is a longtime cohort of Buggle/megapop producer
Trevor Horn and turns up with some regularity on albums produced by TCH.

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


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From: [e-mail] (Clark Scheffy)
Subject: (exotica) theremin (shameless plug)
Date: 01 Jul 1997 17:13:25 PDT



please all, file this in the shameless plug catagory if you wish, but my group,
Malacoda, is releasing a CD next month on World Domination Recordings and
I play theremin on two tracks. Just couldn't resist. . .

Clark


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From: Michael Reading <[e-mail]>
Subject: (exotica) Re: Music For The Head
Date: 01 Jul 1997 18:24:33 -0700


>I think the example of the Beatles is excellent, in fact I was thinking the
>very same thing regarding those early Beatles albums with the instruments on
>one side and the vocals on the other when writing my post (boy what were the
>EMI engineers thinking back then????)

Actually, they weren't thinking stereo at all, especially on the first two
LP's (somewhat true for #'s 3 & 4 also).  Back in '62 and '63, stereo rock
albums were still the exception.  The mono mixes were the ones supervised by
George Martin, God only knows who did the stereo mixes; they are really just
"two channel mono."  I think the mono's on the early Beatles albums are much
preferable to the stereo.

There are some exotica albums I prefer to hear in mono for the same reason.
The ping-pong effects are cool sometimes, but occasionally they can be
distracting.

Michael



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From: [e-mail]
Subject: Re: (exotica) FORD PUMA campaign
Date: 02 Jul 1997 07:51:17 -0400 (EDT)


In a message dated 97-07-01 08:37:08 EDT, [e-mail] writes:

>The whole ad is a spoof on the opening sequence of "Bullitt" with
>(fantastic) music by Lalo Schifrin.  Although the soundtrack was
>originally issued on LP it's yet to appear on CD - though I know the
>opening theme appears on a couple of Schifrin comps.  I think
>Footlight records (www.footlight.com) have a copy of the LP - for
>$40!
>
>I suspect that, as with many current ads, the music will be issued as
>a CD-single soon!

Actually Bullit is available as a Japanese CD>

Ashley


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From: Brian Phillips <[e-mail]>
Subject: (exotica) Music For The Head (Cases?)
Date: 02 Jul 1997 07:55:15 -0400


I have oftentimes wondered if the extreme Stereo of some records was also
partially due to consumer outcry at the time.  There are some early stereo
records by the Coasters, which are mixed in a fairly "modern" way(unless
Atlantic re-did them for the reissue I heard), yet what comes after is the
old bass-and-drums-in-China-guitar-and-vocals-in-New-York effect.

I have a vision of an audiophile in the 60's slamming down a record at his
local store:

Customer: This record isn't stereo!
Merchant: Yes, it is, sir.
Customer: So you say.  I want the rhythm section over here and the vocals
are guitar over here.  THAT'S stereo!
Merchant: There's no place like home!

OK, so I stole an ending from a movie; I'm not a playwright.  The next
scenario I see is merchants complaining to record companies and the
companies issuing other records with extreme separation.  I was merely a
concept on a drafting table at the time, so I have no historical
perspective on this.

Also, while we are on the subject, what made a recording "High Fidelity"?


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From: "Michael Greenberg" <[e-mail]>
Subject: (exotica) a frightening new find
Date: 02 Jul 1997 13:58:50 -0500


I recently found a sealed copy of a 12" single 45 rpm stereo record
from 1976 by Lalo Schifrin which is a "Disco Mix" of (side 1) Jaws
and (side 2) Flamingo and Quiet Village (yes, Baxter goes disco!).
Apparently these tracks are from an lp entitled Black Widow.

Is anyone familiar with this one?

thanks,

Michael



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From: [e-mail]
Subject: (exotica) URL change
Date: 02 Jul 1997 16:17:51 -0600


just a note to inform that...

King Kini's CLUB VELVET website is now located at:
http://www.tamboo.com

please update all links and bookmarks!

BTW, for those on the exotica list who haven't visited in a while (or ever)
the "Selections from the Collection" area now features almost 80 LP covers
for your viewing pleasure with a handy index.  some are rare some are not,
all seemed worth scanning at one time or another.  enjoy!  ...any requests?

also...

The Cocktail Nation is at:
http://www.tamboo.com/loungelinks.html

The Exotic World of Les Baxter:
http://www.tamboo.com/BaxHome.html


 - King Kini





visit...

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
          King Kini's  C L U B  V E L V E T
             http://www.tamboo.com
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++




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From: Vik Trola <[e-mail]>
Subject: (exotica) Robert Mitchum
Date: 02 Jul 1997 17:37:27 -0500


geez...a whole day has gone by and nary a mention of the passing of Robert
Mitchum. (Lounge Laura's presence is missed...) for those who may not have
caught the news, he passed away yesterday at the age of 79. any interested
in a little tribute can stop by the Scamp site and check out a little audio
and a few words from Scamp CEO A.W.

Scamp Mitchum page: http://www.scamp-records.com/mitchum/

One less tough guy in the world,
Vik




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From: JPM <[e-mail]>
Subject: Re: (exotica) Robert Mitchum
Date: 02 Jul 1997 21:49:02 +0000


He made on the front cover of the NY POST (or was it the Daily News).
Anyway it was a full cover with a great picture.
--
Jason.......

JPM
The Pygmy Taxi Corp
http://www.spacelab.net/~mugen/
Vocod'o'rama (Please update your links to the one below)
http://www.spacelab.net/~mugen/vocoders.html


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

From: [e-mail]
Subject: Re: (exotica) Robert Mitchum
Date: 02 Jul 1997 19:43:50 -0700 (PDT)


At 09:49 PM 7/2/97 +0000, Jason wrote:
>He made on the front cover of the NY POST (or was it the Daily News).
>Anyway it was a full cover with a great picture.
Of course, we all know of his great calypso album, so he definitely is on
topic.  And, today, another great one died: Jimmy Stewart.  Was his voice
ever featured on a phonograph record?

Byron Caloz



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From: [e-mail]
Subject: (exotica) Robert Mitchum
Date: 02 Jul 1997 23:17:17 -0400 (EDT)



     Well, there goes another one. I have always regretted that he wasn't
given more good film noir roles in the late 40's - early 50's, when to me, he
was in his prime. The few he did were outstanding &, I think, along with
possibly Humphrey Bogart, he could have been the quintissential Raymond
Chandler Philip Marlowe character. I think Hollywood sort of sloshed their
way thru Raymond Chandler as it is (I mean, give me a break, Dick Powell !!)
&, when Mitchum finally did "The Big Sleep", he was maybe even a bit too
"world weary" for my taste. "Night of the Hunter"  & the original "Cape Fear"
were incredible & he was an amazing actor who should be remembered for a lot
more than some TV mini-series. I spend a lot of time in Bridgeport,
California, the small town that is a good part of "Out of the Past" & he &
that film are very much alive there & part of the feeling of the place for
me. And, I even think his calypso album isn't that bad! I mean, the voice
isn't what you'd expect to come out of a Robert Mitchum, but it's not THAT
bad or laughable. Is it?


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

From: Brett Leveridge <[e-mail]>
Subject: Re: (exotica) Robert Mitchum
Date: 02 Jul 1997 23:44:05 -0400 (EDT)


On Wed, 2 Jul 1997 [e-mail] wrote:

> &, when Mitchum finally did "The Big Sleep", he was maybe even a bit too
> "world weary" for my taste.

Mitchum was without a doubt  born to play Marlowe (I love Bogart but
for Marlowe, it's gotta be Mitchum, I say). Mitchum's version of THE BIG
SLEEP is pretty awful (through no fault of his own) but FAREWELL MY
LOVELY, made a couple of years earlier, is absolutely terrific.




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From: [e-mail]
Subject: (exotica) Re: Lounge Attack!!
Date: 03 Jul 1997 00:08:07 -0400 (EDT)


Hello to everyone out there who has been kind enough to respond to my Lounge
Attack solicitation.  Thank you so much.  I have learned a great deal in
these last few days about the history of the music and (possible) motivations
for the denegrating of  Lounge.  However I am still troubled by the idea that
there has to be a psychological explanation for the resurrgeance of Lounge
music.  Randall has made his point about the Esquire article he authored and
I do apologize for lumping the article in with the others as a negative
review.  The part I felt was "negative" is the same issue he has brought up
in his emailed response - about the psychological underpinnings for the
Lounge resurrgeance.   I am still troubled by this theory and here is why:

 In my opinion, by ascertaining that those into Lounge are fulfilling some
sort of psychological need, you have uncut the legitimacy of  Lounge as a
music culture or scene.  I would like to think that people are into Lounge
music because it is simply great music.  Do you understand where I am coming
from?  It is handicapping Lounge as a culture by implying that it is just a
response to some deep-seated psychological needs having to do with mating
rituals.  I just don't buy that.  I myself have never used Lounge music to
"mate" with anyone and in fact, it is an anti-mating ritual at my house,
since my boyfriend, for the most part, hates lounge.  Although I have to
admit that one of the main reasons I do like the music is because being born
in 1962 and having not lived through the 1950's, I have romanticized,  due to
a healthy upbringing on old movies, that that period of time is way better
than the miserable 1990's.  (For sure economically, the 1950's was the golden
era for the American way of life, but I understand that it was extremely
sexually repressive.)  So I do admit having a psychological need (sort of)
but for the most part I just love the music - prior to Lounge I had been a
bit of a collector of 1920's and 1930's big-band and have always loved old
musicals.

I have saved all your letters and would like to use them in whole or in part
in the issue of Flipside (not due out til the late fall - we are really
screwed up with deadlines right now).  Because there are so many and because
I am only allotted so much space, I may just have to quote some, but I want
to try to squeeze as many as I can into my column and try to get my publisher
to print one or two in the letters section.  If anyone who has emailed a
response to this issue would not like to be quoted or reprinted please let me
know via email at [e-mail]

Thanx again for all the great responses.

- Michele
Flipside Fanzine



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From: Steve Sando <[e-mail]>
Subject: Re: (exotica) Robert Mitchum
Date: 02 Jul 1997 21:24:10 -0700



>Mitchum was without a doubt  born to play Marlowe (I love Bogart but
>for Marlowe, it's gotta be Mitchum, I say). Mitchum's version of THE BIG
>SLEEP is pretty awful (through no fault of his own) but FAREWELL MY
>LOVELY, made a couple of years earlier, is absolutely terrific.

And don't forget 'Macao' with Jane Russell!
* * *
Steve Sando, Coconut Grove Media
PO Box 78146, San Francisco, CA 94107
vox: 415 648 5803, fax: [phone], email:[e-mail]



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From: [e-mail]
Subject: (exotica) L O V E - H A T E
Date: 03 Jul 1997 01:01:10 -0400 (EDT)


Go rent Night Of The Hunter and pay your respects.  I've been trying to find
this very rare and expensive soundtrack forever.  Composed by Walter Schumann
and narrated by Charles Laughton.  Heaven help us all if they attempt a
remake.  There oughta be a law.  Same goes for Hitchcock films.

Robert Mitchum kicks ass, big time.










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From: [e-mail]
Subject: Re: (exotica) Stereo separation
Date: 03 Jul 1997 08:16:23 -0400 (EDT)


In a message dated 97-07-03 04:29:15 EDT, Brian Phillips writes:

<<  have oftentimes wondered if the extreme Stereo of some records was also
 partially due to consumer outcry at the time.  >>

I read an article once (Stereo Review? about 10-15 years ago) that argued if
it was consumer driven v. industry/marketing driven.

The point of the article was more along the lines that consumers would always
buy something new  -  but had to be convinced that it was new and that the
purchase would elevate the consumers social status.  The article suggested
kick-backs from equipment manufacturers to record companies.

Sounded to contrived until it made the point that new stereo equip owners
would want to purchase new stereo records to replace their mono ones.

The article went into great detail about how the tremendous separation would
convience neighbors, friends, etc. that they needed a new stereo to be social
equal.

Detroit did this for years.  When GM added airconditioning in 1953 (Buick and
Cadallic) they opted for the coils to be mounted in trunk with clear vent
tubes coming out of package shelf into head liner where the vents were.  They
knew when you were on the road people would see you with the windows rolled
up and know you have airconditioning.  Now even in you driveway or a parking
lot people could identify you have A/C.  You could raise YOUR social status
by buying a car like theirs.

This marketing stuff has always facinated me.  Any comments?

Regards

Robert Brooks (Tiki Bob)


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From: Brian Phillips <[e-mail]>
Subject: (exotica) Jimmy Stewart, Robert Mitchum and a Calypso question.
Date: 03 Jul 1997 08:56:51 -0400


Jimmy Stewart may be on tape reading his poetry.  He has made two
appearances that I know of, one as a surprise to a great fan of his, Carol
Burnett, singing a song about a cowboy named _____ Bob (I want to say
Buffalo Bob, but I may be mixing Howdy Doody and Stewart) and his horse, a
pretty good horse.

The other appearance was on a show I do not know the name of, however, any
time that he would sing the line "...anything about a horse" dancers would
appear on the stage decked out in Jockey regalia singing entirely different
songs about horses, disrupting his.  When they would finish, he would start
back up again, to be interrupted again.

If anything was recorded, I would bet it was this song.

Thinking of Mitchum, I thought of Calypso and that led me to Maya Angelou
who recorded Miss Calypso.  Scamp did a great job on the reissue.

Speaking of Calypso albums, did Louis Farrakhan record one? Mentioning his
name is like asking for a fight in some circles, however, as a small favor,
could we kindly leave discussion of his politics off of the list, please?
I am just curious. If he did indeed record, that makes at least two people
in the Nation of Islam that may have been in the recording industry; the
other is Benjamin Chavis, who had a label called Chavis in Wilmington, DE.

And, today, another great one died: Jimmy Stewart.  Was his voice
>ever featured on a phonograph record?



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From: [e-mail]
Subject: Re: (exotica) Jimmy Stewart, Robert Mitchum and a Calypso question.
Date: 03 Jul 1997 09:08:30 -0400 (EDT)


Brian Phillips writes:

>Speaking of Calypso albums, did Louis Farrakhan record one? Mentioning his
>name is like asking for a fight in some circles, however, as a small favor,
>could we kindly leave discussion of his politics off of the list, please?

     I'm aware of two calypso singles that Farrakhan recorded in the '50's.
One was under the pseudonym of "The Charmer," I think.  I'm not sure if the
other one used a different name or not.
     Only one was known to exist for a long time, but the second was tracked
down a couple of years ago and was mentioned in a Boston Globe article last
year.
                    --Jon Johnson
                      [e-mail]
                      North Swanzey, New Hampshire


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From: Jessica Cameron <[e-mail]>
Subject: (exotica) Robert Mitchum, R.I.P
Date: 03 Jul 1997 09:03:48 -0400


I'm surprised no one's mentioned the late, great Mr. Mitchum's hot rod tune,
"The Ballad of Thunder Road." It's a rock version of  the theme from the
movie "Thunder Road," which was originally (at least in the movie) much much
slower.  "Night of the Hunter" is my favorite Mitchum movie (but "Thunder
Road" is pretty great too, esp. with a appearence by Keely Smith), and there
actually was a remake--a made for TV movie starring Richard Chamberlain (sp?
the guy from "The Thornbirds) in the role originated by Mr. Mitchum. : P
BTW, I read somewhere that Mr. Mitchum did most of the directing of the
child actors in "Night of the Hunter." Charles Laughton hated them.

Thanks for the space, Jessica



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From:      "George V. Chastain" <[e-mail]>
Subject: (exotica) Stewart and Mitchum recordings
Date: 03 Jul 1997 11:07:18 -0400 (EDT)


Jimmy Stewart does an effective narration, with choral/musical
accompaniment, of the story line of his '60's Civil War film
SHENANDOAH on the soundtrack album. This cut was reissued a
couple of years ago on a collection of Western stuff--don't
remember if it was Rhino's excellent 3-CD boxed set, or the
import (Bear Family?) CD "My Rifle, My Pony and Me" (Dean
Martin's single from RIO BRAVO!) or another one.
I don't think SHENANDOAH was one of Stewart's best films, but
it's chockful of traditional values and a charming performance
by Stewart as the strong-willed patriarch of a large family.
My parents both loved this film, mostly because of quirky lines
from Stewart ("I didn't ask you if you loved her. Do you
*like* her?"). My faves would include Hitchcock's VERTIGO and
REAR WINDOW, Ford's THE MAN WHO SHOT LIBERTY VALANCE, Capra's
IT'S A WONDERFUL LIFE, Anthony Mann's series of tough 50's
westerns (THE NAKED SPUR, WINCHESTER '73, BEND OF THE RIVER,
MAN FROM LARAMIE and THE FAR COUNTRY), DESTRY RIDES AGAIN,
THE PHILADELPHIA STORY, CALL NORTHSIDE 777, OF HUMAN HEARTS,
HARVEY, BROKEN ARROW, CARBINE WILLIAMS, THE GLENN MILLER STORY,
SPIRIT OF ST. LOUIS, BELL BOOK AND CANDLE, THE FBI STORY, ANATOMY
OF A MURDER, CHEYENNE AUTUMN, THE SHOOTIST and THE BIG SLEEP.

I recently scored the soundtrack from NIGHT OF THE HUNTER and
was delighted to find that it includes Robert Mitchum's spooky
singing ("Leaning On the Everlasting Arms") along with Walter
Schumann's score and fabulous narration by Charles Laughton.
Some of my other favorite Mitchum films: OUT OF THE PAST, PURSUED,
STORY OF G.I. JOE, CROSSFIRE, BLOOD ON THE MOON, THE RACKET, HIS
KIND OF WOMAN, THE LUSTY MEN, ANGEL FACE, TRACK OF THE CAT, RIVER
OF NO RETURN, HEAVEN KNOWS MR. ALLISON, THUNDER ROAD, HOME FROM
THE HILL, THE LIST OF ADRIAN MESSENGER, RYAN'S DAUGHTER, FRIENDS
OF EDDIE COYLE, THE YAKUZA, FAREWELL MY LOVELY, CAPE FEAR, TOMBSTONE
(narration) and DEAD MAN.

Sorry to get so far afield from the normal threads, but my
appreciation of the music near and dear to this group is
thoroughly entwined with my lifelong love for movies.
Jimmy and Mitch will never be gone as long as their movies
survive.

George "E-gor" Chastain


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

From: [e-mail]
Subject: (exotica) Crazy Prado Japanese imports
Date: 03 Jul 1997 12:09:22 -0400 (EDT)



I sent this stuff a few weeks ago when the list disappeared and returned,
seemingly taken over by space aliens posing as list posters. Apparently
my old post is floating out near Alpha Centauri, as it never showed up at
my end on the list. Here we go again...

I found the following Japanese import items were listed as available on a
couple online ordering services. Does anyone know ANYTHING about these?
---

** Perez Prado "Hora Azul" on VHS and *Laserdisc*! - available from CD
Now (www.cdnow.com), same price, either format, $62.70 US. It listed the
following description (no program length!!)

>La Hora Azul Perez Prado en el Recuerdo "Cerezo Rosa," "Mambo No. 8 -
>Que Rico el Mambo," "La Virgen de la Macarena," more. B&W. ( mono)

I went ahead and took the gamble and ordered this a couple weeks ago, and
it's on back-order. *Kinda* pricey, but items like a Prado Laserdisc that
have NO BUSINESS *existing* generally suck me in. Supposedly a lot of
this Japanese stuff goes out of print almost instantaneously, and I
wouldn't be surprised if my "back-ordered" turns into a "sorry, no longer
available." I'll report back if/when I get it, but would definitely
appreciate any info from anybody who knows anything.

** PEREZ PRADO: IN HIS EARLY DAYS (W/HIS ORCH, LIMITD) (11CD) (RCA)
Available from Sound City 2000 at
http://www.soundcity2000.com/cdjpn/jpn061.html for a mere $322.99. Even
without making that Laserdisc order, WAY out of my price range. What
scope of his RCA catalog might be considered "Early Days?" His pre-stereo
recordings? One would hope these CDs were around 74-minutes each, to
justify *eleven* of the suckers. What might *800+* minutes of "early" RCA
Prado consist of? SOMEBODY get the scoop on this one!


Michael David Toth
[e-mail]
[e-mail]




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From: Steve Sando <[e-mail]>
Subject: Re: (exotica) Stewart and Mitchum recordings
Date: 03 Jul 1997 09:37:33 -0700


I have Jimmy Stewart singing 'Easy to Love' on a Cole Porter collection and
somewhere else on a Golden Throats-type collection.





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

From: Tony Wilds <[e-mail]>
Subject: (exotica) Re: Robert Mitchum and calypso
Date: 03 Jul 1997 13:15:46 -0400


>Thinking of Mitchum, I thought of Calypso

His main singing bag was country. The hot-rod and oldies-station classic
"Ballad of Thunder Road" really stems from country singing.

>Speaking of Calypso albums, did Louis Farrakhan record one?

That's the rumor. Politics and calypso always were inseparable in the lives
of West Indians. It used to be that the competition for calypso kingship
(culminating at Carnival) was more intense than the U.S. presidential races
(which, like the superbowl, often aren't so intense anyway).

Calypso also was directly affected by politics (apart from lyrical
content). Ritualized, mock fighting with sticks (sometimes flaming torches)
erupted into real violence at Carnival one time too many. Consequently,
drumming was banned for a time -- until steel drums became the "bathtub
gin" workaround.

Apart from his camp calypso LP, which is a hoot, Hollywood bad boy Mitchum
would have loved the same aspects in real calypso that he appreciated in
country music (the old stuff, not this modern TV jive): plaintive, even
brutal honesty and humor about personal and social subjects.

tony

The Wilds Scene ->  http://www.charm.net/~wilds/



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

From: Tony Wilds <[e-mail]>
Subject: (exotica) So THAT's Farrakhan!
Date: 03 Jul 1997 13:22:48 -0400


>     I'm aware of two calypso singles that Farrakhan recorded in the '50's.
>One was under the pseudonym of "The Charmer," I think.  I'm not sure if the
>other one used a different name or not.
>     Only one was known to exist for a long time, but the second was tracked
>down a couple of years ago and was mentioned in a Boston Globe article last
>year.

No way! Way!

I don't have time just now to look for the second one, but "Is She Is, or
Is She Ain't" is on one of the greatest of all calypso records. The
compilation "Don't Touch Me Tomato" features a perfectly obscene jacket: a
deformed tomato resting on black lace panties. It also has the Duke of
Iron's three greatest naughty calypsos, The Big Bamboo, Parakeets, and I
Left her Behind for You.

Tony in Charm City

The Wilds Scene ->  http://www.charm.net/~wilds/



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

From: Tony Wilds <[e-mail]>
Subject: Re: (exotica) Crazy Prado Japanese imports
Date: 03 Jul 1997 13:47:35 -0400


>>La Hora Azul Perez Prado en el Recuerdo "Cerezo Rosa," "Mambo No. 8 -
>>Que Rico el Mambo," "La Virgen de la Macarena," more. B&W. ( mono)

This material (post 1956 or '57) was released on several LPs in the 1970s
under license from RCA Japan -- LPs from Mexico, Europe, and Japan at
least. All the LPs I've seen are in stereo (true stereo), so a mono CD
sounds like a shuck. No reason it should be priced more than any other CD.
[Ouch.]

The best Prado CDs are ones featuring his later work from the 1970s --
Mexican releases. And there's at least one Mexican LP with serious funk on
it. Prado vinyl is cheap and plentiful, and bottom-heavy mambo really begs
to be enjoyed in analog. But the TREMENDOUS Concierto Para Bongo LP is hard
to find so get that CD!

>** PEREZ PRADO: IN HIS EARLY DAYS (W/HIS ORCH, LIMITD) (11CD) (RCA)

Prado's early days were pre-RCA. There are all sorts of inferior
budget-label LPs with usually the same, odd, public-domain outtakes and
stuff (like the Hendrix thing). One rare LP (which I'm selling), on the
Latin label Seeco, probably is his first true album session.

RCA picked him up after he was already a sensation in Mexico. The first LP
was a 10" and it was mostly a collection of hit singles previously released
on 78s. Mambo #5 and Mambo Jambo, among others, were re-released,
re-recorded, and remixed many, many times. The Japanese material is quite
different than "Big Hits By Prado," and "The Best of Perez Prado" on Camden
is even different than those two. (Big Hits and Best of have the exact same
tunes but different mixes.)

tony

The Wilds Scene ->  http://www.charm.net/~wilds/



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From: Peter Hipwell <[e-mail]>
Subject: (exotica) Adventures Of The Wheels Of Cheese
Date: 03 Jul 1997 19:06:06 +0100


First, a couple of questions:

1) Stanley Wilson: who he? I've got an album with just a couple of
Stanley Wilson tracks on, including "Alfred Hitchcock Presents". He
was also the second conductor for "Latin-Esque", right? That's all I
know. Hope someone can tell me a little more about this guy.

2) There's a remix CD of Pierre Henry's "Messe Pour Le Temps Present"
out on Phillips France (the original is available on CD too), with
remixes by Dimitri From Paris, Funky Porcini, others (this was
mentioned in the current (?) issue of "The Wire", which has an
article on/interview with M. Henry). Has anyone got this who would like
to comment on its goodness/badness?

Second, a bunch of waffle about some skimmings from the large piles of
recent weeks. Perhaps that's an unfortunate way to put it. Never
mind. "If you want the waffle to be removed, please e-mail an email
removal reply with the word "remove" in the subject title header
reference line banner, and even though it bounces we will add you to
two dozen more spam lists."


"The Sizzling Twenties" -- Eric Rogers and his Orchestra

Early Decca Phase 4 release. It's truly ridiculous and splendiferous,
with bananas instrumentation plus daft as a brush effects lathered
everywhere create that instant ROTFLMAO atmosphere. The rendition of
"Tiger Rag" takes the cake, featuring a guy with a sore throat
pretending to be a deadly stereophonized tiger, female squeaks (a
"damsel" who unfortunately turns out now to have moved fast enough,
according to the liner notes), tuneable drum boings and slidey
whistles, as well as the speedy noodlings.

"Bongos From The South" -- Edmundo Ros

Another early Decca Phase 4 record. Mr. Ros is really at the peak of
his powers with this one. "Deep In The Heart Of Texas" as a conga. A
frightening man.

"Twelve Star Percussion" -- The International "Pop" Stars

Another early Decca Phase 4 record... at least it would be if I hadn't
found the mono version (Sound 4). Not up to the level of the two
above, but it does have "Button Up Your Overcoat" on it. So there you go.

"Dancing Percussion" -- Kurt Edelhagen and his Orchestra

Polydor Stereo Musicale. Nice music, but a really clicketty
disc. However, the interior of the gatefold has charts for each song,
showing a bar-by-bar breakdown of which side each instrument appears
on, so when they get obliterated I can always look up what would have
happened.

"When The Saints Go" -- David Lindup and the Big Band

As John Dankworth's liner notes say: "This [the title] of course
refers to an edict of the Vatican in 1969 declaring redundant a number
of the more legendary and less historically substantial members of
that exclusive circle". However, why Mr. Lindup chose this theme to
create 12 tracks of cheese-funk music is an open question.

"Shakespeare and All That Jazz" -- John Dankworth and Cleo Laine

Cleo sings segments of speeches and sonnets to Johnny's noodling. I
find this rancidly repellant. I had to do the thing where you get the
needle and listen to the first 10 seconds of each track and then sigh
and stick it in that pile with the good-looking covers but no musical
value whatsoever.

"The Very Best Of Roberto Delgado"

It's got Mr. Delgado on the front wearing his NHS specs and a
sombrero. He looks like a pudgy Vic Reeves. Most of it isn't up to his
very best ("Hawaiian Blue Beat Baby", "Salambo No. 1"), but most of it
gets to "quite best" level, and it does contain his version of "Soul
Limbo", which Brits will recognize as the cricket theme and get very
excited and start banging tin mugs as they dance around the room. Or
not, according to temperament.

"Pop Goes The Posthorn"
-- Elgar Howarth and the Grimesthorpe Colliery Band

I've been looking for something like this for ages: the album "Bravo
Brasso" produced by George Martin is a Studio 2 album that attempts to
give a "modern" brass band sound, but it's pretty boring. This, on the
other hand, contains both the traditional skillful brass band fare
(e.g. Prelude from Act III of Lohengrin), plus some specially written
"pop"ular music: the high speed "Cops and Robbers" and "Pell Mell".
Perhaps the most exciting euphonium playing I've ever heard.

"This is Andre Brasseur"

Attack of the Belgian multi-sound organist. Curate's egg. Bit
disappointing, because M. Brasseur wrote IMHO the greatest grooviest
organ pieces known to BE: "Mad Train" and "Hold Up".

"Cugat in Europe" -- Xavier Cugat

This is marvellous: it was well worth the price of admission (40p)
just to have the Latinized version of "Apache", let alone the rest.

"Stag Party" with Ruth Wallis

Apparently if you stick this on for a party of red-blooded lads, your
party will "get going one way -- or another!". I think if I tried it,
they'd get going out the door pretty sharpish, the same way it did off
my turntable.

Last -- but certainly not least --

"An Evening With Les Dawson"

Which is not even remotely relevant to an exotica list, but the cover
picture indicates that he used to be ginger. Curious, and probably
curiously uninteresting.





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From: [e-mail]
Subject: Re: (exotica) So THAT's Farrakhan!
Date: 03 Jul 1997 14:14:27 -0400 (EDT)


Tony Wilds writes:

>I don't have time just now to look for the second one, but "Is She Is, or
>Is She Ain't" is on one of the greatest of all calypso records. The
>compilation "Don't Touch Me Tomato" features a perfectly obscene jacket: a
>deformed tomato resting on black lace panties. It also has the Duke of
>Iron's three greatest naughty calypsos, The Big Bamboo, Parakeets, and I
>Left her Behind for You.

     Jello Biafra also mentions a Farrakhan disco single entitled "Let Us
Unite" in his interview in Re/Search's "Incredibly Strange Music, Vol. II."
Jello:
     "And here's a LOUIS FARRAKHAN *disco* single!  It shows him posing in
front of a fake sunset remarkably like the fake sunsets found on HEINO album
covers.  He croons in Barry White-style, "Let Us Unite" with the same "unity
or else" mentality of early Agnostic Front skinhead lyrics."
     There's a picture of the single's sleeve next to Biafra's comments.  The
copyright date is given as 1984, but it kind of looks older than that to me;
maybe '77 or '78.
                    --Jon Johnson
                      [e-mail]
                      North Swanzey, New Hampshire



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From: [e-mail] (Br. Cleve)
Subject: Re: (exotica) a frightening new find
Date: 02 Jul 1997 20:43:03 -0400


Michael Greenberg wrote:
>I recently found a sealed copy of a 12" single 45 rpm stereo record
>from 1976 by Lalo Schiffrin which is a "Disco Mix" of (side 1) Jaws
>and (side 2) Flamingo and Quiet Village (yes, Baxter goes disco!).
>Apparently these tracks are from an lp entitled Black Widow.
>
>Is anyone familiar with this one?

I just picked this album up last week. It's a funky disco record (Schiffrin
did a few of these on CTI Records in the 70's. "Towering Toccata" is a
really good one.)  "Jaws" and "Quiet Village" would surely stump anyone in
a blindfold test; you'd never know either one if the titles weren't on the
record. That's not to say they're bad, mind you. "Flamingo" is
recognizable, and nice.

These records work alongside the various EZ Disceau (as Jimmy Bee has
nicely dubbed it) things like Salsoul Orchestra, Van McCoy, Love Unlimited
Orchestra, Ritchie Family, & T.I.P. Orchestra.

Found the ultimate EZ Disceau record last week - "Slide.....Easy In", a
homoerotic disco album by the one and only Rod McKuen (his name does not
appear on the outer jacket). The cover features a shortening-slathered fist
coming out of a Crisco (redone as Disco) can. The title tune features the
moans and groans of a gentleman being, uh, buggered. Rod also sings a paean
to Anita Bryant called "Don't Drink The O.J." Today I saw an LP called
"Rock, Gently" subtitled "Rock Hudson sings the songs of Rod McKuen". I see
a pattern here.

Rod saw Combustible Edison in L.A. last fall, and soon thereafter reissued
a few Exotica compilations on the Laserlight label. He's proven for 40
years that he knows a trend when he sees one, as he's made beatnick, folk,
rock, poetry, environmental, & mood music records.

br cleve


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

From: [e-mail] (Br. Cleve)
Subject: Re: (exotica) Adventures Of The Wheels Of Cheese
Date: 03 Jul 1997 14:38:44 -0400


Peter Hipwell wrote:
>1) Stanley Wilson: who he? I've got an album with just a couple of
>Stanley Wilson tracks on, including "Alfred Hitchcock Presents". He
>was also the second conductor for "Latin-Esque", right? That's all I
>know. Hope someone can tell me a little more about this guy.

Stanley Wilson was an orchestra leader, conductor and composer. He was also
the Music Supervisor at Universal Television, where he hired Juan Esquivel,
Pete Rugolo and John Williams (still known as Johnny) to write musical cues
which are still used today. He conducted the "M-Squad", "Wagon Train" and
"Lost Man" soundtracks, and wrote the music to "Shotgun Slade" (a private
eye western), among others. I have a TV Theme album he did on Mercury. He
died in the early 70's, in a car accident,according to Esquivel.

>2) There's a remix CD of Pierre Henry's "Messe Pour Le Temps Present"
>out on Phillips France (the original is available on CD too), with
>remixes by Dimitri From Paris, Funky Porcini, others (this was
>mentioned in the current (?) issue of "The Wire", which has an
>article on/interview with M. Henry). Has anyone got this who would like
>to comment on its goodness/badness?

It's pretty nice overall - it contains a couple of Henry's original
recordings from the late 60's along with the remixes. Most mixes are in a
drums n bass style, although the ones by Dimitri From Paris and Chris The
French Kiss would not be out of place at an EZ Listening dance club.

br cleve


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

From: "m.ace" <[e-mail]>
Subject: (exotica) Sometimes an augmented 6th is just an augmented 6th
Date: 03 Jul 1997 14:54:39 -0400


> ...just a response to some deep-seated psychological needs
> having to do with mating rituals.

Gawrsh! I guess I've been listening to this music all wrong. I thought I was
just digging enjoyably interesting music with a wide variety of colors, rhythms
and structures. Silly me -- always the last to catch on. So what're the rules
here? I have to have a date present before I'm allowed to turn on that
white-male-technology hi-fi (with all of those glowing, phallic tubes)?

(turning down the sarcasm) This all ties in to the historic problem that most
writing about music is not about music. It's about lyrics, personalities,
style, sociology, psychology (I almost lapsed into J. Rotten's rant at the
beginning of "No Fun") -- anything but the music (which is maybe a good thing
-- let the actual music remain an ineffable mystery). The instrumental nature
of much of this field of music probably exacerbates the situation. Maybe if the
next ComEd album had some nice lyrics about the pain of existence, lonely
Saturday nights and saving the rain forests (that would be a perfect track for
an Yma Sumac cameo appearance), the reviewers would be real happy. (oops,
bumped that sarcasm knob by accident)

Again, apologies in advance to Randall. I haven't read your article and can
only go by what has been said on the list -- so I may well be offbase.
Apparently you've also had some exchange with Michele that was offlist or lost
by my fluky mail server. Anyway, reading between the lines, it SEEMS like your
article was more about the lounge club scene than simply the music. And IF so,
haven't clubs always been about mating rituals, whatever the music?

And as long as I've gone and shot off on this subject again, a couple other
things that bugged me in the L.A. Weekly screed:
1) The usual implication that people latch onto one genre of music and that's
it. Besides the fact that this "genre" is mighty wide-ranging, I think a lot of
us on the list also enjoy many varieties of music that would not fit in here.
2) If that article is to be believed, the women on this list do not exist.

(don't really have a tube stereo, just wish I did -- hmm, wonder what I meant
by that?)

m.ace
[e-mail]


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

From: [e-mail]
Subject: Re: (exotica) Robert Mitchum
Date: 03 Jul 1997 15:34:52 -0400 (EDT)


kpundit sez:

<< And, I even think his calypso album isn't that bad! I mean, the voice
 isn't what you'd expect to come out of a Robert Mitchum, but it's not THAT
 bad or laughable. Is it? >>


it's not bad at all.  i like it.  i'm gonna listen to it this afternoon at
work, in fact.


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

From: [e-mail] (Doug Frisby)
Subject: (exotica) Night Of The Hunter
Date: 03 Jul 1997 11:50:43 -0700



     If you haven't seen Night Of The Hunter, do yourself a favor and rent
     it. In fact, I've just gotten in a copy of it and am willing to send
     it to one lucky contestant. Thhhat's right... The first to reply with
     the correct 2 part answer to the following question will win the brand
     new copy of "Night Of The Hunter"!!

     1. Preacher Mitchum has the words "Love" and "Hate" tattooed onto his
     hands. Which hand has the word "hate" tattooed onto it? The right or
     the left?? (one chance only)

     2. Who composed and conducted the score to the movie?

     Good luck. I'll notify the list of the winner as soon as there is one.

     Doug
     [e-mail]



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

From: [e-mail] (Br. Cleve)
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 03 Jul 1997 18:31:26 -0400


At 12:08 AM 7/3/97, [e-mail] wrote:
>However I am still troubled by the idea that
>there has to be a psychological explanation for the resurrgeance of Lounge
>music.

I am, too. For me, it was just a discovery/rediscovery of interesting,
well-crafted, groovy music. As a pre-adolescent in the mid-60's, my
favorite records were not rock records, but soundtracks by Mancini, Neal
Hefti, John Barry, Burt Bacharach, Jerry Goldsmith and others of that
school. When I discovered a bunch of Crime Jazz soundtracks at a flea
market in the late 80's, I went back and pulled out my old soundtracks. I
went off from there. I remembered hearing Esquivel at Byron Werner's
apartment around '85, and went searching out stereo oddity records. I was
still listening to (and playing) rock, soul, C&W, funk, zydeco, jazz, etc
etc (I've been a pro keyboard player for a quarter century). The odd thing
was when people I knew started saying I had lost my mind, that I was
listening to schlock (or my favorite complaint from L.A.Weekly writer
Johnny Angel, whom I'd known for years :"Whaddaya playing yer parents music
now?"). It was startling the amount of negativity that these records brough
out in people. It was just like when I brought Ramones and Sex Pistol
singles to a party one time back in '77 - people were really angry when
they got put on.

I guess one thing I've learned in all these years is that as a musician, I
listen to music differently than the average person. Most people really
only want to hear what was popular when they were in high school or
college, and hear that for the rest of their lives. Something about music
and memories that I will never be able to comprehend. No matter. But there
was something about EZ Listening that really got people mad. I found that
quite intriquing.

I did a few interviews with Randall Rothenberg when he was preparing that
article; he was trying to get at the "why and why now" question of it all,
which is a valid question, I guess. I always figured it this way - you can
really only take so much loud, angry music in squalid clubs; you can also
only take so much lame, overblown music at inflated prices in concert
ampitheatres. Combustible Edison came along and played some hopefully
different venues where there was no mosh pit, and you could carry on a
conversation over the music if you wanted to (although I wish people would
just shut the fuck up). But the real reason, I always thought, was that
women like to dress up for a nice evening, and men like to be where women
are.

Plus, the music sounds like movies and TV, and everybody likes them.

dressing up for a nice evening myself right now,

br cleve


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

From: [e-mail]
Subject: (exotica)Let's Calypso w/Mitchum & Farrakhan!
Date: 03 Jul 1997 20:06:52 -0400 (EDT)



  To answer the Louis Farrakhan question, I have I guess what you'd call a
12" ep by him singing 2 different songs (2 versions of each). You could call
it calypso but I don't think it would make someone want to go put on their
straw hat & drink their favorite rum drink! The songs have surprisingly
positive simplistic messages & there's a bit of funk & synth stuff in there,
too (also Farrakhan doing some "scat" calypso) but not based on politics or
anything else, I think I like Bob Mitchum's attempt better! The Farrakhan
record is on the A.V.C. label & is #10903 &, if I'm not mistaken, I think
I've seen it listed in the Vinyl Lives catalog (E-mail)
[e-mail] where Preston, who is also on this list, resides.
This is the only Farrakhan record I'm aware of.



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

From: "Indy Rutks" <[e-mail]>
Subject: RE: (exotica) Jimmy Stewart, Robert Mitchum and a Calypso question.
Date: 03 Jul 1997 21:20:58


On Thu, 03 Jul 1997 08:56:51 -0400,
[e-mail] wrote...
>
>Jimmy Stewart may be on tape reading his poetry.  He has made two
>appearances that I know of, one as a surprise to a great fan of his, Carol
>Burnett, singing a song about a cowboy named _____ Bob (I want to say
>Buffalo Bob, but I may be mixing Howdy Doody and Stewart) and his horse, a
>pretty good horse.

You may be thinking of "Ragtime Cowboy Joe":

Oh how he sings
Raggy music to his cattle as he swings
Back and forth in his saddle on a horse
(A pretty good horse)...

I'm most familiar with a version of this song done by Alvin & The
Chipmunks, but I do vaguely recall Jimmy doing this for Carol Burnett.



-Indy Rutks ([e-mail])

====================================================
I used to be "with it", but then they changed what
 "it" was. Now, what I'm with isn't "it", and what's
 "it" seems weird and scary to me. - Abraham Simpson
====================================================




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

From: "J. Diamond" <[e-mail]>
Subject: (exotica) Playlist for Jack
Date: 03 Jul 1997 20:50:20 -0700


KFJC play list 6/29/97 for Jack Diamond
http://www.KFJC.org


 ARTIST                  TRACK                          ALBUM
____________________________________________________________________
 Planets             Chunky
 Don Fagerquist
 Octet               Time After Time                Mode, 1957
 Herb Geller-Alto    Marty Paich-Piano
 Three Suns          Jingle Bells                   Ding Dong
                                                    Dandy Xmas
 Fokswingers         Time Won't Let Me              Harihar Rao-Sitar
 Louis Bellson Orch  The Eel                        Project 3
 Mel Brown           Sonuva Preacher Man            Impulse
 Bob Florence Orch   Temple Pagaent                 Exotica Suite!
 Henry Mancini Orch  Mystery Movie Theme            1976
 Phil Moore Orch. W/
 Leda Annest         Portrait of Leda Pt 1          Columbia
 Frank Morgan-Tenor
 Sax                 Conte Candoli-Trumpet          Jose Mangual-Bongo
 Wild Bill
 Davis-Organ         Machito's Rhythm Section
 Luis Miranda-Conga  Bernies Tune
 Mark Murphy         This Could Be the Start        Bill Holman Orch
                     Of Something Big               P & C Candoli
 Ray Martin
 Orchestra           Cartoonik                      Sound of Sight
 Dissvelt, Tom/      Sonik Re-Entry                 Song of the 2ND Moon
 Baltan, Kid
 Esquivel            Scheherezade                   Strings Aflame
 Ventures            Aquairius/Let the Sunshine
 Henry Mancini       Birdie Num Num                 The Party!!!!!
 Leonard Rosenman    Captured                       Beneath/Planet/Apes
 Stanley Meyers      Kinky Dolly                    Kaleidescope
 On Her Bed of Roses Walk to Hell-Destruction       On Her Bed of Roses
 Truman Capote       Person's Unknown               Reads From
                                                    In Cold Blood
 Jerry Styner        Shacktown Revenge              Savage Seven
 Reverend Horton
 Heat                Marijuana                      Smoke 'em If You Got 'em
 Lawrence
 Ferlinghetti        The Poets Eye                  Fantasy, 58
 Chapuis,                                           [coll]: Gravikords,
 Jean-Claude         Luminescence                   Whirlies &....
 Paul Horn Qrt       Chloe                          Dot, 1958(?)
 Ken Nordine         Spectrum                       Word Jazz Vol. 2
 Roy Lanham          A Smooooooooooooooooth One     Dolton, Stereo
 Rod Mc Kuen         The Elegant Prison
                     Downstairs                     Beatsville
 Peter Green/
 Fleetwood Mac
 Live                Underway Live at the B B C     1969
 Mal Shape, Jim
 Coyle               The Big Sleep                  1964
 Warren Barker Orch  Hawaiian Eye                   1960
 Mel Henke           The Twisters!                  Warner Bros.
 Davie Allen/Arrows  The Devil's Rumble             Devil's Angels
 Link Wray           Please Please Me               Beatles, 1963
 Shorty
 Rogers/Giants       Manteca                        Afro Cuban Influence
 Al Caiola           French Connection Theme
 Gianni Oddi         Geronimo
 Arnold Stang        Ferdinand the Bull             ABC Paramount
 Shorty Rogers       Louisiana Tow'd                Bug Out
 Brass Managerie     Theme From Shaft               1973!
 Synthesonic Sounds  Superfly                       [coll]: Easy Project
 Pete Rugolo Orch    Diamond on the Move

KFJC 12345 El Monte Road, Los Altos Hills, CA 94022
http://www.kfjc.org
All DJ's Playlists and all music added to the KFJC-FM Libraries, Home
Pages, Music DB Keyword Search and all sorts of other quel stuff.

Bye for now,
Jack


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

From: Magnus Sandberg <[e-mail]>
Subject: (exotica) Internet shops?
Date: 04 Jul 1997 11:13:32 +0200


Hi
I enjoy looking at "Lps for sale" lists, as I imagine most of You do.
The problem is it takes time finding them.
So, do You have any suggestions on good dealers on the net? I have Dusty
Groove America, Subliminal Sounds & Stuff, Wilds Sounds,
JackDiamond.com, Johans ANTIQUARIUM and some more bookmarked.

Please e-mail me.

-------
Magnus



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

From: Peter Hipwell <[e-mail]>
Subject: [Br. Cleve: Re: (exotica) Adventures Of The Wheels Of Cheese]
Date: 04 Jul 1997 11:31:23 +0100



Br. Cleve wrote:
> Peter Hipwell wrote:

> >2) There's a remix CD of Pierre Henry's "Messe Pour Le Temps Present"
> >out on Phillips France (the original is available on CD too), with
>
> It's pretty nice overall - it contains a couple of Henry's original
> recordings from the late 60's along with the remixes. Most mixes are in a
> drums n bass style, although the ones by Dimitri From Paris and Chris The
> French Kiss would not be out of place at an EZ Listening dance club.
>

"Chris The French Kiss"? As a nom de disque, that's almost a match for
"Julian Bream and His Freshwater Stream" or "DJ Osprey". There's
something about a rhyme that's sublime.

The original "Psyche Rock" is not out of place in our EZ Listening
dance pub club, which should give you some idea of the level of
smoothie sophistication we are evincing on this side of the pond.
I am living in a heterogenous inferno of beer and fags... sorry,
cigarettes (NO SNICKERING AT THE BACK THERE), and tequila and brown
slip-on shoes and corduroy and golf and Frenchness and... even the odd
piece of music.



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

From: [e-mail] (Wayno)
Subject: (exotica) That Man... Robert Mitchum
Date: 04 Jul 1997 07:11:32 +0100


Besides the famous calypso LP, Mitchum also recorded a pretty fair country
album, "That Man Robert Mitchum... Sings" (Monument Records, 1967) that's
worth seeking.

The LP includes a more laid-back version of "Ballad od Thunder Road" plus a
version of "Whippoorwill," which was originally sung by Keely Smith in the
film.
Here's a full track listing:

You Deserve Each Other
Walker's Woods
Wheels (Keep A-Rollin')
In My Place
Ballad of Thunder Road
That Man Right There

Little Ole Wine Drinker Me
Ricardo's Mountain
Sunny
Little White Lies
Gotta Travel On


The liner notes by Johhny Mercer are priceless too:

"...His beat is impeccable, only a shade behind Bobby Darrin, and if a note
is too high for him, what the hell -- he can act his way through it. I
think the quality of his singing will surprise you -- if it hasn't already.
If I sound like a "fag", sue me. As a singer, I'm sort of in the same
bag... I'm a red-hot personal fan."

The Bear Family CD "That Man" (BCD 15890 AH) includes all the material from
both LPs as well as both sides of the 1958 "Thunder Road" single. It has a
28-page booklet with tons of photos, discography, detailed session
information and liner notes.

Don't miss Scamp's domestic reissue of "Calypso... Is Like So" either --
with liner notes by the world's greatest living music writer, Nick Tosches
(Tosches has a terrific large article on Ed Sullivan in the current Vanity
Fair).

Wayno





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

From: Magnus Sandberg <[e-mail]>
Subject: (exotica) A book about homemade instruments
Date: 04 Jul 1997 13:19:49 +0200


A few month, maybe a half year ago, I read in a swedish newspaper about
a new book on homemade instruments. It featured interviews with the
inventors (maybe 20-30) and a CD with examples of their music. The
volume was rather luxurious and expensive as far as I can remember.

If anyone recognize my vague description, and has something to tell me
about this book+CD please e-mail me.

Maybe it┤s the best book in the galaxy, who knows?

--------
Magnus



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

From: Magnus Sandberg <[e-mail]>
Subject: (exotica) Gravikords Whirlies and Pyrophones
Date: 04 Jul 1997 16:54:50 +0200


>It┤s called "Gravikords Whirlies and Pyrophones" and you can get it at
>Subliminal Sounds and Stuff. We┤re sold out at the moment but it will
be
>back in soon.

>Stefan

Thanks for the title. I found a image off the cover for those who havent
seen it. NICE!

http://www.ninestones.com/pics/gravi.jpeg

-------
magnus



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

From: [e-mail]
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 04 Jul 1997 12:12:21 -0400 (EDT)


In a message dated 97-07-03 10:38:16 EDT, [e-mail] writes:


With respect to the psuedo-psychological readings some writers have given
regarding Lounge or any subject for that matter, unless these writers are
merely trying to give relevance to their own subjective feelings by trying to
find some as yet unproven and soley self-conjectured theory and backing it up
with psychological mumbo jumbo that they don't have the degree nor sufficent
psychological education to back it up.

How about turning the tables: Is it possible that due to some childhood
repressed opedial complex these writers are actually sublimating their father
hatred (for one time they couldn't stay up late) with the Lounge movement (or
whatever they or their editors don't like this week). And furthermore an
innate fear of loss of love (probably caused by not getting one week's
allowance at the age of seven) have been forever ingrained in them so that
they must follow through with this pop psychology or risk dissmisal.

Back in the late '70s and early '80s I was a huge punk rock fan, a fan of the
English stuff and not so much the American bands. Does this mean I was
identifying with the lack of respect the Tory government was showing the
upcoming future genration and my response the the increasing British
unemployment!

Hardly.

It was more a reaction to how boring rock had become. How it would cost big
bucks to see a group like Pink Floyd in a mega-dome stadium, it was about the
great distance that had seperated bands from their fans - not just at the
venue but more importantly in subject matter. Punk answered that. it was
about people my age making exciting music that you could see up close and
hang out with after the show. It was about the subway versus the limo.

That's kind of what lounge is all about. It's the social aspect of hanging
out with a group of friends listening to music that in comparison to the
often jagged, discordant, repetitive , formula sound of much rock music today
is amazingly fresh, well-crafted and highly melodic. And the funny thing is
these people whio like this stuff are amongst the most learned musically
cognizant people around, whose record collections span several eras and
several genres.

You are right Michelle, it IS about the music.

Why Randall focused on a group of trust fund club kids is that it made good
sensationalist copy for the Esquire reader, who would go nowhere near this
scene  couldn't vaildate Mr. Rothenberg's piece as anything less than a
correct and insightful  expose of "you wouln't believe what the crazy youth
of America is into now."

Who called this stuff Lounge anyway? The press strikes again. Think about it.
The term lounge is regarded by many performers of this era as the place you
were relegated to if you didn't have the talent or the popularity to fill
"the big room." Hence, from the outset, the subtext of this term was somewhat
disparaging. The Millionaire was correct in calling this Mood Music. That's
precisely what it is. And this fine tradition continues to this day with the
electronic movement. This "lounge" stuff is merely "classic" mood music and
it's continued importance in current electronic music can be seen in several
bands' compositional structure, and most aparently in their use of sampling.
Here is one contemporary form of music that is showing due respect to music
of this "lounge" era - unlike some of the current crop of magazine writers.

Ashley


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

From: Tony Wilds <[e-mail]>
Subject: Re: (exotica)Let's Calypso w/Mitchum & Farrakhan!
Date: 04 Jul 1997 13:11:33 -0400


>positive simplistic messages & there's a bit of funk & synth stuff in there,

Not the calypso record. The Charmer's calypso record is GREAT and
absolutely authentic, hence it's inclusion on the best calypso compilation
record. It dates at least to the early 1960s, probably earlier. "Is She Is,
or Is She Ain't" is about gender identity, as I vaguely recall.

On the playlist for tomorrow night's tiki party.

tony

The Wilds Scene ->  http://www.charm.net/~wilds/



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

From: "m.ace" <[e-mail]>
Subject: (exotica) on the high road with...
Date: 04 Jul 1997 16:49:35 -0400


If you haven't heard, Charles Kuralt has departed on that road trip in the sky.
(Does this play out the traditional "series of three" superstition?)

So, following in this week's unfortunate theme, did Mr. Kuralt ever wax any
tracks?


(wondering if the Mars probe will send back photos like "Space Escapade")

m.ace
[e-mail]


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

From: [e-mail]
Subject: (exotica) Re:  Stereo Separation
Date: 04 Jul 1997 18:06:56 -0400 (EDT)


Greetings all!  I hope that everybody is having a safe and happy 4th of July.
 Me? I just mixed a Pina Colada in one of my favorite coconut bar ware cups
(hint, always double up on the rum).  We'll light the tiki torches in about
an hour and "swank out" with Denny as we grill on our very suburban-esque
deck.

In a message dated 97-07-03 04:29:15 EDT, Brian Phillips writes:

<<  have oftentimes wondered if the extreme Stereo of some records was also
 partially due to consumer outcry at the time.  >>

I read an article once (Stereo Review? about 10-15 years ago) that argued if
it was consumer driven v. industry/marketing driven.

The point of the article was more along the lines that consumers would always
buy something new  -  but had to be convinced that it was new and that the
purchase would elevate the consumers social status.  The article suggested
kick-backs from equipment manufacturers to record companies.

Sounded to contrived until it made the point that new stereo equip owners
would want to purchase new stereo records to replace their mono ones.

The article went into great detail about how the tremendous separation would
convience neighbors, friends, etc. that they needed a new stereo to be social
equal.

Detroit did this for years.  When GM added airconditioning in 1953 (Buick and
Cadallic) they opted for the coils to be mounted in trunk with clear vent
tubes coming out of package shelf into head liner where the vents were.  They
knew when you were on the road people would see you with the windows rolled
up and know you have airconditioning.  Now even in you driveway or a parking
lot people could identify you have A/C.  You could raise YOUR social status
by buying a car like theirs.

This marketing stuff has always facinated me.  Any comments?

Regards

Robert Brooks (Tiki Bob)


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

From: "Michael D. Toth" <[e-mail]>
Subject: Re: (exotica) Crazy Prado Japanese imports
Date: 04 Jul 1997 17:33:09 +0100



>>La Hora Azul Perez Prado en el Recuerdo "Cerezo Rosa," "Mambo No. 8 -
>>Que Rico el Mambo," "La Virgen de la Macarena," more. B&W. ( mono)

>This material (post 1956 or '57) was released on several LPs in the 1970s
>under license from RCA Japan -- LPs from Mexico, Europe, and Japan at
>least. All the LPs I've seen are in stereo (true stereo), so a mono CD
>sounds like a shuck. No reason it should be priced more than any other CD.

Uh oh. Maybe I didn't make this clear enough -- this isn't a CD, it's a
video *Laserdisc* of filmed vintage Prado performances, ergo the Mono
sound.

The other info is really appreciated though. It's REALLY tough to make
sense of that sea of Prado CDs out there.

Michael David Toth
[e-mail]
[e-mail]


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

From: [e-mail] (R.Preston Peek)
Subject: Re: (exotica) on the high road with...
Date: 04 Jul 1997 19:44:18 -0400


>If you haven't heard, Charles Kuralt has departed on that road trip in the sky.
>(Does this play out the traditional "series of three" superstition?)

That's what I had thought, but he actually makes four (Brian Keith
committed suicide about a week ago).

Does this mean there are two more coming (for back-to-back series of three)???




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

From: [e-mail] (Doug Frisby)
Subject: (exotica) Winner...
Date: 04 Jul 1997 16:10:06 -0700



     We have a winner of the Night Of The Hunter video. The word "Hate" was
     tattoed on his left hand and Walter Schuman composed and conducted.
     Thanks.

     Doug



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

From: Jessica Cameron <[e-mail]>
Subject: (exotica) Abstract Female Vocals and the Salsoul Orchestra
Date: 04 Jul 1997 19:50:31 -0400


I can't get enough of Yma Sumac, Bas Sheva, and Leda Annest, but can't seem
to find any other LPs with abstract vocals. Way way way back when I used to
read the mailing list archive after my computer class I remember a thread
about a "Bas Sheva-esque" advant-garde suite with a woman snorting and
grunting and generally making far-out noises. I think the whole suite was
used on a documentary on PBS back in the 70s. Does any of this ring a bell?

On a different note (lame music pun from tin-eared old me) ^_^, I was
thrilled to see my beloved Salsoul Orchestra (salsa + soul = salsoul)
mentioned on the list! I'm known to suddenly belt out all-time Vincent
Montana Jr. penned classics like "Nice and Naasty" or  "Beat Around the
Bush" when on record shopping trips. ;) The only cruddy thing about that
Salsoul sound is that a lot of their albums seem to be reissues of the same
tunes. :(  But, I recently found one with a beautiful (and subdued) tune
called "Nightcrawler"--kind of a disco-exotica thing, complete with
tv-detective show flute and cricket noises. The record also had the famous
"Christmas Jollies"  girl on the cover UNCENSORED, in a "Dance Your Ass Off
to the Salsoul Orchestra" t-shirt.  There's a cheap Salsoul reissue on the
Springboard label (with credits given to the Salsa '78 orchestra) that has a
good cover of the Ritchie Family's version of  "Quiet Village," too. The
Salsoul label has a lot of really great latin-exotica-electronic disco
albums by Charo, Candido, etc. I wish they were easier to find.

Thanks for the space (and any suggestions regarding abstract vocals), Jessica

Oops, I forgot. One more thing about this "media criticism" thread--is it
just me, or is the word "lounge" being over-used? I know some people who use
it to describe ANY music without vocals, and it drives me crazy! I only feel
comfortable calling something "loungey" if the liner notes say it was
performed in a resturant or bar (or if it sounds like it was performed in a
resturant or bar). I guess tourist and comedy records are "lounge," too.

Was this a rant? Thanks again, Jessica ^_^



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

From: Pea Hicks <[e-mail]>
Subject: Re: (exotica) Abstract Female Vocals and the Salsoul Orchestra
Date: 04 Jul 1997 18:50:02 -0700


Jessica Cameron wrote:
>
> I can't get enough of Yma Sumac, Bas Sheva, and Leda Annest, but can't
> seem
> to find any other LPs with abstract vocals.

Well, depending on how far you want to strecth the "exotica" genre, you
could always check out Diamanda Galas...!
>
> The record also had the
> famous
> "Christmas Jollies"  girl on the cover UNCENSORED, in a "Dance Your
> Ass Off
> to the Salsoul Orchestra" t-shirt.

I've got two copies of "Christmas Jollies-" one with the uncensored
shirt and one with the censored shirt, except that on that one you can
still see through the poor censorship job and make out the words!

pea
(...trying to imagine how *anyone* could listen to Salsoul Orchestra
long enough to "dance their ass off" to it...)

--
                        Pea Hicks
               "Memory is my drug of choice."
               <---Realm 'O' The Optigan--->
               http://www.pilot.com/optigan
               Who will be the next to brave
                   the *perils* of the
                    VIRTUAL OPTIGAN??!


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

From: [e-mail]
Subject: (exotica) Tony Wilds & Louis
Date: 04 Jul 1997 22:20:00 -0400 (EDT)



  To Tony Wilds who has responded so politely & favorably to my entries in
the past: if you read my note, You will notice I was commenting about a
SPECIFIC Louis Farrakhan record- a 12"  called "Let Us Unite" which, if you
can listen to & say there are no synths or funk influence, you've got yet
another problem. I am unaware of Louis Farrakhan's other recordings & I don't
doubt you are correct. But try reading next time. STILL your "pal".


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

From: [e-mail]
Subject: (exotica) discoveries at home
Date: 04 Jul 1997 22:48:26 -0700 (PDT)


A holiday finally gives me the opportunity to straighten out my collection
and, in the process, play music I had never heard (just because I have a
recording doesn't mean I listened to it!).

I ran across a neat 45 on the Sunbeam label.  Al Caiola led the orchestra
and Dick Haymes did the vocal for "Suffer."  The bit of nasty in Dick's
voice with the neat instrumental arrangement really made this work.

Ever listened to the 1988 A&M release "Stay Awake," a CD of contemporary
musicians doing renditions of Disney songs?  I just re-listened to it and
discovered that Yma Sumac is on it doing her version of "I wonder."  It was
part of a medley and Buster Poindexter led off with "Castle in Spain" which
made good exotica as well.

By the way, the producer of this very unusual CD (well, weird), Hal Willner,
mentions a 1978 anthology put together by Dick Schory on his own Ovation
Records.  It was a four disc album of Disney music.  Has anyone run across
this before?  Sounds interesting.




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

From: Tony Wilds <[e-mail]>
Subject: Re: (exotica)Let's Calypso w/Mitchum & Farrakhan!
Date: 05 Jul 1997 14:37:30 -0400


>To answer the Louis Farrakhan question...You could call it calypso

As with David Pike, you're generalizing from one later, irrelevant record.
You needn't address me or "the question."

That's all I have to say about it, and sorry to all.

Tony Wilds

The Wilds Scene ->  http://www.charm.net/~wilds/



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

From: [e-mail]
Subject: Re: (exotica) Abstract Female Vocals and the Salsoul Orchestra
Date: 05 Jul 1997 14:37:55 -0400 (EDT)


In a message dated 97-07-04 22:21:22 EDT, Jessica wrote:

<< I can't get enough of Yma Sumac, Bas Sheva, and Leda Annest, but can't
seem
 to find any other LPs with abstract vocals. >>

Hugo Friedhofer's liner notes to his OST for "Boy On A Dolphin" credit Marni
Nixon with "out-of-this-world vocalise." She sings briefly on one cut and
extensively on another during the film's underwater diving scenes, very lush
and pretty stuff. Much of the album would fit in nicely on Baxter's "Jewels
of the Sea,"  and the composer describes his music as "romantic, exotic, and
impressionistic, written in an idiom that has been current for approximately
fifty years."  (Think Debussy, Vaughn-Williams and Delius).
Many of these LP's were probably sold because of the cover with Sophia in a
slip.
Marni Nixon dubbed Natalie Wood's singing in West Side Story, and her voice
was used for many other famous movies I can't remember.
The "Boy" OST also has two songs by Mary Kaye, who sounds like the same
singer & guitarist in the Mary Kaye Trio, a true "lounge" act that put out
some 50's LP's("Jackpot" has slot machines on the cover) and appeared in the
Baxter-scored film "Bop Girl goes Calypso."

JB


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

From: Jason M Tucker <[e-mail]>
Subject: (exotica) Cocktail--Shaken and Stirred...
Date: 05 Jul 1997 14:57:09 -0500 (CDT)


I just picked up this disc used at a local shop, and I have fallen in love
with it!  I was biking downtown and started it on my discman, and almost
fell off my bike when I heard the cover of "Safety Dance" and then when I
heard "You Oughta Know" I was completely dumbfounded by this group.  I've
played it for all my friends, who are lacking in appreciation, but, oh,
well.

My question is what else has been done by Jaymz Bee and the Royal Jelly
Orchestra?  Do they tour much?  I've seen the last 30 seconds of the video
for "You Oughta Know" on the Box, but that's all.

Another question:  I saw a compilation disc at Best Buy called Jabberjaw
that had Man or Astro-man? on it, as well as another new school exotica
group whose name escapes me.  Anyone know anything about this disc, and
whether or not I should put it on my shopping list?

Thanks!

______________________________________________________________________________

    Jason Marc Tucker                       University of Minnesota
        P.O.Box 13226                           Middlebrook Hall
    Minneapolis, MN  55414                  412 22nd Ave. S.
        pager:  [phone]                  Minneapolis, MN  55455
        e-mail:  [e-mail]            IRC nick:  TikiBoy
        Web:  http://www.tc.umn.edu/nlhome/m010/tuck0052
______________________________________________________________________________







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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Abstract Female Vocals and the Salsoul Orchestra
Date: 05 Jul 1997 16:25:33 -0400


> From: [e-mail]
> Subject: Re: (exotica) Abstract Female Vocals and the Salsoul Orchestra
>
> The "Boy" OST also has two songs by Mary Kaye, who sounds like the same
> singer & guitarist in the Mary Kaye Trio, a true "lounge" act that put out
> some 50's LP's("Jackpot" has slot machines on the cover) and appeared in the
> Baxter-scored film "Bop Girl goes Calypso."

Fun movie -- catch it if you get a chance. Another of those late 50s / early
60s movies based on the premise that rock 'n' roll is washed up and calypso (or
the twist, or whatever) is going to be the new big thing. Gotta love the
scientist/hero, club-hopping with his electronic meter that measures audience
excitement. Gives the proceedings a slight seasoning of "monster movie" flavor.

In guitar circles, a Fender Stratocaster with a blonde finish and gold hardware
is referred to as a "Mary Kaye Strat", as she was pictured with such a guitar
(which would have been a custom order at the time) in Fender promo literature
in the late 50s / early 60s. My one big disappointment with "Bop Girl" was that
Ms. Kaye had a hollowbody Gibson instead of the Fender. And no, she has no
connection to Mary Kaye, the makeup mogul. Then the guitar would be pink.

m.ace
[e-mail]


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

From: [e-mail]
Subject: Re: (exotica) Abstract Female Vocals and the Salsoul Orchestra
Date: 05 Jul 1997 21:32:26 -0400 (EDT)


Jbtwist wrote:

<< Hugo Friedhofer's liner notes to his OST for "Boy On A Dolphin" credit
Marni
 Nixon with "out-of-this-world vocalise." She sings briefly on one cut and
 extensively on...

 Marni Nixon dubbed Natalie Wood's singing in West Side Story, and her voice
 was used for many other famous movies I can't remember >>

marni nixon, marni nixon...i just know i have her on a record...which one is
it, again??  Oh yes!  Marni Nixon sings soprano solos on two tracks from the
Mother Magoo Suite, which is the second side of Magoo In Hi-Fi.  "Very
Contrary Mary" and "Sheepish Bo-Peep".  She's good.

The Metropole Orchestra has "faithfully reconstructed" the Mother Magoo Suite
and it's on a CD, from Basta.  The Delirium In Hi-Fi and Soothing Sounds for
Baby people.




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

From: Jessica Cameron <[e-mail]>
Subject: (exotica) Marni Nixon
Date: 05 Jul 1997 21:21:26 -0400


>Hugo Friedhofer's liner notes to his OST for "Boy On A Dolphin" credit Marni
>Nixon with "out-of-this-world vocalise." She sings briefly on one cut and
>extensively on another during the film's underwater diving scenes, very lush
>and pretty stuff.

Oh yeah! MARNI! She sang on a cut from "Orienta" and was featured in the
score of  "Dementia" (aka "Daughter of Horror" aka "the movie playing in
'the Blob'"), wasn't she?

Feeling kind of silly, Jessica ^_^



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

From: [e-mail] (Peter Principle)
Subject: (exotica) Re: Lounge Attack!!
Date: 06 Jul 1997 09:55:01 -0400 (EDT)


I thank both br cleve and Thee Millionaire for their lucid editorial
comments on the above thread.  I agree with you both.

Arguing issues of taste is not constructive, and attacking criticism fuels
other fires and looses touch with the original ground.  I prefer to use a
"spiritual" model when attempting to understand cultural semiotics, and am
sure little of use can be found applying Fruedian concepts to generalize
things like the popularity of something or changes in taste.  Perhaps the
artist's motives for creation can be somewhat illuminated using this map,
but it is simple minded and won't satisfy the interest of any one with real
insight or life experience...  These are the areas that good journalism
works, and bad journalism is just bad.

That said I can sympathize with the poor writers who must keep up with the
manufacture of trends and the generation of new classifications and lingo
necessary to continue to appear "hip" and "cutting edge" and must also
simplify things until they are "dumb enough" for mass consumption.  These
people's jobs are at stake here.  We as consumers have helped to make this
world we live in so we have to take some responsability for it.

Anyway, as a musician whose work has been constantly confusing and
frustrating (and I'm not always glad about that!) journalists and
marketeers for 25 years myself, I too have seen them all change colors, and
I am still doing the same thing I ever was... just sometimes with this
technology and sometimes with another.

thanx for the space...
stay perenially eclectic

peter principle




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

From: [e-mail]
Subject: (exotica) Wavy Gravy
Date: 06 Jul 1997 17:25:42 +0000 (GMT)


Hello everybody,

A few days ago I bought a CD called Wavy Gravy (for adult enthusiasts...).
Actually I didn't really know what to expect and the main reason for buying it
was the still from a Roger Corman-movie It Conquered the World (about giant
cucumbers who come from Venus and attack Earth) on the cover of the CD and the
weird and wonderful names of the 21 songs on the CD (my favourite is Senator
Everett McKinley and his version of "Wild Thing", but most of the songs are
great like "The Rubber Room", "Four Hairy Policemen" and "Bumble Bee '65).
Unfortunately, there is absolutely no information about the origins of these
songs or the excerpts from the '50's and '60's Z-movies which appear on the
disk (but the booklet does contain some great advertisements from those years,
for example "The Vibra-finger: instant relief in the needed places! Buy it now!
I wonder if there is anyone out there who could tell me something about the
origins of these songs?

Willem "Aloha" van Schaik
e-mail: [e-mail]


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

From: "Phil Clark" <[e-mail]>
Subject: (exotica) Jimmy Smith "monster" /  mono mixes / barbarella / lalo
Date: 06 Jul 1997 18:03:25 +0100


Hi Groovesters

Coupla things I thought I'd add to ...

[e-mail] wrote:




Some time ago, an EXOTICA listserv member asked about MONSTER, the album
by

Jimmy Smith and Oliver Nelson.  Some responses came back and I promised

details WHEN I could find my album.  FINALLY, it has happened.



One of the questions:whats it look like?  Acy Lehman designed the gatefold

cover with the cover photo by John Henry.  Inside there is a photograph
shot

from above of Jimmy Smith at his Organ talking with (presumably) Oliver

Nelson.

(snip)

Yep - great album - those Jimmy Smith Verve albums are amongst my faves
...


two other goodies are "Who's Afraid of Virginia Woolf" from 63 or 64, not
a
duff cut on it, and I think (I'm not near my record collection right now)
Oliver Nelson did the big band sounds on that one too. Recommended! And
another slightly strange cover there too ...

And of course the seminal "The Cat" from 64 ? with the tremendous Lalo
Schifrin arranging. Grooooooo - veeee!


And Then



          I think the example of the Beatles is excellent, in fact I

          was thinking the very same thing regarding those early

          Beatles albums with the instruments on one side and the

          vocals on the other when writing my post (boy what were the

          EMI engineers thinking back then????)


(snip)

The mono mixes of the early Beatles albums were issued on CD, they being
thought of as the definitive versions. This is probably the first two or
three or so albums. AFAIK in the early 60s when two-track was the norm,
studios used to record  the vocal on one track, the instruments on another
so that in the mixdown the vocals could be added with extra "punch" rather
than getting lost in the mix.  So making a stereo master from the
multitracks would result in vocals one side, instruments the other. Also
in
the UK  we were kinda behind the States in taking up stereo - a good ten
years or so I believe, so not till about 67 or 68 or so did stereo mixes
perhaps become the priority rather than the mono.

Some albums from the mid-late 60s differ quite a lot between stereo & mono
versions rather than the mono just being a "mono-ized" version of the
stereo - heres a few examples:

Beatles "White Album" mono is quite diff from stereo (different song
lengths, different edits &mixes)

Pink Floyd "Piper at Gates" is remarkably different (Interstellar
Overdrive in partic)

Velvet Underground 1st album is actually better in mono IMHO - much
punchier - track down an original Verve pressing if y'see it

etc...

Having said that, I recently got Ray Charles "Genius = Jazz + Soul"  on
CD,
which dates from about 61, and it sounds totally excellent - tremendous
accoustics.

AND!






Well, Barbarella was on British TV last night - the first time I'd

actually watched it all the way through: what a movie!



One nagging question - those whacked out guitar effects on the

soundtrack MUST be Vinnie Bell, mustn't they?



I have the soundtrack LP: plenty of kooky sleeve notes but there's no

listing of who actually played the music!



Does anyone know what the line-up was?


all I know is it was The Glitterhouse - I don't have a lineup listed
anyplace  but they made some other albums too including one with a silvery
mirrorized cover (which I don't have).

Great film & album - still supposed to be coming out on CD one of these
days (months? years?).

and then...






I recently found a sealed copy of a 12" single 45 rpm stereo record

from 1976 by Lalo Schifrin which is a "Disco Mix" of (side 1) Jaws

and (side 2) Flamingo and Quiet Village (yes, Baxter goes disco!).

Apparently these tracks are from an lp entitled Black Widow.



Is anyone familiar with this one?

Vaguely ... it came out on on CTI (Creed Taylor's label). I had it but sold
it a while back., IMHO not one of LS's best.

But there'll be those who differ...


Set the controls for the heart of the sun!

Phil
[e-mail]








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

From: [e-mail] (John Jones)
Subject: (exotica) Finds
Date: 05 Jul 1997 21:02:28 GMT


=46ound a pretty good batch today, all for $1 apiece.

Heino--"Mein Vaterland"
Peters International  PLD 7053  Stereo

Breaks the ice at parties.

Dick Hyman--"Basilian Impressions"
Command RS 911 SD  Stereo

Action Stereo--"Adventures in stereo sound effects"
Columbia/Harmony  HS 11043  Stereo

Charles Paul--"Console Magic"
RCA LSP-1668  Stereo

Napoleon XIV--"They're Coming To Take Me Away, Ha-Haaa!"
Warner Brothers 1661  Mono

The Astronauts--"Everything Is A-Ok!"
RCA LPM-2782  Mono

Terry Snyder--"Mister Percussion"
United Artists/Ultra Audio  WWS 8500  Stereo

Matin Denny--"Exotica Volume II"
Liberty LRP 3077  Mono

Hans Wurman--"The Moog Strikes Bach.."
RCA Red Seal LSC-3125  Mono

Walter Carlos--"The Well-Tempered Synthesizer"
Columbia MS 7286  Stereo

Lenny Dee--"Relaxin'"
Decca DL 74946 Stereo

I'll have plenty to tape over the long weekend.

John
--
No one will ever know exactly why or how, but by the
year 2050, everyone born in Baltimore will look=20
exactly like Ernest Borgnine.

Drew Friedman


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

From: "Mark A. Rosati" <[e-mail]>
Subject: Re: (exotica) on the high road with...
Date: 05 Jul 1997 11:47:48 -0400


R.Preston Peek wrote:

> >If you haven't heard, Charles Kuralt has departed on that road trip
> in the sky.
> >(Does this play out the traditional "series of three" superstition?)
>
> That's what I had thought, but he actually makes four (Brian Keith
> committed suicide about a week ago).
>
> Does this mean there are two more coming (for back-to-back series of
> three)???


I thought Charles Kuralt makes five... Brian Keith, Robert Mitchum,
Jimmy Stewart, and Jacques Cousteau.

So maybe we are in a back-to-back series?

Wondering who's next,
Mark


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

From: "kevin king" <[e-mail]>
Subject: Re: (exotica) on the high road with...
Date: 06 Jul 1997 14:18:01 -0500


Mark A. Rosati wrote:

> I thought Charles Kuralt makes five... Brian Keith, Robert Mitchum,
> Jimmy Stewart, and Jacques Cousteau.
>
> So maybe we are in a back-to-back series?

Well, there's Betty Shabazz, wife of Malcolm X, who suffered burns
from a fire set by her nephew before dying of injuries.  So that
makes at least six public figures recently deceased.

kevin


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

From: "Mark A. Rosati" <[e-mail]>
Subject: Re: (exotica) on the high road with...
Date: 06 Jul 1997 15:00:21 -0400


kevin king wrote:

> Mark A. Rosati wrote:
>
> > I thought Charles Kuralt makes five... Brian Keith, Robert Mitchum,
> > Jimmy Stewart, and Jacques Cousteau.
> >
> > So maybe we are in a back-to-back series?
>
> Well, there's Betty Shabazz, wife of Malcolm X, who suffered burns
> from a fire set by her nephew before dying of injuries.  So that
> makes at least six public figures recently deceased.

Didn't I read that actor William Hickey of Prizzi's Honor fame, passed
away recently?
Is there a trend???

Mark


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

From: [e-mail] (Ursula Blind)
Subject: Re: (exotica) on the high road with...
Date: 06 Jul 1997 12:33:35 -0800


>Didn't I read that actor William Hickey of Prizzi's Honor fame, passed
>away recently?
>Is there a trend???
>
>Mark


Well, yes there is a trend here. A lot of the people we consider cultural
icons are getting OLD. And unfortunately, death seems to be inevitable,
especially as people age.

Meanwhile, there are more recognizable public figures currently alive than
ever before, due to years of media saturation combined with increased
lifespans in general.

So brace yourselves for many, many more "significant" deaths in the
not-distant future.

--Ursula




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

From: [e-mail] (Laurence Roberts)
Subject: (exotica) Queer to the Core
Date: 06 Jul 1997 13:39:50 -0700


There's a recent CD boot reissue called "Queer the the Core"  It's a reissue
of 3 Camp records singles (I'd Rather Fight Than Swish, Mixed Nuts, and
the Ballad of the Camping Woodcutter) and the Teddy & Darrel Darrel
"You Silly Savage" LP, along with some stuff from the Pearl Box Revue double
album.  I'd be interested in getting in touch with whoever did this boot
but there isn't information on it.  Personally, if I was booting this
stuff, I'd put on my address, because the original records don't have
any contact info on them anyway and I'd be interested to see who contacted me.

The liner notes of the CD also omit mention of the "Queen is in the Closet" LP
and incorrectly states that the Pearl Box LP isn't listed in price guides (it's
in that recent comedy price guide.)

Larry-bob
[e-mail]
http://www.io.com/~larrybob

~


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

From: [e-mail]
Subject: (exotica) Make that 7
Date: 06 Jul 1997 20:49:31 -0400 (EDT)


>Mark A. Rosati wrote:
>
>> I thought Charles Kuralt makes five... Brian Keith, Robert Mitchum,
>> Jimmy Stewart, and Jacques Cousteau.
>>
>> So maybe we are in a back-to-back series?
>
>Well, there's Betty Shabazz, wife of Malcolm X, who suffered burns
>from a fire set by her nephew before dying of injuries.  So that
>makes at least six public figures recently deceased.

One of the remaining "little Rascals" died in NYC a couple of weeks ago and
I saw it on the news today. I think she played Darla.

Cherie
"amycamus"




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

From: Randall Rothenberg <[e-mail]>
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 06 Jul 1997 21:41:33 -0400 (EDT)


    Oh, come on, Ashley. Efforts at explaining sociological phenomena --
and music choices, as all consumption choices that extend beyond the
personal to the group, are sociological phenomena -- are totally
legitimate. And people love to participate in that exercise. There was
nary a person to whom I spoke during my research on the Esquire piece,
yourself included, who didn't speculate on the "why" of Lounge's appeal.
    As I told Michele (in an e-mail that didn't get posted to the
conference because I screwed it up), the fact is that Lounge *is* a scene,
and *is* more than the music. You yourself participate in that scene, by
showing up at Scott and Jack's In Hi-Fi. Now, your reasons may differ from
the scores of others who go there; and their reasons may differ from the
thousands who go to The 999999s and tha Lava Lounge and Mr. Phat's and the
various clubs in Austin and Minneapolis and other places. But the fact is,
something -- some set of reasons -- is drawing people to public places to
share publicly their appreciation for a form (actually, a collection of
forms) of music. So to say that it's "just the music" seems a bit specious
to me.
     Instead of scorning the people who dress up and go to The 999999s;
instead of asserting that it's "just the music" that draws people to Bar
D'O (when they could just as easily stay home to listen to "the music,"
which after all is recorded, not live) why not participate in an honest
exploration of what leads to a revival of a formerly discredited cultural
form?
     Take it a step further: if the "trust fund kids" at The 999999s are
so different from you and your friends at In Hi-Fi, what then draws them
to the same form(s) of music? And if dressing for the part is such a
horrible transgression, how then do you distinguish between, say, Scott
and Jack's costuming for their DJ roles and the costuming of the kids at
Mr. Phat's?
     I'm not asking to be contentious, but because I think these are
honestly interesting questions. Dick Hebdige dealt with similar issues in
his remarkable book "Subcultures," about the original UK punk scene. I
recommend it to everyone on this list as a preliminary to serious
discussions of the Lounge phenomenon.




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

From: Aj <[e-mail]>
Subject: (exotica) Re Jaymz Bee
Date: 07 Jul 1997 00:11:11 +0000


On Sat. July 5, Jason Tucker Wrote:

> I just picked up this disc used at a local shop, and I have fallen in love
> with it!  I was biking downtown and started it on my discman, and almost
> fell off my bike when I heard the cover of "Safety Dance" and then when I
> heard "You Oughta Know" I was completely dumbfounded by this group.  I've
> played it for all my friends, who are lacking in appreciation, but, oh,
> well.
>
> My question is what else has been done by Jaymz Bee and the Royal Jelly
> Orchestra?  Do they tour much?  I've seen the last 30 seconds of the video
> for "You Oughta Know" on the Box, but that's all.

I believe Jaymz Bee and the Royal Jelly Orchestra are from Toronto, or
at least I've heard that the lead singer is heavily involved in shaping
the Toronto Lounge scene. About two months ago, he was the principal
force behind a successful cocktail evening at one of the major hotels
downtown. Despite these efforts, he seems to have a somewhat less than
positive reputation amongst those closer to the scene in Toronto, though
I'm not sure why. He also seems to get a fair bit of bad press and I
have also seen a few critical reviews of his music on this list.

Must be something interesting there to irk people in the way he does.

Aj


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

From: "kevin king" <[e-mail]>
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 07 Jul 1997 02:47:33 -0500


In agreement with Randall, I have to admit that, like a number of
others, when first joining this list the question of 'why trend' was
one of the first I typed in.  Then, and on other occasions,
thoughtful responses followed, usually non-judgemental.  I think a
problem arises though with the generalizations...    Again, like some
others on the list, I've never really considered myself to be part of
the lounge scene and believe it or not, am into the music only.  The
little bit of lounge clubbing I've done has not been anything
special, and I typically head for the live indie/post-punk/future
ambient 'scene' when going out (unless it's retro '70's in which case
I'm not there primarily for music).  So I listen to this stuff mainly
while working or in the car where I might hear a negative viewpoint
on NPR and wonder whether my musical tastes are appropriate for my
lifestyle.  Then I put my wig back on, light up a spliff and pop in a
tape of Les Paul & Mary Ford on my way to the monster truck rally.
...well...   I pop in a tape.

tee hee,
kevin

-listening to an audio dub from 'President's Analyst':  "I was right,
I'm not paranoid!...  They're all spies!!!"



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

From: Peter Hipwell <[e-mail]>
Subject: Re: (exotica) Abstract Female Vocals and the Salsoul Orchestra
Date: 07 Jul 1997 12:50:26 +0100


> I can't get enough of Yma Sumac, Bas Sheva, and Leda Annest, but can't seem
> to find any other LPs with abstract vocals. Way way way back when I used to
> read the mailing list archive after my computer class I remember a thread
> about a "Bas Sheva-esque" advant-garde suite with a woman snorting and
> grunting and generally making far-out noises. I think the whole suite was
> used on a documentary on PBS back in the 70s. Does any of this ring a bell?

This wouldn't be "Visages" by Luciano Berio, with Cathy Berberian
screaming, yelping, laughing, moaning, groaning, etc. backed by
fizzling electronic noises? She also did a piece called...um,
"Stripsody" (which she wrote) which was a kind of montage of cartoon
noises for solo voice. I can't swear to the title, but I heard it on
the radio a while back. Pretty good.

Then, of course, there's Yoko Ono...



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

From: [e-mail]
Subject: (exotica) farther into farrakhan
Date: 07 Jul 1997 13:03:29 -0400 (EDT)


I spoke to Skippy White, Boston's premier R&B record shop dealer (since
1961). He says that Louis Farrakhan recorded under his name...Gene Walcott,
also as The Calypso Charmer, and as Calypso Gene..Skippy hangs one 45 in his
shop by L.F..."White Man's Heaven Is Black Man's Hell"...Additionally Skippy
said he used to "run the board" for L.F. at WILD-AM, Boston in the late
6T's..I asked Skippy to comment on the type of program LF did. Skippy
replied, "Burn Baby Burn....."-----Jimmy


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

From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Re: Top 5 DID's
Date: 07 Jul 1997 19:02:46 +0200


i'm still late, i'm about 15 digest behind!

exotica Top 5 DID's, without duplicating other's too much:

1 Ferrante & Teicher: Dynamic twin piano's
2 Richard Hayman: Electric latin love machine
3 Kai Winding: Mondo cane #2
4 Astrud Gilberto: Look to the rainbow
5 Airto: Fingers

If Captain Jack would allow to bring them in ;-) these cd's would make it too:

1 v/a: The Easy Project 1
2 Walter Wanderley: Boss of the bossa nova
3 Perrey & Kingsley: The essential
4 TV soundtrack: Twin Peaks
5 Peter Thomas

a non-exotica Top 5 DID's would be:

1 Pink Floyd: Relics
2 Genesis: Seconds out (double life)
3 Sonic Youth: Daydream nation
4 Roxy Music: Viva!
5 Television Personalities: And don't the kids just love it

        Johan
        [e-mail]  =  [e-mail]
        ---




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

From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Dark Shadows
Date: 07 Jul 1997 16:25:12 +0200


i LOVED the TV soundtrack from "Dark Shadows" with music by Roger Cobert.
i saw that rhino released a cd with music from the _movies_ "House Of Dark
Shadows/Night Of Dark Shadows", but their site doesn't mention if that
music is by the same composer. anyone knows?

(quote from the rhino page)

The never-before-available soundtracks to both early '70s M-G-M movies
(based on the popular horror-filled '60s/'70s TV soap opera) on one
bone-chilling CD!

72401 CD 15.98/CS

Tracks:

House Of Dark Shadows- Main Title (Dark Shadows Theme)
The Search For David
Willie At The Mausoleum
Stalking Daphne
David Slips In
Another Victim
Barnabas Meets The Family
A Visit To The Old House
Carolyn & Barnabas
A Party At Collinwood
Josette's Music Box
Attack On Carolyn
Willie Escorts Carolyn Home
Dr. Hoffman & Professor Stokes
The Abandoned Swimming Pool
Carolyn Returns
The Old House Basement
Todd's Escape & Carolyn's Staking (extended version)
Dr. Hoffman Confronts Barnabas
Willie's Concern
The Collinsport Inn
Betrayal
Professor Stokes & Barnabas
A Walk With Maggie
Barnabas' Rampage (extended version)
The Collins History (Josette's Theme)
Maggie's Abduction
Jeff's Expedition
The Monastery At St. Eustace Island
The Wedding Finale
End Title/House Of Dark Shadows Supplemental Material- David's Radio
(extended version) Night Of Dark Shadows- Main Title (Love Theme From
Night Of Dark Shadows)
Arrival At Collinwood
Quentin's Daydreaming (Quentin's Theme)
Nightmare In The Past
The Taking Of Angelique
Gerard's Attack
Carlotta's Revelation
Quentin Meditates
Tracy Investigates The Tower Room
Quentin & Tracy (Love Theme From Night Of Dark Shadows)
Angelique's Assault
Terror At The Pool House
The Possession Of Quentin (Quentin's Theme)
Resisting Angelique
The Chase
Searching For Carlotta
Departure; End Title (Love Theme From Night Of Dark Shadows)
Supplemental Material- Love Theme From Night Of Dark Shadows (unused
version)




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

From: [e-mail] (Laurence Roberts)
Subject: (exotica) Farrakhan
Date: 07 Jul 1997 10:39:38 -0700


See  http://www.goodstuff.prodigy.com/Lists/blackexperience/9606/0072.html
for a transcript of an NPR piece on Farrakhan's early musical career.
It was broadcast on the May 29, 1996 Morning Edition.

Unfortunately, because only "news" stories are in the Realaudio NPR
archives, you can't listen to it there.

Larry-bob
[e-mail]



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

From: Java Man <[e-mail]>
Subject: (exotica) Find Your Hawaiian Name
Date: 07 Jul 1997 14:12:44 0000


Laimana sez:


Visit <http://www.hisurf.com/cgi-bin/DM/hawaiian_name.cgi>!





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

From: [e-mail]
Subject: (exotica) Re: NPR Transcripts
Date: 07 Jul 1997 14:51:21 -0400 (EDT)


In a message dated 97-07-07 14:38:40 EDT, Larry-bob writes:

<< See  http://www.goodstuff.prodigy.com/Lists/blackexperience/9606/0072.html
 for a transcript of an NPR piece on Farrakhan's early musical career.
 It was broadcast on the May 29, 1996 Morning Edition. >>

Is there a transcript available on  the NPR program that slams
exotica/lounge?

Regards,
Robert Brooks (aka Tiki Bob)



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

From: [e-mail] (Br. Cleve)
Subject: (exotica) Soothing Sounds Review in BB
Date: 07 Jul 1997 15:23:08 -0400


Here's the text of Billboard's review, which ran in this week's (July 5)
issue:

RAYMOND SCOTT
Soothing Sounds For Baby, Vols. 1-3

original producer: Raymond Scott
Reissue Producer: Gert-Jan Blom
Basta Audio Visuals 30-90464, 30-90465, 30-90466

Composer/bandleader/electronics pioneer Raymond Scott's three-album
series of music for babies showcases the tender side of the late genius,
who is best known for penning many of the jazzy tunes that animated the
Warner Bros. cartoons in the mid-20th century.

Somewhat of a misnomer, these early-'60s releases are neither "soothing"
nor particularly appropriate for babies (each of the three titles is
aimed at a different six-month age bracket, up to 18 months). What the
albums are is astoundingly ahead-of-their-time examples of inspired and
impeccably recorded electronic music.

Predating by more than a decade such innovators as Brian Eno and
Kraftwerk, Scott's work exhibits impressive sophistication, both
conceptually and in terms of the performances, which were probably made
on a variety of early electronic instruments, including the
Electronium--a keyboardless synthesizer that Scott invented.

Originally released on Epic Records, these three rare albums are now
available for the first time on CD through the Netherlands-based Basta
label. Contact: [e-mail]


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

From: Tim Taylor <[e-mail]>
Subject: Re: (exotica) Re: NPR Transcripts
Date: 07 Jul 1997 15:45:44 -0400



>Is there a transcript available on  the NPR program that slams
>exotica/lounge?
>
>Regards,
>Robert Brooks (aka Tiki Bob)
>
Lexis-Nexis, if you have access to it, has some NPR programs transcribed.
I'm not sure about this one.

Tim



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

From: [e-mail] (Br. Cleve)
Subject: Re: (exotica) Abstract Female Vocals and the Salsoul Orchestra
Date: 07 Jul 1997 16:26:27 -0400


about this thread -
>>I remember a thread about a "Bas Sheva-esque" advant-garde suite with a
>>woman snorting and
>> grunting and generally making far-out noises.

>This wouldn't be "Visages" by Luciano Berio, with Cathy Berberian
>screaming, yelping, laughing, moaning, groaning, etc. backed by
>fizzling electronic noises?

It could also be  "Patty Waters Sings" on ESP-Disc, from around '65 or so.
The second side of that LP is the epic "Black Is The Color of My True Loves
Hair", with Ms Waters schreeching the word 'black' over and over.

br cleve





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

From: [e-mail] (Doug Frisby)
Subject: (exotica) Irritainment CD
Date: 07 Jul 1997 12:51:13 -0700


     I saw a copy of a CD at Tower Records from Irritainment Records. Can't
     remember the name. Perhaps this has been discussed before; excuse me
     if it has. Anyway, it's a part II of a series of CD compilations that
     has different artists perform the same song. On THIS CD, the first 10
     songs are different versions of "Quiet Village", the second 10 songs
     are versions of "Taboo" (I think) and the third 10 songs are versions
     of "Caravan". The artists doing their versions include Ferrante &
     Teicher, The Three Suns, Hawaiian Brass, etc.. I remember alot of talk
     from people wanting to do this sort of thing on the list. Apparently,
     someone beat you all to it.

     It sounds like a great CD to buy, but goes for a steep 27 bucks. Does
     anyone have info on this such as the other songs in the series and
     whether this is a bootleg with crappy sound or not. Any help would be
     appreciated.

     Thanks,

     Doug



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

From: [e-mail] (Jill Mingo)
Subject: Re: (exotica) Irritainment CD
Date: 07 Jul 1997 15:07:40 -0600


>
>     I saw a copy of a CD at Tower Records from Irritainment Records. Can't
>     remember the name. Perhaps this has been discussed before; excuse me
>     if it has.

It has. It is called "The Exotic Trilogy". You are describing Volume 2 which
came out about 3 months ago. It is distributed through Staalplaat in
Holland. It is put together by the KBZ, who are from Berlin. Volume 1 came
out about 2 years ago. I think they are both fab CDs. There are some really
wild and obscure versions of "Quiet Village", "Taboo" and "Caravan". And
they are on the CD 7 times each in that order, all by different artists. It
is not on Irritainment Records. It is a labelless label.


>     It sounds like a great CD to buy, but goes for a steep 27 bucks. Does
>     anyone have info on this such as the other songs in the series and
>     whether this is a bootleg with crappy sound or not.
It is recorded from vinyl so some of the tracks are a bit crackly.
Officially, I think it is a bootleg. But I know that mechanical royalities
are paid to the publishers. The first volume also has these three tracks
repeated 7 times in the above order. Apparently they are working on 5 more
volumes - each with these three trax on it as far as I know. Hope that helps.

Jill "Mingo-go"





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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Abstract Female Vocals and the Salsoul Orchestra
Date: 07 Jul 1997 17:27:49 -0400


> > I can't get enough of Yma Sumac, Bas Sheva, and Leda Annest, but can't seem
> > to find any other LPs with abstract vocals.

After following this thread for a while, I've suddenly remembered a couple of
other artists who may be of interest. They're both more avant garde than
exotica, but definitely exotic.

Joan La Barbara is from the very serious avant garde school. I have her 1976
album, "Voice Is The Original Instrument" (Wizard Records), a fully solo
recording of a live performance at University Art Museum, Berkeley, CA. The
tracks on side 1 are best described as technical experiments or exercises. The
liner notes describe the techniques and effects she is experimenting with in
great detail. "Circular Song" employs a form of circular breathing. She sounds
like a siren (not the mythical type) a lot of the time. "Voice Piece: One-Note
Internal Resonance Investigation" is kind of like Mongolian throat singing.
Side 2 features one long piece, "Vocal Extensions", on which she adds
electronic processing to her "extended" singing. She says, "The equipment I use
includes a phase shifter, pitch modulator and echo unit, to shape a sound
fabric based on the natural rhythmic flow of thought." Parts of it sound
surprisingly similar to the Barron's music for "Forbidden Planet"!

Ursula Dudziak (I may have her last name mispelled) is more in the avant jazz
groove. I don't have any of her records and unfortunately can't remember any of
the people she worked with, but I used to hear her on a college radio station
regularly. She did a sort of spaced-out kind of scatting, often using an
echoplex. As I recall, it was pretty cool -- maybe in a sort of mid-70's
Euro-spacy Terje Rypdal kinda bag. Does anyone know more about her?

m.ace
[e-mail]


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

From: Michael Reading <[e-mail]>
Subject: (exotica) Lalo Schifrin's "Black Widow"
Date: 07 Jul 1997 16:09:51 -0700


>Vaguely ... it came out on on CTI (Creed Taylor's label). I had it but sold
>it a while back., IMHO not one of LS's best.

I would have to agree that it's not one of his best, BUT Sony is putting it
out on CD anyway.  Judge for yourself on August 26, or better yet, track
down the vinyl for a couple bucks for before blowing 15 on the CD.

Michael



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

From: "Lar E. Warner" <[e-mail]>
Subject: Re: (exotica) on the high road with...
Date: 07 Jul 1997 17:04:12 -0700 (PDT)




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From: [e-mail]
Subject: Re: (exotica) Abstract Female Vocals/Salsoul Orchestra
Date: 07 Jul 1997 20:08:12 -0400 (EDT)


Jessica Cameron <[e-mail]> wrote:

>read the mailing list archive after my computer class I remember a thread
>about a "Bas Sheva-esque" advant-garde suite with a woman snorting and
>grunting and generally making far-out noises. I think the whole suite was
>used on a documentary on PBS back in the 70s. Does any of this ring a bell?

I bet this was Cathy Berberian. There are apparently more recordings of
her, but I have her on this Berio/Cage/Mimaroglu "Electronic Music" LP on
Turnabout. This 21:04 piece, "Visage" by Luciano Berio is kind of like a
radio drama with bizarre electronic sound effects, and has this woman
snorting, screaching, moaning, giggling, and uttering nonsense syllables.
It sounds like the soundtrack to a Doctor Who episode in which everyone
is rendered mute except for this savage alien woman whom no one can
understand. Pretty amazing, actually.

>On a different note (lame music pun from tin-eared old me) ^_^, I was
>thrilled to see my beloved Salsoul Orchestra (salsa + soul = salsoul)

If you don't have this, your new pursuit in life is to track down a copy
of (or convince a label do reissue a CD of) the Salsoul album "World
Without Words" by Silvetti. I'd describe the sound as "Discovel." True
70s disco still kinda makes my skin crawl, but I *LOVE* this stuff, which
is a whacked disco-flavored 70s easy listening sound with an Esquivellian
chorus of wordless vocalists. A friend tells me the record used to sell
for $700 in disco collectors circles until a sealed case of them was
found. Who knows what it sells for now. I've still never seen a copy and
only have a tape a friend gave me. (There's a Salsoul follow-up album,
Spring Rain, which I found, and found too run-of-the-mill disco to keep;
There's also a live album out there.)


Michael David Toth
[e-mail]
[e-mail]




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

From: [e-mail]
Subject: (exotica) What "exotica" "represents" (was "Lounge Attacks")
Date: 07 Jul 1997 21:02:35 -0400 (EDT)


Ashley Warren wrote:

>Back in the late '70s and early '80s I was a huge punk rock fan, a fan of
the
>English stuff and not so much the American bands. Does this mean I was

That's something I haven't seen addressed since those RE/Search books,
and is certainly true around Ohio: most people into this kind of music
I've encountered have or had some interest or involvement in the punk
scene. And most of them STILL listen to punk, new and "vintage," AS WELL
AS "lounge." Psychoanalyze THAT you media hounds!!!

Many folks I meet just seem interested more interested than most in music
and pop culture in general, but tend to be quite well-versed in lots of
kinds of music.

>That's kind of what lounge is all about. It's the social aspect of hanging
>out with a group of friends listening to music that in comparison to the
>often jagged, discordant, repetitive , formula sound of much rock music
today

I hate formula, but jagged, discordant, and repetitive may not
necessarily be bad things. :-) I for one still love the punk and new wave
sounds, as well as some folk, orchestral, shoegazer, gosh, a LOT of
different music from two-months-old to two-centuries-old. But I'm a
*sucker* for a good pop hook, and as such am highly succeptible to stuff
like Squeeze, The Plimsouls, Nick Lowe, etc.

>is amazingly fresh, well-crafted and highly melodic. And the funny thing is
>these people whio like this stuff are amongst the most learned musically
>cognizant people around, whose record collections span several eras and
>several genres.

(I just thought I'd include that because it reinforces MY opinions ;-) )

Cleve also made a comment about folks who only want to listen to what was
popular when they were in high school/college. In my more judgmental
moments, I consider people who have closed themselves to new cultural
things (e.g. music) have pretty much ceased learning or growing in most
areas of their life. Example: I've got a friend from high school who used
to have really adventurous tastes in music. Now she's basically just
listening to the same old new wave stuff, watching the same kinds of
movies and television, and on a married mother treadmill, without any
further intellectual or personal growth. I've got another friend (a
married father) who's all but given up on new/different music, but his
investigation into unusual film and literature mirrors a general sense of
exploration that can be seen in other aspects of his continued growth as
a person. And it should probably go without saying on this list, but when
I say "new" music it's what's "new" to you, not what was released in the
past year. I'd propose that kind of curiosity and growth continued past
graduation is a probable trait of the kind of people on this list that
actively seek out different, worthwhile kinds of music. Yeah, I also know
some music collectors with the maturity of people half their age, but
that aside, has anyone seen that sense-of-discovery-and-growth aspect
addressed in the press's demographic profile of a "lounger?" I guess it
goes along with the "cultural archaeologist" angle proposed in the
RE/Search books.

But Ashley's statement "that's kind of what lounge is all about" is an
interesting one. Way back in the bygone Desert Island Disc Flame-War days
of this list, someone said that Bob Dylan and Van Morrison represented
everything against which he stood for. (While not the topic I'm
initiating, I *am* also kind of curious just WHAT they represent that's
so offensive) Just what DOES "exotica," "lounge," or whatever you wanna
call it REPRESENT? When there are no lyrics, what is the content and what
is it saying? Does it truly have a message or philosophy in and of itself
or is it just "what it means to me?"

Frankly, it doesn't *mean* MUCH to ME personally. It's sometimes dreamy,
sometimes punchy, texturally interesting, and a ton of fun to listen to
and collect, but I'm not deriving any substantial meaning for myself out
of the music. (I'm open to any content I might be missing out on, though,
so speak your mind if you're finding it) It's simply a good time. From
reading comments of exotica fans in magazine interviews and on the Net,
I've gathered THAT is also the message of the music for some: sort of a
generalized hedonism, that there really ISN'T any real meaning in life
except the pursuit of pleasure and fun. Maybe "boink boink" and
"zu-zu-zu" is the verbal summation of existence.

I, for one, am pretty fond of language and its ability to communicate
more specific complex ideas and emotions. While I immensely enjoy lots of
instrumental stuff, I'm probably still more drawn to music with lyrics
that can convey something more conceptual and emotive when paired with
evocative instrumentation. I could listen to "Fever & Smoke" and "Zounds!
What Sounds" incessantly, but at the end of the road, which had more of
an impact on the less superficial areas of myself, those kind of records
or something like Sugar's "Copper Blue" or T-Bone Burnett's "Criminal
Under My Own Hat?" Or to really zero in, how about ComEd's "I, Swinger"
or the pre-ComEd band Christmas's album "Vortex" -- the former is easily
the more fun, more sophisticated/adventurous/original musically, and more
skillfully played/composed of the two; but the latter really resonates on
several deep emotional and philosophical levels AND has some really
catchy tunes -- which one in fifteen or fifty years will have made the
more substantial impact on Michael Toth? Time will tell...

So, folks, it's essay time. Answer the following: "What is lounge/exotica
'about' and what does it mean to me?" (My own answer summed up: "Not
much, but it IS a lot of fun!") You have until the end of class. No flame
wars on people's opinions or beliefs here either. :-)

Introspectively (and verbosely) yours,


Michael David Toth
[e-mail]
[e-mail]




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

From: Jessica Cameron <[e-mail]>
Subject: (exotica) Non-abstract female vocals
Date: 07 Jul 1997 20:31:26 -0400


First of all, many thanks to everyone who responded to my  "abstract female
vocals" posting. ^_^ I'm pretty sure that the record I asked about is
"Visage," but I appreciate the other recommendations--more stuff to add to
my 20 page want list!

Anyway, I just made myself a tape of my favorite songs (yeah, I finally got
that speaker fixed--so if you ever wanted to trade tapes with me before and
got turned away, write me!) and I was thinking--"I really like vocals--I
should start buying them more often." So far I've tried Lainie Kazan (her
self-titled LP) and Edie Adams'  "Behind those Swingin' Doors."  They both
have that va-va-voom wa-wa-wa type sound that everyone's so crazy about.
Lainie's "Peel Me a Grape" is a classic, as is Edie's up-to-date "Frankie
and Johnny" (with new lyrics about drive-ins and twisting). My question is,
what other belt-it-out/Las Vegas lady singers are worth listening to? I also
like the DeCastro sisters (anyone see them on Headline news last week?), the
Clark sisters, the Barry sisters, L:inda Lawson, etc.

Thanks for any suggestions, Jessica ^_^

PS--Notice how I avoided the word "lounge?" ^_-  It's hard to do when you're
talking about lounge singers!



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

From: mark koldys <[e-mail]>
Subject: (exotica) Drasnin on CD
Date: 07 Jul 1997 21:50:10 -0400


I have the Dionysius CD of the Robert Drasnin exotica LP, but the other
day I saw in a record store what appears to be the same recording on
Pickwick. This was just $5.99 and it claimed to be a 20-bit digital
transfer from the original master tapes. Since the Dionysius was taken
from an LP copy, the Pickwick would seem to be a real find. Has anyone
heard it, or does anyone know anything about it? I'd hate to buy it (even
for $6) only to find that the tapes were mono, the transfer was bad,
etc...



                           [e-mail]

           "Sometimes jewel found in ashes." -- Charlie Chan




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

From: Steve Sando <[e-mail]>
Subject: Re: (exotica)female vocals/Lounge Attack
Date: 07 Jul 1997 18:54:57 -0700


At 08:31 PM 7/7/97 -0400, Jessica Cameron wrote:
>My question is,
>what other belt-it-out/Las Vegas lady singers are worth listening to?

I just bought an Eydie Gorme collection that's all over the map but I swear
it's worth it for her singing 'I Feel So Spanish'. Steve and Eydie were
(are) pretty camp when they sing together (and for me this is a good thing)
but they both had really great voices and when they concentrated, they were
great. there's a definate taste issue but I love them.

Another belter is Joanie Sommers. She made teen records and sang with
Shelly Manne and Bobby Troup. She's so perky you might lose your lunch but
she had her moments. The CDs out are expenisve or poor on the whole but you
see her Lps alot. My favorite is called 'The Most' with a swell version of
'Just Squeeze Me'.

Not at all what you're talking about, but for pure belting pleasure, no one
beats Merman. I've been listening to the cast album of Gypsy lately and
she's wild. 'Roses's Turn' could be on the Passions album in the sense that
it's a gal out of control. Ethel was almost masculine in her attack!

Sorry to ramble but I feel like we're on my turf!

While I'm here, I thought I'd add a thought to the Lounge Attack
discussion. I know for me, I've been listening to this music for years and
have been mocked by mainstream rock pals and family. I decided quite young
that rock had played itself out. Now 20 years later some putz with a cigar
in a bar is "discovering" that my music is cool and it's making news. I
don't know what kind of coverage would make me happy but I can just say
it's weird what's happening. On the one hand, I feel sort of validated for
following what I loved, and on the other I think, "Where the hell were you
when I was talking about this music as recently as five years ago?". I dont
know what I'm saying but I understand extreme feelings on both sides of the
fence.

* * *
Steve Sando, Coconut Grove Media
PO Box 78146, San Francisco, CA 94107
vox: 415 648 5803, fax: [phone], email:[e-mail]



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

From: [e-mail]
Subject: (exotica) Sam Phipps
Date: 07 Jul 1997 19:19:47 -0700 (PDT)


Going through my video tapes over the weekend, I came across the credits for
Reel Wild Cinema.  Their theme music, which fits the exotica realm nicely,
is from Sam Phipps, who supposedly records on House of Funk Records.

Anyone know of this musician, the music or the label?

I really like the older exotica, but its great to have people like Oranj
Symphonette, Combustible Edison and others doing a modern take on it.  I
can't say I like everything I hear made in the name of SABPM, exotica or
lounge...but I can't say I liked EVERYTHING Enoch Light, Les Baxter or
Arthur Lyman did either.

For the older music, we are collecting a limited supply...but after we have
it all through reissues or originals, we will want more.  We have to support
those who continue doing new and innovative things in music and yet also
continue to make their sounds fun to listen to.

So who are the good musicians of today that continue the fun, wacky and
listenable sounds of the 50's and 60's?  I have only limited clues.




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

From: [e-mail]
Subject: (exotica) Re:  What exotica means to me. (500 words or less?)
Date: 07 Jul 1997 23:21:31 -0400 (EDT)


Michael Toth posted an excellent treatise which could be titled:  "What
Exotic Means To Me" and requested that others on the list do the same.

I have corresponded with Michele regarding some of the "attacks" on Loung=
e.
 With her permission I am posting two our most recent correspondences.  T=
his
gets a little long so skip forward to your next email or get a cup of cof=
fee.

Subj:    Re: (exotica) Lounge Attack!!

Michele,=20

In a message dated 97-07-03 10:38:16 EDT,  you write <<  In my opinion, b=
y
ascertaining that those into Lounge are fulfilling some=20
sort of psychological need, you have uncut the legitimacy of  Lounge as a
music culture or scene.  I would like to think that people are into Loung=
e
music because it is simply great music.  Do you understand where I am com=
ing
from?  >>

Yes Michele, I do know where you are coming from.  Rothenberg's article w=
as
sprinkled with a little negativism and cynicism.  I have read it a few ti=
mes
and each time it sounds less flattering.

I personally think he did not do a good "survey" of the subject.  He was =
more
intent on explaining the going on's with the East/West coast
clubs/personalities he visited.  In my opinion the Lounge revival (music =
as
well as suburban undertones)  is far more represented in the individual h=
omes
v. the club scene.

ABC Nightly News ran a human interest story on Lounge/Cocktail about 6 we=
eks
ago that made the people interested in Lounge look like a bunch of freaks.
 They interviewed some dressed up weirdoes at some organized lounge party=
 in
NYC.  (Note from RCB =96 I do not mean that people who dress up in period
regalia are weirdoes, just that the ones in costume that they interviewed
came off as being too bizarre to be considered normal - thus showing Loun=
gers
in a negative light.)

Interestingly, you and I are the same age and I suspect that we think ali=
ke.
 I was born in Nov, '61(Michele in =9262).  I read a great article recent=
ly
that explained baby boomers (a group that I never really considered mysel=
f a
part of.)  The article said that all people born between 1946 and 1966 ar=
e
boomers, but with two distinct sub-groups (cohorts).

Basically, the article argues that the first sub-group was born between 1=
946
and 1956.  They grew up in a time where there was this idea that a perfec=
t
society could exist. Later they were disillusioned by Vietnam.  They stru=
ggle
still with the idea of a perfect world.

The second group (of which you and I are a part) were born between 1956 a=
nd
1966.  Ever aware of Vietnam and social strife, this group is more cynica=
l in
their approach to life.  We never really thought that a perfect society w=
as
attainable.   I know I fit in this group very well.

I think I like Lounge because of the reason you stated:  <<. . .[the reas=
on]
I do like the music is because being born in 1962 and having not lived
through the 1950's, I have romanticized, . . .>>  I can definitely relate=
. =20

I have the same experience with my spouse that you mentioned, my wife
tolerates my music, only because she has no real music interests of her o=
wn.
 She is amused at how I get so enthralled with my interest in Lounge/Exot=
ica.

Best of luck with your research.  I don't know, I kind of like the fact t=
hat
I like something that lots (most) people don't know about.   It makes it
unique.

Warm regards,=20

Robert Brooks

P.S.  Some of this letter may be of interest to the Exotica list members.
 Please email me back if you are not opposed to me adding a header and
posting this to the list.  RCB




And her response:

Subj:    Re: (exotica) Lounge Attack!!

In a message dated 97-07-03 15:27:13 EDT, you write:

RCB:  << Yes Michele, I do know where you are coming from.  Rothenberg's
article was sprinkled with a little negativism and cynicism.  I have read=
 it
a few times and each time it sounds less flattering.
=20
I think he did not do a good "survey" of the subject.  He was more intent=
 on
explaining the going on's with the East/West coast clubs/personalities he
visited.  In my opinion the Lounge revival (music as well as suburban
undertones)  is far more represented in the individual homes v. the club
scene.>>

Michele:  I didn't want to "attack" the guy but the way it starts out
 talking about the who's who and what they are wearing at the club - made=
 us
sound like a bunch of superficial idiots - I don't know how much of that
dribble was formula stylized stuff that almost all writers learn to use t=
o
set the mood for the reader - but it was damaging.  The psych stuff later
definitely undercut the music scene as a group of people truly appreciati=
ve
of a forgotten musical genre.

=20
RCB:  << ABC Nightly News ran a human interest story on Lounge/Cocktail a=
bout
6 weeks ago that made the people interesting in Lounge look like a bunch =
of
freaks.  The interviewed some dressed up weirdoes at some organized loung=
e
party in NYC.>>

Michele:  I'm sorry I missed that one - they (the news in general) used t=
o do
this all the time with punk music - it was funny to watch these kinds of
pieces.
=20
RCB:  <<Interestingly, you and I are the same age and I suspect that we t=
hink
alike.  I was born in Nov, '61.  I read a great article that explained ba=
by
boomers (a group that I never really considered myself a part of.)  The
article said that all people born between 1946 and 1966 are boomers, but =
with
two distinct sub-groups(cohorts).>>

Michele:  I was in contact with another list subscriber by phone - Paul a=
nd
he is an consultant on Ultra Lounge - I asked him what the demographics w=
ere.
 He says he doesn't know.  But he also is about our age.  I don't know bu=
t I
bet if there was a survey, we'd find out that the vast majority of the tr=
uly
appreciative Lounge connoisseurs are in our age group.
=20
RCB:  <<The first sub-group was born between 1946 and 1956.  They grew up=
 in
a time where there was this idea that a perfect society could exist. Late=
r
they were disillusioned by Vietnam.  They struggle still with the idea of=
 a
perfect world.>>

Michele:  If you talk to someone who was a kid during the 50's (I talk to=
 my
ex-hippie artist friend at work) they'll tell you that it was really warp=
ed
in many ways - especially having to dive under their desks all the time f=
rom
the cold war threat of nuclear attack.
=20
RCB:  << The second group (of which you and I are a part) were born betwe=
en
1956 and 1966.  Ever aware of Vietnam and social strife, this group is mo=
re
cynical in their approach to life.  We never really thought that a perfec=
t
society was attainable.   I know I fit in this group very well.>>

Michele:  Well, this is the first time I've heard a good description of
exactly how we end up fitting into the boomer category, because with such=
 a
broad definition and such, I didn't really see how we could be in it, but
this makes sense.  I don't know that I ever thought in terms of "perfect
society".  I guess if I look back on my teenage years - disillusionment w=
ith
society and expectations was directly responsible for my need to get invo=
lved
with punk rock.  But there may be all kinds of personal reasons as well l=
ike
my parents divorce, etc.  I guess I will have to go through psychoanalysi=
s to
find out!
=20
RCB:  << I think I like Lounge because of the reason you stated:  <<. . .=
[the
reason] I do like the music is because being born in 1962 and having not
lived through the 1950's, I have romanticized, . . .>> =20


Michele:  Well, for sure I think the reason our age group likes it is bec=
ause
it is a need to escape into the past - but that's only a small part of it=
 to
be sure.  I was brought up on old movies from the 1930's and 1940's to 19=
60's
type stuff.  I have been dressing retro since my punk years and I found t=
hat
the clothes I liked the best were coming from the late 50's and early 60'=
s.
 The style of music, clothing, furnishings, etc. all fit together and I l=
ike
that period.  I only found the music component when I found out about Lou=
nge
(prior to this I thought  1960's music was the Supremes, etc.)
=20
RCB:  <<Best of luck with your research.  I don't know, I kind of like th=
e
fact that I like something that lots (most) people don't know about.   It
makes it unique.>>

Michele:  I agree, this is one nice element to it - one reason punk was s=
o
neat was that it was small.  It wouldn't seem so attractive if we had to =
deal
with every idiot getting into Lounge, but it could still happen.  I guess=
 if
it does, that will really test our devotion wont it?
=20

- Michele

I hope that Michele=92s and my exchange was of interest to the list membe=
rs.  I
am always receptive to comments.

Regards,

Robert Brooks




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

From: [e-mail]
Subject: (exotica) July Tiki Events
Date: 07 Jul 1997 18:45:00 -0400 (EDT)


July = Exotica
San Francisco, Thursday July 24, 10 pm sharp.
Frenchy brings swinging Lounge aural and visual excitement to Tiki News' next
party at the Chameleon club with the punk ukulele duo of Pineapple Princess
opening up you can expect to hear at least a couple Black Flag covers in a
less familiar tone.
Chameleon club is at 853 Valencia near 20th Street in the Mission. $3.00
___________
Los Angeles
Tiki Tones + Link Wray
July 10, 10 pm House of Blues, Tiki Tones will be premiering material from
their forthcoming lp "Suburban Savage"
__________________
Los Angeles, Thurs/Fri.
Encounter at LAX features free djing nights every Thursday with John Godin
and Friday with Senor Amor while soaking up the most space age ambiance since
man landed on the moon.
310/215-5151
_____________
Cocktails With Joey - A Ballet Noir for Swingers
Sat, August 2, 8:00 pm
The man who brought you the fabulous Coctials With Joey CD featuring Plas
Johnson on sax, then brought the band to the stage at Exoticon '95 & later
formed a small orchestra along with Skip Heller to perform a two-set
evening-long tribute to Les Baxter, is back!
Joey sparks up his 18 piece Mambo Noir Orchestra to back the LA Chamber
Ballet.
The LA Chamber Ballet & Raiford Rogers have collaborated withWoody Allen,
Charlie Hayden, Roy Orbison among others. Your attendence is requested, and
wear your finest threads, for this meeting of arts as Joey Altruda takes
cocktail music to the stage!
Luckman Fine Arts Complex
5151 State University Drive
Los Angeles, CA 90032
Box Office: 213/343-6600
Tickets available via Ticketmaster
___________________
Lounge Era Film Noir
July 17th -- THE NUTTY PROFESSOR (1963) -- With one swing of his magic
potion, Jerry Lewis is transformed from the meek college professor into the
God of Mutant Swingers -- Buddy Love!
August 14th -- Super-Spy Double Feature -- THE SILENCERS - Dean Martin stars
as Matt Helm, a James Bond with a wandering eye who never refuses a drink.
OUR MAN FLINT  (1966) -- Derek Flint (James Coburn) takes on the evil boys of
GALAXY in a struggle for world domination and a food recipe for bouillabaise.
August 28th -- BREAKFAST AT TIFFANY'S  (1961) -- Audrey Hepburn is the
ultimate swinger, HOlly Goloightly. Based on the book by Truman Capote. Music
by Henry Mancini.
Tix available through Theatix at [phone]. All screenings have
sold out. I recommend purchasing in advance. The series is being co-presented
by Lounge Magazine and Amerinan Cinematheque.
____________________
July 25, 7 - 10 pm [continuing through August]
Tiki art opening at CACAO 11609 Santa Monica Bl, West L.A.
Two years ago Tiki News premiered Tiki art here with a show by Charles
Schneider (editor of "CAD, a hanbook for men") and SHAG.
CACAOs latest show features the work of Crazy Al of Bone Productions, Mike
Tempo (of Bonedaddys & Pink Floyd the Barber) & more.
_____________________
Albequerque, New Mexico
"South Seas Symposium, Easter Island in the Pacific Context"
August 5 - 10, 1997
Thor Heyerdahl speaks! August 7 at this weeklong festival which includes
opening poolside cocktail party, art exhibit of current Easter Island
carvers, dance troupes, craft exhibitions, etc.
This gala event is thrown by The Easter Island Foundation and Maxwell Museum
of Anthropology, University of New Mexico.
Call 800-552-4575; 505-343-9400
Email [e-mail]
_________________________
It's Tiki time again in Sweden!
By popular request (and the lack of good drinks in Stockholm bar's) the Tiki
Room is back again! Presented by Stefan Kery and Jonas Svensson.
Bump & grind for swinging bachelors and bachelorettes! Weird surprises,
mystery guests and exotic performances! Hula maids and Mexican wrestlers!
Surfers and landlubbers! Swinging live music by the Craftsmen! Bring your own
Tiki mug or buy one in the bar! Okolemaluna!
July 9th
Show: The Tiki Room Hula maids exotic dance show + The surf films of Walt
Philips!
Action: Mexican wrestling (Lobo vs. The Big Kahuna)!
Live music:The Craftsmen plays Quite Village and other hits live! DJ's:
Stefan and Magnus!
July 23rd
Special Yngve Stoor night!
Show: The Tiki Hula Maids + (hopefully a) Yngve Stoor Hawaii slide show,
movies and special guest: Yngve Stoors wife (widow) live in person (this is
not confirmed yet). Live music:Ebbe & Adam plays the exotic sounds of Yngve
Stoor. DJs: Stefan & Max.
The Tiki Room
Wednesday July 9th and 23rd
open 20.00 - 01.00
at Sjegres bar Timmermansgatan 24      T-Mariatorget
Free admission all night!!! Brought to you by Subliminal Sounds & Stuff
email:  [e-mail]
_______________________


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

From: Tony Wilds <[e-mail]>
Subject: (exotica) Exotica Needs Women ("Lounge Attacks")
Date: 08 Jul 1997 01:00:31 -0400


>No flame wars on people's opinions or beliefs

[If only Ike, Kennedy, Johnson, and Nixon had said THAT to Charlie.]

I will always bow to Irwin Chusid for discovering the Duke of Iron's "The
Big Bamboo" and playing that and many other great 78s on WFMU. That's just
tremendous radio. That said:

>"What is lounge/exotica 'about' and what does it mean to me?"

Trend? Clothes? Identity? Thpppt. "Wear glasses if you need 'em" -- Webb
Wilder, (on t-shirt beneath his suspenders AND a belt).

*Lounge* is a new contrivance awkwardly describing the revival of
non-ethnic pop. The specific music revived has been disproportionate, but
possibly that's because it has been largely the inspiration of one talented
but reactionary Irwin Chusid. The term "lounge" has no history in record
collecting, and it is no more helpful than any of the established,
time-proven terms for the many varieties of old pop and even jazz. BTW, all
music is mood music, whether mushy or not.

*Exotica* --always in style-- is the real or fake ethnic music (and art and
culture) of lands beyond the Causasian diaspora. (Hold the whitebread and
iceberg.) Unlike *lounge,* its very "foreign-ness" meant that the
knob-twiddling geniuses at the studios often would leave some authentic
musical character intact. Much of the best of it and tons of good-excellent
stuff is not now and never will be available on any CD. 78s are ample
precedent.

Old records are the only repository of a lot of vital, compelling musical
and cultural history. Dismiss it as sentimental, provincial museum fare if
you must, but don't blame me if in 2,010 you're listening to an endless
loop of Bob Marley at any of the 90,000 McDonald's in Honolulu.

Diving into this area of record collecting means both endless home
entertainment and a fascinating journey filled with strange, wonderful, and
often hilarious correspondences with kind, kindred souls and scads of truly
creative people.

It's finding an anonymously donated tiki cup the day of your first tiki party.

The downside is lots of work, tight organization, butting heads sometimes
(often with friends over a record!), and facing utter incomprehension. Or
maybe that's just me. Seen Ulee's Gold yet?

It's the small triumphs, such as finally being able to share The Charmer's
record with John Waters, and the chagrin of discovering a favorite *Sabu*
record may not be by the master after all. Tape swapping.

It's the feeling of "living large" on a little knowledge and a beggar's
budget, or maybe stepping into a sappy old MGM movie. Music to paint by.

It's that marvelous, favorite quote of Mr. Diamond's about feverish passion.

...is what it is... ...to me,

Captain America
The Wilds Scene: LPs * Sabu Home Page * Tiki Gallery
                 http://www.charm.net/~wilds/
Email lists: new LP arrivals, web pages/sites, comps
                 To receive, email:  [e-mail]


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

From: [e-mail]
Subject: Re: (exotica) What "exotica" "represents" (was "Lounge Attacks")
Date: 08 Jul 1997 01:11:49 -0400 (EDT)



<< So, folks, it's essay time. Answer the following: "What is lounge/exotica
 'about' and what does it mean to me?" (My own answer summed up: "Not
 much, but it IS a lot of fun!") You have until the end of class. No flame
 wars on people's opinions or beliefs here either. :-) >>

What's Lounge about?
Selling CD's.

What does it mean to me?
Nothing.  Except having the occasional opportunity to score hard-to-find LP's
which have been reissued (or bootlegged).



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From: [e-mail]
Subject: (exotica) A belated intro and comment
Date: 08 Jul 1997 02:20:38 -0400 (EDT)


Hi, it is I, your fellow instigator:

I thought I might explain a little bit about how I ended up in the "Lounge
Scene" and give you my feeling about what I am seeing here in L.A.

Well, I have been listening and reporting on what there is of the Lounge
scene here in L.A. only since last fall in Flipside Fanzine.  Flipside is a
big punk fanzine (all you ex-punks probably already know all this) that is
read worldwide.  I started writing for it back in 1978 and quit in 1983 or
so, because I hated "hardcore" punk.  I dropped back into the scene after my
bad marriage ended in 1991.  I started writing for Flipside again in 1992.
  I am really a latecomer to Lounge because I didn't know there was a scene -
My first real exotica event was a Cacophony Society event back in like '92,
where they had this cafe called Onyx, redecorated like it was a 50's bar in
the South Seas with Yma Sumac record covers, etc. and a tiki bar and cool
tiki wallpaper.  I even know the guy that put on the show, but I didn't
realize that the style was related to some music.  I went to the Tiki Ti bar
many times - still not knowing there was any kind of a lounge scene, outside
of my drunk hairdresser who always told me about her adventures to the
Dresden.  Then I saw Combustible Edison back in like 1992 or 1993 when they
came to L.A., but still didn't know there was like a Lounge scene.  Even went
the infamous Dresden back then once.  I found out about  "Lounge music,"  via
a punk event at a bookstore (last summer?) that had a copy of Lounge magazine
and a copy of Tiki News (I bought both and then started buying re-issued CD's
that were reviewed in those publications.  I met the publishers, Sam Wick and
Otto of those magazines in person and through the email system.

So it was by accident, that I ended up stumbling onto the music.  And now I
am trying to cover this music scene and integrate it into my column which is
supposed to be about punk.  But there isn't much of a scene here in L.A.
 Well, okay, I don't hang out down at the Dresden to see if anyone shows up,
but of the people I know, there isn't many.  The people who I've seen at Tiki
Ti's or the Lava Lounge don't seem to know what Lounge is, judging by
appearances (which may not be an indicator as some have pointed out, but I'm
going by my instincts here).   I have been to the new Lounge club, The
Encounter at Los Angeles International Airport, a few times and barely 20
people will show up.  I know about six people here that I would say are part
of "the scene."  I think there are probably a lot of people in L.A. buying
Lounge re-issues - but they are not going to clubs.  There appears to be no
"critical mass" which would be necessary to support a Lounge club scene and
I'm afraid that what Lounge scene D.J.'s Senor Amour and John Godin have got
going down at the Encounter, is going to be short-lived because of it.  So
whether or not there is "a scene," is also an interesting and valid question.
 Is Lounge, and I'm asking you list people, just a bunch of people who are
sitting at home listening to records as one person has suggested, or is there
a bonafide club scene to go with it???  Punk never had this problem because
punk started as a club scene phenomenon and then went to vinyl.  Lounge
appears to be totally based in vinyl - at least we can agree it started with
vinyl - but is there a club scene, therefore, is there a Lounge scene, to go
with it?  Does there have to be a club scene for Lounge to be a legitimate
phenomenon????

Anyway, now that I've made some waves with my theoretical questions about
Lounge - I don't feel so alone anymore.  Maybe we will never resolve these
issues, but I think it is at least bringing people on the list together as a
community.

- Michele


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From: jordana <[e-mail]>
Subject: (exotica) WKPS update
Date: 08 Jul 1997 03:55:37 -0400


>Date: 20 May 97 15:44:00 PST
>From: "GUERRERO, Ernie" <[e-mail]>
>Subject: (exotica) RE: WKPS Lounge Show
>
>Can you tell me how things are going with your radio show?
>the jetset hifi one and the other one you were planning
>called chemistry set??

WKPS is the Penn State student station.  I used to post playlists to this
list, but I haven't been reading it as religiously as I used to, and haven't
posted in a long long time.

Ths "Jet Set Sounds in Hi-Fi" still exists, though in a slightly precarious
state.  I graduated in May, so I'm not officially a part of the station
anymore, even though I am still doing weekly shows.  I passed on "Jet Set"
to the former MD, and things were fine for a while... but due to some
politics (they picked a new MD who is doing things, um, differently, to be
nice about it) and her new work schedule, I don't know if she's going to
bother much with the show anymore... maybe in the fall everything will be
normal again, but I'll be long gone by then.  I might not mind keeping up
the show till I leave, but then I'd have to do 5 straight hours a week, and
that's a little much, especially by myself.

The "Chemistry Set" is more of an RPM show, meaning more electronica,
drum&bass, trip-hop, and experimental.  Though since I do the show, I have
been known to throw some Gainsbourg or J.J. Perrey or Joe Meek into the mix,
and I certainly play "cross-over" stuff like Tipsy or Sukia.

I suppose I'm back reading the list regularly now - I just sorted through
the most incredible backlog of messages...

-Jordana
_______________________________
   this has been a message from
jordana robinson - [e-mail]
_______________________________



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

From: jordana <[e-mail]>
Subject: (exotica) delinquent tape trades
Date: 08 Jul 1997 04:03:15 -0400


Do I still owe anybody from this list any mix tapes or radio show tapes?  I
really hope I don't, and I don't think I do, but I'd hate to think there's
someone out there angry with me because I have been a slacker about most
email-related things for the past few months...  I'll still honor any tape
trade requests - just email me and don't yell at me or anything :)

-Jordana
_______________________________
   this has been a message from
jordana robinson - [e-mail]
_______________________________



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From: [e-mail] (Ingemar Breithel)
Subject: (exotica) Sylvia Copeland / Yma in Montreal?
Date: 08 Jul 1997 11:06:00 +0100


=46or abstract female vocals AND show-tune belting, no one beats
Sylvia Copeland. Imagine Yma Sumac warming up and then segeuing
into a rip-roaring version of Jerome Kern's "Dearly Beloved" or a=20
bossa nova tinged "Wild is Love". This is what happens on Ms. Copeland=B4s=
=20
1965 album "The August Child". And she's got the Yma vocal pyrotechnics
down pat -- from the low growls to the bird-like warblings. A decidedly
mixed bag, the album also contains songs in fractured Spanish and
Portuguese, and the mixture of vocal styles is a bit perplexing.

I wonder if Sylvia Copeland made any other records -- the liner notes
speak of a career in musicals. We also learn that she "travelled to
Europe representing the city of Cleveland in beauty and talent."

On the subject of Yma, the official authorized homepage mentioned
an impending concert in Montreal, which was to have taken place
about a week ago. Anyone seen any references to the actual event,
or, better still, any eye-witness reports?=20

Ingemar Breithel









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From: [e-mail]
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 08 Jul 1997 09:19:12 -0400 (EDT)


ANYONE WHO DOESN'T WANT TO SEE TWO GROWN MEN FIGHT IT OUT PLEASE  GO ON TO
THE NEXT POSTING...


(just kidding)
Randall I'd like to answer your response:

> Oh, come on, Ashley. Efforts at explaining sociological phenomena --
>and music choices, as all consumption choices that extend beyond the
>personal to the group, are sociological phenomena -- are totally
>legitimate. And people love to participate in that exercise.

I believe you are reading a bit too much mumbo jumbo pop psychological and
pop sociological explination into the "lounge scene." The music came first,
before the martinis, before the cigars, even before the new suit you were
modeling for the article. Let me repeat again, it was the freshness of the
music, the different and more chance-taking arrangements of the music that
sparked the interest of people amidst the "alternative rock" that through
hundreds of bands repeating the same formula and hundreds of these bands
putting out records and being played on the radio that "alternative" became
mainstream. This so called "lounge music" was always around, and was
appreciated by many on and off this list albeit to a much smaller extent than
now (Again, we have the morass of "alternative rock" to thank for that). As
for your statement that people love to conjecture about everything, I'll
agree with you on that, but you should recognize the veracity and knoweledge
of the sources involved. Just watch Jay Leno one night when he goes down
Sunset Boulevard and asks people questions about current affiars, people in
the news or high school level art or literature.


. There was
>nary a person to whom I spoke during my research on the Esquire piece,
>yourself included, who didn't speculate on the "why" of Lounge's appeal.


If you examine your notes you may re-read that I was desribing "lounge's"
appeal in terms of the musical poinst I made above, and if I am not mistaken
also in respect to the social aspect of people being able to "lounge",
meaning hang out and talk. (This later being a mere example of the "third
place" phenonema that real sociologists and psychologists have written which
for those on the list who may not have heard of this term describes the place
besides work or home where overworked people nowadays go to chill out and
socialize).

>    As I told Michele (in an e-mail that didn't get posted to the
>conference because I screwed it up), the fact is that Lounge *is* a scene,
>and *is* more than the music.

I still don't understand how "lounge" is more than the music. How is someone
making a political or sociological statement listening to "lounge"? or
"electronica" for that matter? There is no political agenda in these lyrics
and in the case of much "lounge" and "electronica" no lyrical statements at
all!

You yourself participate in that scene, by
>showing up at Scott and Jack's In Hi-Fi. Now, your reasons may differ from
>the scores of others who go there; and their reasons may differ from the
>thousands who go to The 999999s and tha Lava Lounge and Mr. Phat's and the
>various clubs in Austin and Minneapolis and other places. But the fact is,
>something -- some set of reasons -- is drawing people to public places to
>share publicly their appreciation for a form (actually, a collection of
>forms) of music. So to say that it's "just the music" seems a bit specious
>to me.


It is the freshness of the music and the ":third place phenomenon that is
drawing the hundreds to the 9999999s and the thousands to Bar d'O, Mr.
Phat's, The Encounter and other places across the country. As to your
"specious" remark about my "it's just the music" comment, the reason why
people go to these clubs is merely to enjoy the music and in the hopes of
hanging out with like minded people - it really is as simple as that.  There
is no underlying societal deep meaning going on here! It's the same reason
people having been going to rock concerts for years.

>     Instead of scorning the people who dress up and go to The 999999s;
>instead of asserting that it's "just the music" that draws people to Bar
>D'O (when they could just as easily stay home to listen to "the music,"
>which after all is recorded, not live) why not participate in an honest
>exploration of what leads to a revival of a formerly discredited cultural
>form?

At the 99999's you are merely dealing with "club kids" who will go to the
9999's on Sunday night to hear lounge, maybe Giant Steps to hear electro on
one other night and maybe go to another dance club to hear house on another
night. I am not making a value judgement here, it just that that there is no
statement about the "lounge scene" here (Isn't the 9999's the club that held
a "Lounge Is dead Night" too?) These club kids are there for the nightclub
aspect and not there for their alliegence to "lounge" music and for you to
believe otherwise is "specious." Youu'll get plenty of peole coming into Bar
d'O as well who have no idea that this type of music is being played on a
Thursday night - they wander in because there is a cool vibe - the same
reason that goes on at the 9999's.
I do feel because of the more "industry' (for lack of a better term, people
who come to bar d'O there is more of a Algonquin Roundtable aspect to Bar
d'O, just as if you are looking to have some fun dancing the 99999's is the
far better place for it (and I'm not making any value judgements here, I'd
love Bar d'O to be in a larger space so people could dance). Getting back to
this point, Bar d'O  is more about the music in the respect of the people it
attracts (versuses the 9999's) are more likely to discuss the releative
merits of the music being played than are there for the more physical
enjoyment of the dance. This also allows slower types of music to be played
and listened to which in a place like the 9999's would clear the dance floor.
I choose bar d'O over the 9999's for reasons as noted above, also because I
have to work the next day, as well my idea of "lounge' is neither about
having wonderfully played and sung melodic music being spinned by steve Spain
(who knows his stuff and does a fabulous job) being interrupted by badly
performed cabaret that would have trouble lasting for one night on a second
rung cruise ship.



>     Take it a step further: if the "trust fund kids" at The 999999s are
>so different from you and your friends at In Hi-Fi, what then draws them
>to the same form(s) of music? And if dressing for the part is such a
>horrible transgression, how then do you distinguish between, say, Scott
>and Jack's costuming for their DJ roles and the costuming of the kids at
>Mr. Phat's?

I'm sure Scott and Jack will get a kick out of you calling their dress
"costuming", these guys dress like this everyday of the week as they come
from work dressed as they do! I never said that dressing the part was (your
words) "a horrible transgression." My concern is with the people who simply
dress up because they want to play "frank Sinatra" or "Audrey Hepburn" and
drink their martinis "shakin not stirred' and bring with it a heavy HEAVY
DOSE of "cooler than thought" attitude with little or no appreciatuion for
the music. They are more interested in making an impression that anything
else.  (Go ahead have some fun and dress up, but don't try that cooler than
though bullshit near me - there are plenty of other Manahattan clubs where
that entree is served)That's why I'll take Bar d"O over the 9999's where
there are not these pretentions nor trendier than though east Village club
kids vying to show off their larger egos and smaller talents dancing on cubes
and fireplace ledges above the crowd.

>     I'm not asking to be contentious, but because I think these are
>honestly interesting questions. Dick Hebdige dealt with similar issues in
>his remarkable book "Subcultures," about the original UK punk scene. I
>recommend it to everyone on this list as a preliminary to serious
>discussions of the Lounge phenomenon.

Do recall that the punk movement started because of the political climate in
the UK. Lounge is not a longing for the Replublican way of life in the 50's -
if that was the case George Bush would now be president. If you still don't
feel that just because a lot of people are into something that there must be
some deeper meaning instead of it being just the music, then I think we'd all
love to hear the psychological and sociological reasons why the Macarena or
Dirty Dancing caught on.

Ashley





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From: [e-mail]
Subject: (exotica) Correction: Betty Shabazz
Date: 08 Jul 1997 10:25:31 -0400


* * * * *

kevin king <[e-mail]> wrote:
>
> Well, there's Betty Shabazz, wife of Malcolm X, who suffered burns
> from a fire set by her nephew before dying of injuries.  So that
> makes at least six public figures recently deceased.

Actually it was her grandson who started the fire. Though you wouldn't
know this if you read the NY Times, which omitted this information from
their Page 1 story about her death.

--I.C.

* * *



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From: [e-mail]
Subject: Re: (exotica) Drasnin on CD
Date: 08 Jul 1997 10:52:27 -0400 (EDT)


I was under the impression that the original Drasnin tapes were destroyed.
 How, then, could the folks at Pickwick remaster them?  And for six bucks???
 I'd be suspicious if I were you.

Ben
DC


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From: [e-mail]
Subject: (exotica) Anyone know Allegro?
Date: 08 Jul 1997 13:01:48 -0400


* * * * * *

I'm trying to help an eccentic, sophisticated European record label (pop
& soundtracks, but not rock-oriented) find US distribution. Does anyone
have information about a distribution company called ALLEGRO? Just
curious if anyone has had experience with them, or is familiar with
their orientation and/or reputation.
PLEASE ANSWER OFF-LIST to:
Irwin Chusid <[e-mail]>

* * * * * *



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From: [e-mail] (Jonny.S)
Subject: (exotica) F.O.G. Live in NYC -7/8/97
Date: 08 Jul 1997 12:09:50 -0500


For those in N.Y.C., Family Of God is performing tonight at the Mercury Lounge
on Houston Street between Essex and Ludlow streets.

They will be going on at 11 PM with Smylonylon DJs before the show playing
slowed down Euro & Lebanese Moogy disco from the '70s. I think the cover is
Five dollars but check with the club.

Thanks, Jonny




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From: [e-mail] (Jonny.S)
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 08 Jul 1997 12:51:25 -0500


Randall Rothenberg,[e-mail],internet writes:
> Efforts at explaining sociological phenomena --
>and music choices, as all consumption choices that extend beyond the
>personal to the group, are sociological phenomena -- are totally
>legitimate.

I wish there was more discussion like this on the exotica conference. I spend a
good part of my waking hours thinking about, playing and listening to music. As
well as spinning records at least three nights a week. O.K. call me obsessed.
 To look at the social context in which music occurs for people is a natural
outgrowth of my own experience as a musician and my love for music. I'm not
saying that everyone should participate in this way or that not doing so
lessens there musical experience. It's a personal choice. Just like cab drivers
"listen" to lite FM while there driving to relax. Aren't they experiencing a
"listening" that is talking place in the background rather than the foreground
of there conscience?
 It may be that these kind of thoughts are better directed to psycho acoustics
or cultural studies conference but they don't necessarily deal with the music
discussed here. They way in which we align ourselves with different parties,
styles of exotica etc. seems to me to be "
>sociological phenomena" in action. I
certainly have my own alignments and can be very happily opinionated about
them. I find it fascinating to talk about and hear what people think about
these issues. I think the greater objective should be illumination rather than,
"my part rocks and your party sucks and, take off that fez!"
 Dick Hebdige has another interesting book called Cut 'n Mix about the
development of reggae through dancehall culture. How the musical development is
influenced and driven by the records and style of Deejaying in the dancehalls
of Jamaica. there is another interesting and very funny article in a new
collection called the Sub-Cultures Reader edited by Ken Gelder & Sarah Thorton
(Routledge) It's titled "the Culture Of A deviant Group: The 'Jazz Musician" by
Howard Becker written in 1963. It's actually about club date musicians who play
weddings and aspire to be jazz musicians. Its a great example of a group
aligning themselves with a particular camp. It's also very funny, I was
laughing out loud.




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From: [e-mail] (Jonny.S)
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 08 Jul 1997 12:51:25 -0500


Randall Rothenberg,[e-mail],internet writes:
> Efforts at explaining sociological phenomena --
>and music choices, as all consumption choices that extend beyond the
>personal to the group, are sociological phenomena -- are totally
>legitimate.

I wish there was more discussion like this on the exotica conference. I spend a
good part of my waking hours thinking about, playing and listening to music. As
well as spinning records at least three nights a week. O.K. call me obsessed.
 To look at the social context in which music occurs for people is a natural
outgrowth of my own experience as a musician and my love for music. I'm not
saying that everyone should participate in this way or that not doing so
lessens there musical experience. It's a personal choice. Just like cab drivers
"listen" to lite FM while there driving to relax. Aren't they experiencing a
"listening" that is talking place in the background rather than the foreground
of there conscience?
 It may be that these kind of thoughts are better directed to psycho acoustics
or cultural studies conference but they don't necessarily deal with the music
discussed here. They way in which we align ourselves with different parties,
styles of exotica etc. seems to me to be "
>sociological phenomena" in action. I
certainly have my own alignments and can be very happily opinionated about
them. I find it fascinating to talk about and hear what people think about
these issues. I think the greater objective should be illumination rather than,
"my part rocks and your party sucks and, take off that fez!"
 Dick Hebdige has another interesting book called Cut 'n Mix about the
development of reggae through dancehall culture. How the musical development is
influenced and driven by the records and style of Deejaying in the dancehalls
of Jamaica. there is another interesting and very funny article in a new
collection called the Sub-Cultures Reader edited by Ken Gelder & Sarah Thorton
(Routledge) It's titled "the Culture Of A deviant Group: The 'Jazz Musician" by
Howard Becker written in 1963. It's actually about club date musicians who play
weddings and aspire to be jazz musicians. Its a great example of a group
aligning themselves with a particular camp. It's also very funny, I was
laughing out loud.

regards,
Jonny Sender




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

From: Peter Hipwell <[e-mail]>
Subject: (exotica) The Strip Goes On!
Date: 08 Jul 1997 19:37:17 +0100


I've picked up a release of no mean quality: "The Strip Goes On" --
Orchester Werner Muller (German Decca).

The first thing to say about this is that the cover is ridiculous. We
have here woman with a very-1970s voluminous red with floral-excess
dress that she has peeled off from her upper torso to reveal her pert
breasts and the little paper flags of the world which are stuck to her
flesh with what seem to be large blobs of garish plasticine. For no
apparent reason. The reverse has a black and white picture of a navel
plus surround, with the top of a pair of unbelted jeans that are being
unzipped.

The second thing to say is that the music is ridiculous too. Two
tracks are Muller originals, one ("Juanita Rumba") is by a certain
Wilden, and two are by Loussier (but presumably not the "Play Bach"
guy). Herr Muller has excelled himself, apart from the attempts to
tackle "Je T'Aime", "Satisfaction" and "Get Up I Feel Like Being A Sex
Machine", which are quite unfortunate compared to the rest, but do
have comedic aspects (especially "Sex Machine"). Bass and organ and
horns nestle snugly together, creating a really stoopid excursion into
the world of dodgy-sultry-sexy cheese-rampage: "The Beat Goes On" and
"Too Damn Hot" are especially good.

The most frightening thing about this whole package is the VOICES. I
can deal adequately with the GerManically-tinged chorus on "Strip
Strap Stroll" (Schtripp Schtrapp Schtroll It's The something something
somethingoll) and the Frenchification of "Femme Femme" (FammAH,
FemiNEENER)... but the echoing giggles, sighs, moans and inhalations
on "The Stripper" are somehow DEEPLY DISTURBING, indicating that the
fine line between innocent strippy pleasure and black, swirling
madness is being broached. "Bodybuilding" has multiple different
VOICES indicating displeasure or pleasure at the sight of a muscular
man through out the song, which can prove extremely nerve-racking
("Ohhhh my BEAUUU-TIFUL GANGster!").

I am proud to claim ownership of this item. Thankyou for your time.



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

From: Joe Kilmartin <[e-mail]>
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 08 Jul 1997 14:46:34 -0400


>At 12:51 PM 08/07/1997 -0500, Johnny S wrote:
>>
>>I find it fascinating to talk about and hear what people think about
>>these issues. I think the greater objective should be illumination rath=
er
than,
>>"my part rocks and your party sucks and, take off that fez!"=20
>> Dick Hebdige has another interesting book called Cut 'n Mix about the
>>development of reggae through dancehall culture. How the musical
development is
>>influenced and driven by the records and style of Deejaying in the
dancehalls
>>of Jamaica. there is another interesting and very funny article in a ne=
w
>>collection called the Sub-Cultures Reader edited by Ken Gelder & Sarah
Thorton
>>(Routledge) It's titled "the Culture Of A deviant Group: The 'Jazz
Musician" by
>>Howard Becker written in 1963. It's actually about club date musicians
who play
>>weddings and aspire to be jazz musicians. Its a great example of a grou=
p
>>aligning themselves with a particular camp. It's also very funny, I was
>>laughing out loud.=20


I agree this kind of debate is interesting  to see on the list and
something I , for one, welcome.


In their book *13th Gen*, Neil Howe and Bill Strauss make some pretty
convincing arguements that the generation born between 1960 and 1980 show=
 a
marked similarity to the generation born between 1920-1940, as opposed to
the "boomer" generation of 1940-1960, if only because of socio/economic a=
nd
cultural similarities (I'm not gonna try to break a 230 pg arguement down
into an email posting, but I strongly recommend the book to anyone readin=
g
this).  It stands to   reason, using the same arguements, that we might b=
e
interested in the same kind of music (music for music's sake, rather than
pretentious "art-music" that is trying to promote a "message"), even in
fact the SAME music (most of the old-school coctail and exotica music was
written by people born between 1920-1940).


Just a point to ponder.  And I like the way this thread is going...

Joe in Toronto

Sometimes a man can learn more from another man=92s dreams than from his =
own.
 Come visit me sometime Sir, if you wish to improve your education.
                      -Charles Halloway, Something Wicked This Way Comes



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

From: Peter Hipwell <[e-mail]>
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 08 Jul 1997 21:09:58 +0100



Personally, I would not like to attribute sociological motives as to
why large groups of people feel attracted to "lounge culture". I feel
unqualified to speak out for the diaspora in general. I can speak only
for myself.

But to me it is clear that my necro-filiated musical taste suggests
only that I am regarding non-irony itself with an ironic detatchment,
subverting the notions of both progress and nostalgia by providing
thesis and antithesis with the synthesis -- "lounge music".

Kierkegaard said that no authentic human life is possible without
irony. The non-authenticity of manufactured "experience" that becomes
increasingly prevalent with the activities of "progress" is
demonstrated all around us: in the fact that some people can read John
Grisham, or even more amazingly, Barabara Cartland novels without
whimpering; in the invention of new periods of celebration ("National
Flea Awareness Week", "World Chiropody Day", "Uncle's Day", &c.)' in
the ever-increasing encroachment of robotic service-styles by
underpaid, deliberately characterless zombies in matching uniforms who
are moulded to display deeply offensive unrealistic politesse. And
only the ironic bedrock can prevent a dangerous slide towards a phony
nostalgia towards situations never directly experienced: in such a
direction lies phantasm and, eventually, madness: the chaos of a
hideous mental Godzilla eating mental urbanity in its idiotically
cartoonlike manner; the stance of the ostrich-like who must retreat
from those feelings of disgust that existence will naturally engender
in anyone that seriously considers the likely state of the world in
just a few decades from now.

Much in the manner of Borges' tale of Pierre Menard (the man who wrote
Quixote), it is only this ability to "detach" from "authentic"
interpretations of this "style" (heterogenous though it is) that
allows for any appreciation of its "richness". Furthermore, I can only
regard the music (as for antique wallpapers) as having the qualities
that it does due to its relative lack of normalcy: the very rarity of
items contributes to their value, the very idiosyncracy of a timbre
creates its worth, even while "papering" over a familiar, often deeply
flawed, framework. This makes any suggestion of it being a "popular"
or "serious" style a self-defeating irony.

Please excuse me if this offends you: I'm British, you see. But any
quantum hermeneuticist would say the same.



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

From: Steve Sando <[e-mail]>
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 08 Jul 1997 13:07:33 -0700


At 02:46 PM 7/8/97 -0400, Joe Kilmartin wrote:
>In their book *13th Gen*, Neil Howe and Bill Strauss make some pretty
>convincing arguements that the generation born between 1960 and 1980 show a
>marked similarity to the generation born between 1920-1940, as opposed to
>the "boomer" generation of 1940-1960, if only because of socio/economic and
>cultural similarities

It's an interesting theory except isn't most of what the "kids" listen to
today just a rehash of what the boomers were doing? Plus, the boomers had
pre-disco Pointer Sisters, Maria Muldaur, Manhattan transfer, Dan Hicks and
his hot licks, Commander Cody, Bette Midler doing the vintage thing back then.

As someone born in 1960 (now that can't leave this room!!!!), I feel like I
have as much in common with someone born in 1980 as a martian. I was
already voting when the 1980 kid was born. I really feel like the aesthetic
of the boomers (hippie in particualr) was forced on me and that's why I
embraced Disco with open arms (a regretful move well documented with
photos). Someone born in 1975 wouldn't have the same issues with the
previous generation.



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

From: [e-mail] (Jill Mingo)
Subject: (exotica) Frank Hunter
Date: 08 Jul 1997 18:34:26 -0600


Thinking about buying the Frank Hunter "White Goddess" LP. Is it rare? Is it
expensive? Is it easy to find? Any thoughts on this would be appreciated.
Jack? Tony? Some of you cats who sell this stuff might know the score?

Thanks in advance....

Jill "Mingo-go"





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

From: Vik Trola <[e-mail]>
Subject: (exotica) The return of Vik's Newsletter
Date: 08 Jul 1997 20:48:42 -0500


Well...things have been fairly quiet on the newsletter front of late, and
most of the blame goes to Vik. He's been busy working on yet another
re-decoration of the lounge. This time, the infamous team of Oskar Umlaut
and Senor Scuzzi are providing the interior design advice. Phase one has
been completed with much of Vik's old furniture re-arranged (so if
something turns up missing...try the front door). Phase two in the works
now, but as it involves a secret kabal of swiss chocolate sculptors, no
details can be leaked...

===============================================================================
All New Jet Set
(http://www.chaoskitty.com/t_chaos/jet.html)
First to get a make over at the lounge is the Jet Set. Now you can choose a
destination from our big departure board (both U.S. and International
flights) or simply enjoy some of the in flight entertainment. The Jet Set
is always looking for tips, reports and happening from around the globe.
Send them to [e-mail]

===============================================================================
A New Library
(http://www,chaoskitty.com/t_chaos/reading.html)
Languishing in the dusty back room of Vik's, Vik's Library had been solely
neglected. Being the literati they are, Umlaut and Scuzzi have ripped out a
wall and given Required Reading a fresh coat of paint and expanded the
selection. The featured Read is Vern Stoltz's excellent "Cannot Become
Obsolete". On the new cart...LCD, Cheeseball, Scram and more. The usual
suspects in the Required Magazines (Tiki News, Cool and Strange, Beer
Frame, Lounge) and even more Required Books. In The Stacks, you'll find
bits and pieces from the printed realm documenting the fringes of this
crazy thing called lounge music...

===============================================================================
The Swank Times
(http://www.chaoskitty.com/mnews.html)
As 1997 shapes up to be a slow(er) year for quality re-issues, it becomes
harder and harder to find good releases to rave about. Vik's dug up a few
and you can read all about them in The Swank Times. A re-mix from
Dimitri...mad mad soundtracks...JJ Perrey gets funky on "Loose &
Juicy"...Nick at Nite goes lounging...and Hollywood Records brings forth
(sooner or later) the best "concept" album so far this year!!!

===============================================================================
Radio Vik on the Air
(http://www.chaoskitty.com/t_chaos/radio/radiovik.html)
Broadcasting 24 hours a day in mono, Radio Vik's has added all new feature
albums for Hollywood's "Lounge-a-palooza" (release date now delayed until
October!), Vanguard's "Loose & Juicy", The swinging Italian sounds of
"Mo'Plen 2000", random tracks from Tom Jones, Lalo Schrifin, Combustible
Edison, Dimitri From Paris, Yellow 357 as well as continued features for
"Further InFlight" and "Beat at Cinecitta." Vik's Featured Albums now
offers three ways to listen - individual tracks, the Radio Vik broadcast or
just listen to a specific album feature.
COMING SOON...Global Radio with The West Bethany Lounge...a Crippled Dick
Hot Wax special...The Mad Mad World of Soundtracks...Air...Yma Sumac's
"Miracles"...Les Baxter's "The Passions"...

===============================================================================
In other areas of interest...
Fans of Crippled Dick Hot Wax should take note...they've finally set up a
website at the wonderful URL of http://www.crippled.com. Information on the
catalog and new releases and a generally swell look make this a swinging
place to visit. (Tell'em Vik sent ya!) And if you have not do so...get thy
mai tai lovin' butt over to King Kini's Club Velvet NetRadio broadcast and
listen to three of the smoothest Real Audio files current on the
information super dirt road. Vik had the recent pleasure of listening to
all three, and there's not a dud in the bunch! Finally, remeber that
promising little label of 1996...Scamp Records? Well, those on the exotica
list know Scamp CEO Ashley has not died and, much to the surprise of the
mass media, Scamp is still in business. Having released the sultry
"Hypnotique/Exotica III" earlier this year, it seemed the good folks at
Scamp had perhaps sailed away to some island paradise never to be heard
again...FEAR NOT!!! Then end of July finds them back with a vengeance
releasing the next Denny (Quiet Village/Enchanted Sea) as well as the oft
coveted and very rare Mel Henke :La Dolce Henke." On the horizon, Scamp
will be putting out three fabulous collections of production music
beginning with the '50s collection "Music for TV Dinners." Vik's heard many
of the tracks and it will be worth the wait...
===============================================================================

Til next time (whenever that may be)...

waking up in the city that never sleeps,
Vik

Vik's Lounge
http://www.chaoskitty.com/t_chaos/lounge.html

Space Age Bachelor Pad Music
http://www.chaoskitty.com/sabpm/





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

From: Tony Wilds <[e-mail]>
Subject: Re: (exotica) Frank Hunter
Date: 08 Jul 1997 23:10:55 -0400


>Thinking about buying the Frank Hunter "White Goddess" LP. Is it rare? Is it
>expensive? Is it easy to find? Any thoughts on this would be appreciated.

It's one of the best, well-known, one-off exotica records, with abstract
female vocals, the works. Since demand outstrips supply, I guess it's
"rare." It's from about the same period as Anita Darien's (the Armenian Yma
Sumac) East of the Sun, also on Kapp and produced by Hunter.

tony
The Wilds Scene: LPs * Sabu Home Page * Tiki Gallery
                 http://www.charm.net/~wilds/
Email lists: new LP arrivals, web pages/sites, comps
                 To receive, email:  [e-mail]


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

From: "Derek Grime" <[e-mail]>
Subject: Re: (exotica) Wavy Gravy
Date: 09 Jul 1997 00:56:02 -0400


On Jul 6,  5:25pm, [e-mail] wrote:
> Subject: (exotica) Wavy Gravy

> I wonder if there is anyone out there who could tell me something about the
> origins of these songs?

There's not much info on the CD because it's a bootleg.

Some of the artists or titles have been changed.  "HO HO Lauging Monster"
is actually "The HO HO Rock and Roll Song" by Peter Roberts from '56!

The tracks have various pedigrees, some are from 45's, some are from LPs
like "Mad Twists Rock'n'Roll".  Some are scarce garage band releases like
"Bo Diddly" by the Juveniles.

"The Evil Dope" is the flip of a Phil Phillips 45 on Lanor.

"Rubber Room" is an A side on RCA.

I've been tracking these down for years and own a few of the original 45's.

Which one's do you need info on?

--
Derek Grime                                  EMail: [e-mail]
C.O.R.E. Digital Pictures           http://www.coredp.com/index.html



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

From: Reinhold Boeh <[e-mail]>
Subject: (exotica) Tiki and exotic paces Olando or Fort Myers Beach?
Date: 09 Jul 1997 02:51:22 -0700


As a big believer in Tiki, Lounge and exotic entertaining from Munich
Germany
I look for places to visit in Orlando and Fort Myers Beach.

Do you know any good place?
One of the best locations I have ever enjoyed is the
"Blue Lizard Lounge" in Vancouver! That club represents brilliant taste!

Exotic Regards,
Ullulani


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

From: [e-mail]
Subject: (exotica) Re: "Randall I'd like to answer your response"
Date: 09 Jul 1997 07:22:30 -0400 (EDT)


In a message dated 97-07-08 14:50:45 EDT, you write:

<< Randall I'd like to answer your response: >>

Ashley,

  I for one, and I am sure there are others, enjoyed your response.

  My opinion:  The whole exotica movement (revival?) is far more wide spr=
ead
in the private dens of America (as well as other countries) than it is in=
 the
club scenes.  Unlike so many other trends in music (Rock, Punk, Folk, etc=
.)
 Exotica is really based on the music first (and only?).  There are no
political or social agendas.  Quiet Village is just that -- a pure song w=
ith
a marvelous melody -- it has no agenda.  Can you imagine it=92s release t=
oday:
  "It takes a 'Quiet Village" to raise a child"?

  Make no mistake, this music does beacon to a calmer mood, but not
necessarily a calmer time. It does not push some 1950's republican agenda=
.  I
do think the music is escapist mood music (which does not mean that the
people who initiated it originally were trying to escaping reality).  Jus=
t
like the folks in the depression,  when they turned on the radio they wan=
ted
happy tunes.  They still got up in the morning and looked for a job.  The
music was a release for them, as it is for us, and not commentary.

  All day long I hear complaints, solve problems and filter the never end=
ing
stream of "agendized" crap that comes at me from all sides.  When I turn =
on
my record or CD player I do not want a continuation of that noise.  I wan=
t to
relax, enjoy, and to an extent, forget the pressures I face daily.

 I am probably more enthralled with this type of music than I have been w=
ith
any other music in my life.  Why?  Because with it's premise to answer no
questions at all,  it provides me with the with (what I consider) the mos=
t
important aspect of good music:  melody, harmony and good/inovative
composition.

  I have mixed emotions about the reporting on "our kind of music" by the
media.  Part of me likes the fact that the music I have loved for years i=
s
being recognized by more people.  On the other hand, I am afraid that if
popularity spreads, the uniqueness and my interest may wane.

   Oh well, can=92t worry about that now, will worry about that tomorrow.=
  My
only problem?  Should I listen to Denny=92s Black Orchid on CD or vinyl? =
 Coin
toss.  I can=92t lose either way.

Warmest regards,

Robert



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

From: [e-mail]
Subject: (exotica) Re: Age, Demographic and Related Stuff
Date: 09 Jul 1997 07:42:21 -0400 (EDT)



<< At 02:46 PM 7/8/97 -0400, Joe Kilmartin wrote:
 >In their book *13th Gen*, Neil Howe and Bill Strauss make some pretty
 >convincing arguements that the generation born between 1960 and 1980 show a
 >marked similarity to the generation born between 1920-1940, as opposed to
 >the "boomer" generation of 1940-1960, if only because of socio/economic and
 >cultural similarities
  >>

  As my previous posts suggests,  I agree with this statement.  I hope that I
do not ruffle to many feathers with this post.  I was born in 1961 and my two
brothers and sister were born in 1950, 1951 and 1954.  I am much more like
the folks born between 1920-1940 that are they.

  I have always been more conservative and pragmatic in my judgements and
actions.  They tend to be much more individualistic (v. group oriented).  I
have tended to "go with the flow" while they have tended to "define
themselves". Don't get me wrong, I do not view these differences a detriment,
just distinctly different.

  I  think that my age group (born 1956-1966) never truely aligned with their
Rock/Social agenda.  I feel this is why we 30-somethings are probably the
majority of the exotica listeners in the private homes.  We're too old (and
tired) to hit the clubs, and don't really want to, so it's the 20-somethings
that get the media's attention.

  Does anybody have demographics regarding the age distribution of exotica
listeners v. club goers?  Record exec's got to know.

  Feathers ruffled?  Join the forum.  Comments?  Post directly to board so
everybody can enjoy.

Warmest regards,

Robert Brooks


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

From: [e-mail]
Subject: Re: (exotica) Branson Info wanted
Date: 09 Jul 1997 07:54:22 -0400 (EDT)


In a message dated 97-07-08 21:53:24 EDT, Hugh write:

<< Later this year I hope to visit Branson Missouri, and
 would be grateful if any exotica reader who knows the place
 could get in touch.  >>

There's that Japanese guy who plays the fiddle.  Now that's exotica(?).

Robert



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

From: [e-mail]
Subject: (exotica) July 16 in SF
Date: 09 Jul 1997 02:43:54 -0400 (EDT)


San Francisco, Wednesday July 16, 9:00 pm
Aqua Velvets bring on the surf with Otto djing between sets
Cafe DuNord 2170 Market St @ Sanchez


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Essay Question
Date: 09 Jul 1997 11:47:32 -0400


> So, folks, it's essay time. Answer the following:
> "What is exotica 'about' and what does it mean to me?"
> You have until the end of class.

Essay? No -- I'll simply paraphrase and recontextualize our own Pea Hicks:

"The groove just goes from the inside out."


Now if you'll excuse me, I've got to go listen to that impossibly rare Monk
meets Bozo afterhours jam bootleg.

m.ace
[e-mail]


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

From: Brad Bigelow <[e-mail]>
Subject: (exotica) New Releases Worth Checking Out
Date: 09 Jul 1997 14:44:50


I am usually too poor to spend much time or money in the CD stores, but I
picked up the following on a trade-in this week and had a chance to give
'em a spin before packing up the CD player.

Lambert, Hendricks, & Ross--CBS has finally dug out their three CBS LPs and
put them on 2 CDs.  A few bonus tracks as well, including two "twist"
numbers.  Their last CBS LP, "High Flying with LH&R" is one of the jewels I
found rooting through my Dad's records about 25 years ago.  Run out and get
it, poppity-pop!

Dizzy Gillespie--Soundtrack to "The Cool World" and "Goes to Hollywood."  A
two-fer, the first a choice soundtrack to Shirley Clarke's movie, the
second covers of early 60s film themes.  Great stuff with lots of Latin
rhythms on the latter.

Gert Wilden--"I Told You Not to Cry"  Think this Crippled Dick release has
been mentioned before, but this is a must for spy/crime fans.  Some decent
Vic Flick James Bond-style guitar imitations, some Fu Manchu twists.

Just hope they don't all melt in storage under the hot Texas sun now!

Brad Bigelow


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

From: Lou Smith <[e-mail]>
Subject: (exotica) Abstract Female Vocals
Date: 09 Jul 1997 18:25:34 -0400 (EDT)


At 05:27 PM 7/7/97 -0400, you wrote:
>> > I can't get enough of Yma Sumac, Bas Sheva, and Leda Annest, but can't seem
>> > to find any other LPs with abstract vocals.

>After following this thread for a while, I've suddenly remembered a couple of
>other artists who may be of interest. They're both more avant garde than
>exotica, but definitely exotic.
>Joan La Barbara
<<snip>>
>Ursula Dudziak
<<snip>>
>m.ace

Aw, no fair! I go away for a week and you played this game without me.
Let's see, y'all got the late Mrs. Berio, Diamanda G., Joan LaB., Ursula D.,
Yoko O....

Even though the correct answer is probably Cathy Berberian, let me toss two
more names into the pot just for grins: Meredith Monk, and the Star-Scape
Singers.

While the popular name for this stuff is Wordless Vocals, the high-falutin'
name is Extended Vocal Techniques.

You can find a chapter (or really half a chapter) on it in WNYC-FM's John
Schaeffer's 1987 book 'New Sounds: A listener's guide to New Music'. The
chapter is called 'The Oldest and Newest Instruments.'

Though the book is 10 years old it is still worth finding, and does have
some overlap with Exotica. For that matter, so do R. Murray Schafer's
handful of books from 25 years ago, particularly 'Soundscape.'

--Lou





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

From: Lou Smith <[e-mail]>
Subject: (exotica) Earphones For The Head/Headphones For The Ears
Date: 09 Jul 1997 20:05:58 -0400 (EDT)


At 07:35 PM 6/28/97 -0400, Ashley wrote:
>An interesting question with a little side bar comment. I've noticed that to
>really experience the true aura of stereo for albums like the above that
>played up the spacialness of stereo, you have to take those headphones off and
>listen via your speakers. When listening through headphones you miss the
>effect of the creation of a phantom center channel ( through headphones this
>is somewhat lost as the sound appears to come from each headphone speaker
>causing you to miss out on this effect).

This wall-in-the-center-of-the-brain effect isn't necessarily caused by the
headphones themselves. Just listen on headphones to any of the Binaural
Stereo records out there (Lou Reed released a few) or audience bootlegs
recorded using Sonic Solutions or Core Sound stealth mics.

Basically, when listening to stereo using speakers, your left ear hears the
right speaker, just a bit later than the right ear (and with attenuation of
some frequencies). Same for the right ear hearing the left speaker. These
time delays and frequency roll-offs give yer brain the perceptual cues to
build a 3-D soundscape around you.
None of this can happen when the left channel is sent only to the left ear,
and the right only to the right.

This problem was recognized and solved by 1971, at least. I remember reading
an article in Popular Electronics around then, called "How To Give Stereo
Headphones A Space Dimension."  The circuit required to do this consisted of
~~15 components. No different in concept to what's done now on Surround Sound
Receivers when you set the 'room size' from 'jazz club' to 'rock stadium'.

So there's my audio add-on wish: a 'space-correction' circuit for the
headphone jack on my receiver.
A few years ago, Sony sold a deck-of-cards sized equilizer for use with a
Walkman. If they put that back on the market with the addition of the
'space-correction' circuit I think they'd sell a ton.

--Lou







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

From: [e-mail]
Subject: (exotica) Re:  Ashley's response to Rothenberg
Date: 09 Jul 1997 22:10:12 -0400 (EDT)


In a message dated 97-07-08 14:50:45 EDT, you write:

<< Randall I'd like to answer your response: >>

Ashley,

  I for one, and I am sure there are others, enjoyed your response.

  My opinion:  The whole exotica movement (revival?) is far more wide spr=
ead
in the private dens of America (as well as other countries) than it is in=
 the
club scenes.  Unlike so many other trends in music (Rock, Punk, Folk, etc=
.)
 Exotica is really based on the music first (and only?).  There are no
political or social agendas.  Quiet Village is just that -- a pure song w=
ith
a marvelous melody -- it has no agenda.  Can you imagine it=92s release t=
oday:
  "It takes a 'Quiet Village" to raise a child"?

  Make no mistake, this music does beacon to a calmer mood, but not
necessarily a calmer time. It does not push some 1950's republican agenda=
.  I
do think the music is escapist mood music (which does not mean that the
people who initiated it originally were trying to escaping reality).  Jus=
t
like the folks in the depression,  when they turned on the radio they wan=
ted
happy tunes.  They still got up in the morning and looked for a job.  The
music was a release for them, as it is for us, and not commentary.

  All day long I hear complaints, solve problems and filter the never end=
ing
stream of "agendized" crap that comes at me from all sides.  When I turn =
on
my record or CD player I do not want a continuation of that noise.  I wan=
t to
relax, enjoy, and to an extent, forget the pressures I face daily.

 I am probably more enthralled with this type of music than I have been w=
ith
any other music in my life.  Why?  Because with it's premise to answer no
questions at all,  it provides me with the with (what I consider) the mos=
t
important aspect of good music:  melody, harmony and good/inovative
composition.

  I have mixed emotions about the reporting on "our kind of music" by the
media.  Part of me likes the fact that the music I have loved for years i=
s
being recognized by more people.  On the other hand, I am afraid that if
popularity spreads, the uniqueness and my interest may wane.

   Oh well, can=92t worry about that now, will worry about that tomorrow.=
  My
only problem?  Should I listen to Denny=92s Black Orchid on CD or vinyl? =
 Coin
toss.  I can=92t lose either way.

Warmest regards,

Robert



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

From: [e-mail]
Subject: (exotica) Re:  Age, Demographics and Related Stuff
Date: 09 Jul 1997 22:11:58 -0400 (EDT)


<< At 02:46 PM 7/8/97 -0400, Joe Kilmartin wrote:
 >In their book *13th Gen*, Neil Howe and Bill Strauss make some pretty
 >convincing arguements that the generation born between 1960 and 1980 show a
 >marked similarity to the generation born between 1920-1940, as opposed to
 >the "boomer" generation of 1940-1960, if only because of socio/economic and
 >cultural similarities
  >>

  As my previous posts suggests,  I agree with this statement.  I hope that I
do not ruffle to many feathers with this post.  I was born in 1961 and my two
brothers and sister were born in 1950, 1951 and 1954.  I am much more like
the folks born between 1920-1940 that are they.

  I have always been more conservative and pragmatic in my judgements and
actions.  They tend to be much more individualistic (v. group oriented).  I
have tended to "go with the flow" while they have tended to "define
themselves". Don't get me wrong, I do not view these differences a detriment,
just distinctly different.

  I  think that my age group (born 1956-1966) never truely aligned with their
Rock/Social agenda.  I feel this is why we 30-somethings are probably the
majority of the exotica listeners in the private homes.  We're too old (and
tired) to hit the clubs, and don't really want to, so it's the 20-somethings
that get the media's attention.

  Does anybody have demographics regarding the age distribution of exotica
listeners v. club goers?  Record exec's got to know.

  Feathers ruffled?  Join the forum.  Comments?  Post directly to board so
everybody can enjoy.

Warmest regards,

Robert Brooks


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

From: Jessica Cameron <[e-mail]>
Subject: (exotica) Les Baxter's GNP material/Yma Sumac connection?
Date: 10 Jul 1997 09:55:01 -0400


The other day I was looking at a track listing for a GNP label Les Baxter
album called "Africa Blue" (or something close to that--I forgot to write
down the title, sorry), and I noticed that many of the tracks on the album
had the same names as tracks on Yma Sumac's "Miracles." Did Les Baxter
record this album first, and then let Yma Sumac add vocals, or vice versa?

Thanks for any ideas/information, Jessica ^_^



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

From: Tony Wilds <[e-mail]>
Subject: (exotica) Queen of the Cocktail Nation
Date: 10 Jul 1997 12:48:13 -0400


After due consideration (next to none) of the flower of contemporary
womanhood (Lounge Laura Taylor, Tura Satana, Martha Stewart), it has become
apparent that Bowie, MD's own homegrrrl "Ms." Cathie Lee Gifford is indeed
the One True Goddess, the Swankiest, the Lust-Kitten-Soul-Sister-#1.

Her qualifications:

1. Use of Combustible Edison's "I, Swinger" on today's show. What greater
honor than that? At last: hard-working, responsible, professional
journalists you don't have to spoonfeed.

2. Promotion of Cah-nee-vahl Cruise Lines. Singles, limbo parties,
coconuts, Kenny G...

3. Scandal. She moves to the top of the list of invitees to everyone's next
VIP wife-swapping party. Gotta be hittin' the sauce now too. The poor dear!

4. Fashion and sanctimony -- a healthy concern for the dressing habits of
millions of strangers and what they ALL must be thinking about HER. Earn
that paycheck, girl!

She's so cool! Hail the new Queen! Bring on the Nubiles! Congrats Jack and
Scott -- keep that fragile blossom safe and alive!

natas natas natas natas natas natas natas natas natas natas natas natas natas


    [Yes, I really like her. And why not? Such an easy target.]


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

From: [e-mail] (Doug Frisby)
Subject: (exotica) CD Clearance Sale!
Date: 10 Jul 1997 10:39:16 -0700



     I have several "Loungish" CD's that I'm looking to unload. If you'd
     like to buy, trade, (or swap for a Lounge/Exotica Publication
     subscription, ahem) let me know!! Here are the CD's I'm looking to let
     go of..:

     1. "Poncie Ponce Sing..!" - Poncie Ponce (Stereo Japanese import -
     original cover artwork - TV's "Hawaiian Eye" Star sings the Greatest
     Hawaiian "Pupule" songs including "Princess Poo-Poo-Ly Has Plenty
     Pa-Pa-Ya <and she loves to give it away>"!)

     2. "Space Age Soul" - John Schroeder Orchestra featuring Sounds
     Orchestral (Stereo English import <Sequel Records> Original cover
     artwork included inside booklet and includes the original "Working In
     A Soul Mine" album)

     3. "The Wizard Of Oz and Other Harold Arlen Songs" - Shorty Rogers and
     His Orchestra Featuring The Giants (RCA Spain import with original
     cover artwork featuring songs like "Ding Dong The Witch Is Dead" and
     "If I Only Had A Brain".)

     4. "The Swingin' Nutcracker" - Shorty Rogers and His Orchestra (RCA
     Spain import with original cover artwork featuring versions of Sugar
     Plum Fairy Dance and the rest from the Nutcracker Suite.)

     5. "House Of Loungecore" - The Easy Project II (22 song domestic
     compilation release from Sequel Records of such loungecore regulars as
     Tony Hatch, John Schroeder, and Roy Budd.)

     6. "Satin Affair/Concerto For My Love" - George Shearing (English
     import twofer from BGO Records includes both Shearing "cocktail mood"
     albums and features both original album covers on the cover. That's 24
     songs in all)

     7. "Prez" - Perez Prado And His Orchestra - (German RCA Living Stereo
     reissue of the classic album complete with originl cover art. Complete
     with 5 additional bonus tracks including "Estrelita Del Sur" which has
     been previously unissued)

     8. "Latin Percussion With Soul" - Jack Costanzo and Gerry Woo"
     (Reissue of the mod album with original album cover artwork. Small
     label <Tico Records> and difficult to find. Features songs like "Don't
     Squeeze The Peaches" and "Mambo Jack".)

     9. "I Love Paris" (GOLD CD) - Michel Legrand And His Orchestra
     (Remastered classic reissue from Columbia records with original album
     cover art. Lush versions of songs like "I Love Paris" and "April In
     Paris")

     10. "Music For Night People" - The Larry page Orchestra (The lounge
     Prince plays an unforgettable mood music cocktail. Stereo compilation
     which claims it's "The complete stereo experience for the discerning
     listener, the ultimate soundtrack to groovy nights on the rhythm rug."
     Includes "Light My Fire" and "I Say A Little A Prayer").

     Please e-mail me privately if you have any interest in any of the
     above CD's. Thankyouverymuch!

     Doug
     [e-mail]



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

From: Pea Hicks <[e-mail]>
Subject: Re: (exotica) Abstract Female Vocals
Date: 09 Jul 1997 19:36:22 -0700


Lou Smith wrote:
>
> At 05:27 PM 7/7/97 -0400, you wrote:
> >> > I can't get enough of Yma Sumac, Bas Sheva, and Leda Annest, but
> can't seem
> >> > to find any other LPs with abstract vocals.
>
> >After following this thread for a while, I've suddenly remembered a
> couple of
> >other artists who may be of interest. They're both more avant garde
> than
> >exotica, but definitely exotic.
> >Joan La Barbara

just for the sake of completeness, two other vocalists roughly in the
same category as Joan (but I guess i say this only because they've all
sung with Philip Glass and Steve Reich at one point or another) are Dora
Ohrenstein and Lisa Bielawa. I'm pretty sure both of them have had their
own recordings out in the past.
Also, let's not forget Kate Bush. (that one was maybe too obvious...) I
think probably her most vocally acrobatic album is "The Dreaming."
pretty exotic stuff, as a matter of fact...

oh and don't forget all those Bulgarian choral groups... easily some of
the most beautiful/harrowing/bizarre music humankind has achieved...

pea
--
                        Pea Hicks
               "Memory is my drug of choice."
               <---Realm 'O' The Optigan--->
               http://www.pilot.com/optigan
               Who will be the next to brave
                   the *perils* of the
                    VIRTUAL OPTIGAN??!


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

From: Pea Hicks <[e-mail]>
Subject: (exotica) re: weird female vox
Date: 10 Jul 1997 01:00:50 -0700


Lou Smith wrote:
>
> At 05:27 PM 7/7/97 -0400, you wrote:
> >> > I can't get enough of Yma Sumac, Bas Sheva, and Leda Annest, but
> can't seem
> >> > to find any other LPs with abstract vocals.
>
> >After following this thread for a while, I've suddenly remembered a
> couple of
> >other artists who may be of interest. They're both more avant garde
> than
> >exotica, but definitely exotic.
> >Joan La Barbara

just for the sake of completeness, two other vocalists roughly in the
same category as Joan (but I guess i say this only because they've all
sung with Philip Glass and Steve Reich at one point or another) are Dora
Ohrenstein and Lisa Bielawa. I'm pretty sure both of them have had their
own recordings out in the past.
Also, let's not forget Kate Bush. (that one was maybe too obvious...) I
think probably her most vocally acrobatic album is "The Dreaming."
pretty exotic stuff, as a matter of fact...

oh and don't forget all those Bulgarian choral groups... easily some of
the most beautiful/harrowing/bizarre music humankind has achieved...

pea
--
                        Pea Hicks
               "Memory is my drug of choice."
               <---Realm 'O' The Optigan--->
               http://www.pilot.com/optigan
               Who will be the next to brave
                   the *perils* of the
                    VIRTUAL OPTIGAN??!


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

From: [e-mail]
Subject: (exotica) Your Editors Pop Culture E-mail from Amazon.com Books
Date: 09 Jul 1997 17:34:12 -0700 (PDT)




----------------------------Original message----------------------------
The principal titles reviewed in this Expert Editors
message include:

"Ultra Lounge: The Lexicon of Easy Listening"
by Dylan Jones
Publisher: Universe

and

"Hi-Fi's & Hi-Balls: The Golden Age of the American
Bachelor"
by Steven Guarnaccia and Bob Sloan
Publisher: Chronicle Books

You can find these books and more at
http://www.amazon.com/pop-culture

                         ******

I think that the resurgence of lounge music and
"bachelor pad" culture is about our desire to return to
a less innocent age, a time before the Moral Majority
and political correctness. Then again, maybe early '60s
cocktail style has reappeared simply as part of our
never ending attempt at avoiding originality by
dredging up the past ... with '80s nostalgia, '70s
nostalgia, and hippie nostalgia already waning,
mid-century pop-beat hipsterism was just the next in
line for re-commercialization.

Anyway, since the owl of Minerva is about to fly on
this trend, it's time for the requisite volumes telling
us what hip means this year. "Ultra Lounge: The Lexicon
of Easy Listening" by Dylan Jones provides an
encyclopedic overview of mellow sounds from the late
'50s to today's trip-hop. Jones knows his hi-fi
history, and, while appreciative of such contemporary
groovesters as Tricky, Swing out Sister, and Pizzicato
Five, is always able to show their debt to John Barry,
Burt Bacharach, or Les Baxter. Jones's broad vision is
sure to introduce the reader to previously undiscovered
gems of martini-ready music.

For a visual treat, I'd recommend "Hi-fi's & Hi-balls:
The Golden Age of the American Bachelor." Ostensibly by
Steven Guarnaccia and Bob Sloan, the real hero of this
book is Susan Hochbaum, the designer, who found and
arranged an incredible collection of Rat Pack-era
advertisements, record and book covers, furniture and
interior design photos, and assorted
chachkas. Beautifully photographed in chromatic,
technicolor tones by Pete McArthur and a variety of
forgotten '60s shutterbugs, the book's art overshadows
the text and is a pleasure in itself, showcasing the
asymmetrical styles of the era without compromising the
look by giving away the book's late '90s vintage. Even
the background colors are carefully chosen from tones
popular in the age of the swingin' single.

These volumes should tide us over until Great
Depression culture makes its inevitable comeback and
all the hip-cats start hanging out on street corners
selling apples and chanting "Brother, can you spare a
dime?"


--James DiGiovanna, who is writing a dissertation on
the influence of Renaissance humanism upon 19th-century
aestheticism, swears that he is innocent, and reminds
us that we must consider him as such until proven
otherwise.

You'll find James's favorite pop culture books on the
shelves of Amazon.com http://www.amazon.com/pop-culture

                         ******

And now, a book from Turner Publications:

"Censored Hollywood: Sex, Sin, & Violence on Screen,"
by Frank Miller. You'll find this book at
http://www.amazon.com/pop-culture

This provocative book chronicles the history of
Hollywood's production code and the modern rating
system. Frank Miller shows how film censorship
reflects the morals, sexuality, and politics of each
decade, and explores why violence has replaced sex as
the target of censorship.

                         ******

We want to be sure that our Editors e-mail message
delivers the type and quality of information you want
to receive. To register your opinion, hit "reply," and
make the first word of your message:

good
Your thumbs-up.

OK
Not bad.

bad
You were expecting better.

If you'd like to make additional comments, we'd love to
hear them. Just include them after your one-word vote.

                         ******

If you have friends who might enjoy this mailing,
please feel free to forward it to them. To become a new
Editors subscriber, or to sign up for additional
categories, visit http://www.amazon.com/editors

                         ******

To unsubscribe from this mailing, send a blank e-mail
message to [e-mail]


Copyright 1997 Amazon.com, Inc. All rights reserved.


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

From: Katie Eagan & Jeff Phillips <[e-mail]>
Subject: (exotica) betty shabazz
Date: 10 Jul 1997 13:01:22 -0700


Dear I.C.,

The _New York Times_ has referred to the police department's accusation
that Malcolm, Shabazz's grandson, started the fire numerous times in the
articles that came out during her time in the hospital, as well as after
her death.  The family disagrees, and that has also been stated in a few
_NYT_ articles.  As far as I know, the issue has not been resolved yet,
but I'm sure the _NYT_ will report on it when it does.

Katie Eagan


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

From: [e-mail]
Subject: (exotica) Iz Gets Capitol Farewell
Date: 10 Jul 1997 10:51:08 -1000


Aloha exoticans...

Honolulu, HI-- It was a sad but proud day for Hawaiian culture
yesterday. Israel Ka'anoi'i Kamakawiwo'ole died June 26 at 38 from
complications brought on by morbid obesity. 5,000 people jammed the
State Capitol to pay their respect for Kamakawiwo'ole, only the fifth
person to lie in state, and certainly the first musician! The headline
of this morning's front page feature in The Honolulu Advertiser
declared, "Iz Gets Capitol Farewell".

A beloved contemporary Hawaiian musician originally with The Makaha Sons
of Ni'ihau, "Bruddah Iz"... "was a man of the people who loved to play
his music at the beach. His sense of what it meant to be Hawaiian- and
to be proud of that- was a central theme for his music." Songs like
"White Sandy Beach" and "Hawai'i '78" communicate his aloha through his
lyrics and beautiful voice.

MC/Musician, Skylark said it all with "I think the greatest thing he
gave to us was unconditional love. He touched our lives and he made sure
each one of you felt his aloha."

So say a little prayer for Iz today...

'A'ohe manu noho i ka lipo e pakele i ke kapi'o
No bird of the deep forest can escape his snare.
(Said of a person who can win the love of anyone he chooses)

Fluid Loeka/Don Tiki


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Queen of the Cocktail Nation
Date: 10 Jul 1997 19:36:41 -0400


> From: Tony Wilds <[e-mail]>
> Subject: (exotica) Queen of the Cocktail Nation
>
> After due consideration (next to none) of the flower of contemporary
> womanhood (Lounge Laura Taylor, Tura Satana, Martha Stewart)

Has anyone any word of Laura? It's seeming less like "a month" and more like
"forever."

m.ace
[e-mail]


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

From: Randall Rothenberg <[e-mail]>
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 10 Jul 1997 23:13:48 -0400 (EDT)


     In response to Ashley, I just want to point out that:
     (a) He and I saw each other this evening and were not only friendly,
but traded business ideas, etc. So this is an *intellectual* debate.
     (b) The suit I was modeling in Esquire was *not* terribly new anmd
not at all retro, but was a modern ensemble purchased at Paul Stuart (but
glad you noticed anyway).
     (c) To say that thousands upon thousands of people in cities all over
America and the world are dressing to the 999999s, ordering cosmopolitans,
trading detailed arcana about Martin Denny, and collecting tikis because
it's "just the music" seems willfully blind to me, and ignores vast
amounts of literature about the public nature of consumption. So much so
that I don't even know where to begin to respond.
     (d) The idea that "lounge" -- or whatever you want to call it; I
think labels are immaterial in this case -- is "Republican ambient" was
not at all retailed by me, but by critics, in this case, particularly,
Salon magazine. In fact, given lounge's direct antecedents in the
Americanized punk movement, and given that its progenitors in this country
were reacting quite explicitly against the pervasive influence of
"rockism," I'd say that lounge qualifies as an honestly radical, rather
than reactionary movement. Indeed, like punk, lounge adherents' affecting
of discredited "mainstream" cultural forms and styles can easily be
interpreted as a radical rejection of "acceptable" alternative cultural
forms. As I wrote in Esquire, it's a reaction against an "official avant
garde." That lounge has become (at, e.g., Greatest Bar on Earth, even Bar
D'O) an acceptable, if not yet official, avant garde itself is, of course,
the fate of most outsider cultural movements. I mean, I too was saddened
when Ed Wood movies became a cool thing to love, having loved them 25
years ago. But I console myself with the fact that it's now easier to see
them.




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

From: Matt McClellan <[e-mail]>
Subject: (exotica) Abstract Vocals
Date: 10 Jul 1997 22:34:46 -0500


Another artist of interest might be Jeanne Lee although she definitely
is on the avant garde/jazz tip.  She can take a word and turn it into a
"song" - like "Angel Chile" in which she gets all she can out of the
word "Naima".  It's on a hard-to-find album called "Conspiracy" if you
care.  It's pretty crazy.

Matt


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

From: [e-mail]
Subject: (exotica) Demographics, etc.
Date: 11 Jul 1997 00:14:11 -0400 (EDT)


Robert Brooks Writes:


<< At 02:46 PM 7/8/97 -0400, Joe Kilmartin wrote:
 >In their book *13th Gen*, Neil Howe and Bill Strauss make some pretty
 >convincing arguements that the generation born between 1960 and 1980 show a
 >marked similarity to the generation born between 1920-1940, as opposed to
 >the "boomer" generation of 1940-1960, if only because of socio/economic and
 >cultural similarities
  >>

Does anyone know exactly what the characteristics are of the generation  born
between 1920 and 1940?  This is an interesting sociological question and may
have some bearing on why today's 30-somethings have an affinity to Lounge.
 Along these lines I had a recent email exchange with David ("[e-mail])
about the generational theory.

He was talking about  collectors and a theory he heard about that people
collect things from the era just before their generation.  So those of us
born in the early sixties are drawn to the late 1950s early 1960s.  The
theory states this is because the cultural artifacts of that time were around
us in abundance but were not tainted by real life experience, since we'd be
too young to actually remember the realities of that time period.  Likewise,
the theory goes, we don't like the later 60's because we do remember that
time period.  This argument can be framed in a broader sense as "the grass is
always greener on the other side of the tracks."  But also that we, as a
generation, look at that era with rose colored glasses because we didn't live
in it and don't know about the day-to-day realities of it.

Well, personally this all sounds plausible to me.  I certainly have a strong
distaste for the later 1960's - especially fashion-wise (although music was
okay)   I don't see any reason for me idolizing those ugly clothes my parents
made me wear when I was a kid - a maxi dress or the very ugly lime green
bell-bottom hip-huggers with rhinestones down the side.

 The other issue we discussed was the prevalence of ex-punks in lounge.
 David had a theory about reclaiming the past through filters, I don't want
to go into it here, perhaps he will post it for all to read.

I gave it some thought and I've often wondered why punks have such an
affinity for 60's cars and thriftstore junk.   Ashley is really right about
what the punk movement entailed - a rejection of societal norms and a
political statement.  Depending on where you were on the globe as a punk, had
an effect on what the rebellion was about.  For example the beach punks and
So. California punks in general were rejecting the sameness of the suburbia
phenomenon.  Personally I think that people who are drawn to musical
movements or scenes are just people who are musically inclined - very into
music - it holds special meaning in their lives, more so than the average
person (who doesn't get that heavily involved with buying records or
participating in an actual music scene).  I feel that people into punk may be
drawn to Lounge because of the love of the retro culture that the music holds
(this is keeping in mind that we are talking about punks our age, which fits
with the model about collecting things just before our time), also because of
the similarity in the scenes/movements, i.e., lounge is a small music scene,
it is alternative and therefore easily graspable and not a hard leap to make.
 It has scene components - like a club scene and a "DIY" independent  music
label scene.  It is clothing-compatible (as I've stated I use the same
wardrobe - I've dressed in 1950/60's dresses since I first got into the punk
scene and they are perfect for the lounge club), it satisfies our need for
more sophisticated musical offerings - after 15+ years of punk, it is
starting to sound pretty stale to these ears!

 Well, I'm throwing this out there.  I know you old timers on the list must
be getting sick of me by now, but I hope you all will ad your infinite
wisedoms to these remarks of ours.

- Michele


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From: [e-mail]
Subject: (exotica) Demographics/Lounge Attack
Date: 11 Jul 1997 00:16:08 -0400 (EDT)


Here we go again with the demographics.  I've been discussing the
Lounge-attack issue with a friend of mine at work - a genuine hippy from the
1960's who graduated from high school in '69.  He's a political upstart and
an artist, so I think he qualifies.  Anyway, he was a kid during the 1950's
and says it was a really warped time-period - much unlike how us '60-'66 kids
are picturing it: the bomb (and the constant drills at school where they were
taught to dive under their desks even tho the gov't knew that would do little
to protect them), the Red Scare, sexual repression, etc.  He believes that
the 60's hippy movement was galvanized or coelesced around the war movement
and that the war was sort of like the straw that broke the camel's back.  He
says the hippy thing happened as a severe reaction to the 1950's culture.
 Okay back to the subject.....

He says the lounge music was what his parents were listening to in the
1950's, so the hippies were rebelling against their music - giving some
credance to the argument presented here in the exotica list, that some of
these lounge-hating writers are appalled that we like the music they hated.

But, the confusion is that Lounge music covers 1950's through the 1970's
period and therefore cannot be tied to a single generation.  For example -
look at the Audrey Hepburn movie, Breakfast at Tiffany's.  Now she is
supposed to be 20-something and it takes place in the 1960's, but instead of
being a hippy, she is "digging" lounge music.  So I asked my hippy friend -
"what about that?"  He says that the music was going on all during that
period and appealed to any folks who were in the older age group during that
period (So does that mean that Audrey Hepburn was portraying a nerd in that
movie?).  He ads that at that time, in the hippy culture, it was really
uncool to like lounge.

This is all very confusing because I keep trying to tie the music to a
specific generation and of course in reality if you did a poll at a certain
moment back then, you might find people from all age groups like Lounge
music, just like there's 50 year olds liking punk and 8 year old liking it.

So in anycase, this is why  I think the theory about all the writers being
babyboomers is pretty suspect.  Do we actually know that all these writers
are in the same age group?  We don't.  What if some of them are 20 year olds
or our age, well then that blows the theory out of the water, doesn't it?

- Michele


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

From: Magnus Sandberg <[e-mail]>
Subject: (exotica) Good Time Jazz
Date: 11 Jul 1997 16:23:38 +0200


Finds in a antiqueshop today on my lunchbreak:

Firehouse Five plus 2 -"Firehouse Five plus 2 goes south!" Good Time
Jazz Record co. L-12018
With linernotes + drawing on the back by Walt Kelly. This LP feels and
looks pretty old. Anyone knows its age?
..."Firehouse Five Plus Two. This band, made up of artists and
animators, played evenings at Disneyland, after working on Disney
animated features during the day. "
-As an old cartoonist this was a treat!

Mike Pedicin -"Musical Medicine by Mike Pedicin" Apollo LP 484 Nice
cover with a redhead (not that cute actually) in front off different
kind of chemicals.

Spike Jones -"Cant stop murdering vol 3"  jm 2-8021 doubble LP

Eydie GormΘ -"Vamps, the Roaring 20`s" ABC 218 sexy cover



7" EP George Wright -"Encores" HIFIRECORD EPR-702-2
at the mighty wurlitzer pipe organ.
"Quiet Village" and three other tunes.

....And some swedish jazz, and a nice double EP with Les Paul & Mary
Ford.

Havent listened to this score yet, I┤ll have to talk to the boss about
buying a grammophone to the office.
-Nice weekend to y┤all!

--------
Magnus







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

From: Tony Wilds <[e-mail]>
Subject: (exotica) Thursdays at the Good Love Bar
Date: 11 Jul 1997 10:26:38 -0400


Excellence comes to Grunge Town. First, the superficialities: candles
galore, paper lanterns, no jagermeister or bad tikis. Great vibe, no
hassle, no bozos, beauty all around, illustrious crew from film and
Homicide...

My musical mentor, DJ Alan Rutberg, spins at The Good Love Bar every
Thursday now. This master of Afro-lounge, Soul Exoddica, Jungle Funk,
Hypno-Sambatronic Juju Beatnikism spins the very best. Some recognizable
warm-up tunes come from Last Poets; Love, Sex, and the Zodiac;
Afro-Harping; Dave Pike's Limbo Carnival; How to Speak Hip; and wild, rare
soul on labels like King. It's Afro, it's in his collection -- yet it's
perfect for cocktail dancing.

Then it's on to Latin and serious samba, much heavier than bossa nova. And
the legendary Afro Temple LP, which he kindly let me borrow for the Sabu
pages. The bomb. Got me stopped on the street by other DJs. Fortunately, we
mortals can get it on CD through a Swedish online source, although Dusty
Groove promises to get it over here a.s.a.p.

The Good Love Bar is close to ideal, more of a party than a bar. Might be
some others of us spinning there soon too. Go for it Bump!

tony

The Wilds Scene ->  http://www.charm.net/~wilds/

"An avalanche is never welcome. Sabu constitutes an exception." -- Lasse
Mattsson



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

From: Tony Wilds <[e-mail]>
Subject: (exotica) Sabu Martinez Home Page
Date: 11 Jul 1997 10:49:46 -0400


Quite apart from my efforts, this is the Summer of Sabu.

Orgy in Rhythm is spectacular. Domestic Blue Note. Then get the other
Blakey/Sabu CDs. (And 20-bit --wow-- first acceptable standard for CDs.)

Afro Temple on CD. There have been boot pressings of the LP for years, one
done in Maryland even. Don't pass up the LP if you see it. It's worth $$$.
GREAT!

There's a fantastic new double-LP reissue (on LP) out now. TBA soon. Writer
of the liner notes is a Sabu authority who happens to be local.

I thank Magnus, Alan, others of you, and especially Sabu's former student
who contributed so much, most audibly a MIDI conga rhythm "inspired by
Sabu." I absolutely love it, but don't expect "the Avalanche," i.e., don't
mistake it for the wildest exotica there is -- Sabu!

Find out about this wonderful man and his many recordings at the Sabu
Martinez [Memorial] Home Page. Via the Wilds Scene, URL below, or directly:

    http://www.charm.net/~wilds/Sabu/index.html

Hey Don Pierson! Do I qualify as a fan now? Thanks for the inspiration and
a high mark for aspiration!

Tony Wilds
The Wilds Scene: LPs * Sabu Home Page * Tiki Gallery
                 http://www.charm.net/~wilds/
Email lists: new LP arrivals, web pages/sites, comps
                 To receive, email:  [e-mail]


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

From: [e-mail] (Br. Cleve)
Subject: Re: (exotica) Demographics/Lounge Attack
Date: 11 Jul 1997 12:35:07 -0400


 Michele wrote:
> For example - look at the Audrey Hepburn movie, Breakfast at Tiffany's.
>Now she is
>supposed to be 20-something and it takes place in the 1960's, but instead of
>being a hippy, she is "digging" lounge music.

"Breakfast....." came out in 1961, 4 years before the Diggers started the
free soup kitchen in the Haight (and with it the hippie movement). She's
more of a 'bohemian' free spirit.

>He ads that at that time, in the hippy culture, it was really
>uncool to like lounge.

He's right, of course, and that adds to its charm. In the early days of
punk, the easiest way to piss off some hippie was to extol the virtues of
The Archies, or the Bay City Rollers, or any bubblegum act.  That's what
started New Wave (before The Knack and The Cars spawned countless bad
imitators); the power pop scene was embracing those 2 minute long 45's
(which were also unhip in the late 60's) as a reaction to the overblown
states of Art & Progressive Rock, as well as understanding the fine line
that connected, say, The McCoys to The Lemon Pipers to Gary Glitter to The
NY Dolls to Blondie......

>So in anycase, this is why  I think the theory about all the writers being
>babyboomers is pretty suspect.  Do we actually know that all these writers
>are in the same age group?  We don't.

Well, I know Milo Miles (the Salon writer) personally; he's pushing 50. The
fellow who wrote the virulent anti-lounge article in Absolute Sound
indicated he was about 55. Robert Christgau, another outspoken opponent, is
around 50.

But I have no idea about the LA Weekly writer's age; an anti-lounge piece
in New York Press two months ago was written by someone probably around 30
years old, judging from their references.

So, no, they're not all in the same age group, but they all suffer from
rock itch -the disease which makes them believe that only rock is cool.
Which isn't to say that it *isn't*, but just that a lot of other things
are, too.

br cleve





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From: [e-mail]
Subject: (exotica) I've Got Two Questions
Date: 11 Jul 1997 12:56:15 -0400 (EDT)


1. Who is Nick Nastos (or Nantos) and His Fireballers? Great album called
"Guitars on Fire" on Strand with very little info.

2. That "Dan & Dale" Batman lp that is really Sun Ra and the Blues Project -
could that have also been released on Design records?  It's credited to the
Sensational Batboys.

Thanks! Bob


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

From: [e-mail]
Subject: (exotica) Tiki and exotic places Olando or Fort Myers Beach
Date: 11 Jul 1997 13:39:03 -0400 (EDT)


>One of the best locations I have ever enjoyed is the
"Blue Lizard Lounge" in Vancouver! That club represents brilliant taste!

Agreed.
Beyond that for Tiki is the Mai Kai in Fort Lauderdale


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

From: Aj <[e-mail]>
Subject: (exotica) Hippies and Demographics
Date: 11 Jul 1997 13:45:07 +0000


Michel writes:

> the 60's hippy movement was galvanized or coelesced around the war movement
> and that the war was sort of like the straw that broke the camel's back.  He
> says the hippy thing happened as a severe reaction to the 1950's culture.

I've been watching this debate for some time now and feel compelled to
jump in at this point to react against the excessively Amero-centric
nature of much of the commentary. While many of the arguments put forth
to explain the emergence of lounge culture in the US might seem
plausible, they do not explain how or why "lounge" had thrived elsewhere
long before the genre was recognized as a movement in North America.

In Japan, lounge/ jazz classics have long been popular karaoke tunes,
including not only such American fare as Frank Sinatra and Peggy Lee,
but also an incredible variety of semi-traditional Japanese songs
produced in orchestral or big band style.

In France, there has always been demand for clever lyrics and quality
production numbers. Artists  such as Serge Gainsbourg, Dalida, and Les
Campagnons de la Chanson blended American jazz influences of the forties
with traditional French musical styles such as Musette (a sort of street
accordian music, "Tin Pan Alley" a la francaise.) These and other icons
of French musicianship are still well respected, even amongst the
younger generations (especially true of Gainsbourg.)

As in most places, youth culture in Japan and France is dominated by
rock and roll and its many derivatives. But good song writing and clever
orchestration, particularly when based on traditional forms of music,
has never really gone out of style in these places. (An even stronger
case could be made for Greece, where trad Greek music is even played at
disco's.)

Hippies and demographics don't offer much insight into the rise and fall
and rise of orchestrated music, particularly when trends are viewed on a
global scale.

Aj


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

From: [e-mail]
Subject: (exotica) Re: "Randall I'd like to answer your response"
Date: 11 Jul 1997 13:39:33 -0400 (EDT)


>The whole exotica movement (revival?) is far more wide spread in the private
dens of America (as well as other countries) than it is in the club scenes.

That explains why there are no large Lounge clubs - only small ones which
draw small usually regular crowds?


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

From: "kevin king" <[e-mail]>
Subject: Re: (exotica) Demographics/Lounge Attack
Date: 11 Jul 1997 15:51:08 -0500


Br. Cleve wrote:

> rock itch -the disease which makes them believe that only rock is
> cool. Which isn't to say that it *isn't*, but just that a lot of
> other things are, too.

here here!!

Didn't someone mention when this was discussed before that as we grow
older our idea of 'coolness' becomes less limited, thus allowing a
broader spectrum of music, fashion, etc. to be enjoyed.  I don't
quite buy the idea of a generation looking towards one specific era
that immediately preceded them, and certainly don't believe that
everyone in my generation is into lounge.  Didn't a retro 60's, then
70's thing happen just before the lounge thing?  And isn't the
British version of loungecore more rooted in the late 60's/early
70's?  I was an early 60's birth, yet haven't the slightest nostalgia
for the 50's...  really.   There's an appreciation of industrial
design and architecture maybe, (and music of course) but beyond that,
no thanks!  Somehow I find the individual testimonies of more
interest than the common denominator question, which as valid as it
may be paints itself into a corner pretty quickly - pro or con.

Someone made a comparison between Combustible Edison and their
earlier band, Christmas...   now THAT I find interesting, as when I
first hear Com Ed something in the melodies and counter-melodies rang
a bell.  Then I saw Cudahy's name and 'bingo!'  Talk about a common
thread between very different genres.

listening to the Dickies on bright yellow vinyl,
kevin




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

From: [e-mail] (Doug Frisby)
Subject: (exotica) Instrumental Vs Vocal
Date: 11 Jul 1997 16:53:22 -0700



     I think it's high time for an annoying blanket statement. I don't like
     vocals mixin with my Mood Music! Plain and simple.

     I don't know how it started... perhaps it started for me with
     soundtracks to old 60's and 70's movies. I'd listen to the Goldfinger
     soundtrack and bypass the Shirley Bassey cut with my needle and play
     the rest.  Or when I discovered "More Specials" B-side, I learned that
     you don't need vocals to have great (mood) music. What I do know is I
     like the vocal as an instrument (zu zu zu) but not assaulting me at
     the forefront. May I go so far as to say, vocals to me are like adding
     Mountain Dew to a Martini. You just don't need them.

     I'm not alone. There are friends and acquaintances that have strictly
     jazz/exotica/space age pop with nary a vocal included. Believe it.
     I'll take "The Three Suns" Fever over Peggy Lee's hit anytime of the
     day. Sure, there are many exceptions and sure... the vocalists outsell
     the instrumentalists 4 to 1, but that's because the majority of the
     music buying public are the same people that stay home and watch "Home
     Improvement" and wear "Just Visiting This Planet" T-shirts. I'm 75%
     serious about what I'm saying. Anyone with me?

     Doug
     (standing alone in a very big, empty room)




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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Instrumental Vs Vocal
Date: 11 Jul 1997 20:39:30 -0400


> From: Doug Frisby <[e-mail]>
> Subject: (exotica) Instrumental Vs Vocal
>
>  I think it's high time for an annoying blanket statement. I don't like
>  vocals mixin with my Mood Music! Plain and simple.

I appreciate what you're saying, but as a fickle listener, I can't stick to one
or the other. Sometimes ya feel like a song -- sometimes ya feel like a tune.

The beauty of instrumental music is that it simply is what it is and that's
what it is (sez Popeye). Instrumentals never lie (or at least it's a highly
difficult feat). Songs with lyrics bring in all of the complexities of poetry
and literature -- this has the usual good and bad sides. Also on the good side,
a singer can give you a feeling of human (or humane) interaction. Or something
like that.

papa-oom-mow-mow -- papa-oom-mow-ma-mow,

m.ace
[e-mail]


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From: "Jim Gerwitz" <[e-mail]>
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 11 Jul 1997 20:42:02 -0700


Rather than prepare the RSI-producing rant required to properly explain
lounge/exotica within the historical context of music and society(esp. 20th
Century), I'll contribute the following slightly edited definitions from
the office dictionary:

    lounge: vb: to act or move idly or lazily: loaf: to pass time idly
    lounge: n: a place for lounging: as  a: a room in a private home or public
place for leisure occupations: living room, also lobby  b: a room in a
usually public building or vehicle often combining lounging, smoking, and
toilet facilities.  (Welcome to the Winnebago Lounge.)

Now that sure sounds like Heaven to me !

On to exotica:

    exotica: things excitingly different or unusual, esp. literary or artistic
items having an exotic theme or nature

    exotic: 1. introduced from another country, not native to the place found
 2.(archaic) outlandish, alien   3. strikingly or excitingly different or
unusual  4. of or relating to strip-tease (yowzah).

That's it in a nutshell, although I love the creative definitions already
proposed by members of our world-wide exotica/lounge cult (except I
couldn't make heads or tails of what that Englishman was talking about.)

[e-mail]  -  First Cohort ex-hippie boomer




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

From: [e-mail]
Subject: (exotica) Re: Drasnin on CD
Date: 12 Jul 1997 00:17:31 -0400 (EDT)


Yeah, it turned out that Pickwick owned the tapes.....what a mess. The only
think is that I've heard that mine sounds better than the Pickwick release,
and the Pickwick release has 10 songs, mine has 12!

Best,

Lee


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

From: [e-mail]
Subject: (exotica) Re: Lounge Attack!!
Date: 12 Jul 1997 01:37:27 -0400 (EDT)


In a message dated 97-07-11 12:27:45 EDT, [e-mail] wrote:

<<      In response to Ashley, I just want to point out that:
      (a) He and I saw each other this evening and were not only friendly,
 but traded business ideas, etc. So this is an *intellectual* debate.>>

I think everyone on this list know this is just a friendly discussion and I
think everyone has a gained a great deal of insight from both of your points
of view, so by all means please continue!

 <<(c) To say that thousands upon thousands of people in cities all over
 America and the world are dressing to the 999999s, ordering cosmopolitans,
 trading detailed arcana about Martin Denny, and collecting tikis because
 it's "just the music" seems willfully blind to me, and ignores vast
 amounts of literature about the public nature of consumption. So much so
 that I don't even know where to begin to respond.>>

David, Tiki Bob and I have decided that there is a sociological underpinning
- read our latest postings.  However I think all of us can agree that we
couldnt be participating if we didn't above all, love the music.  Still, I do
think there are plenty of people out there (I think Ashley called them "club
kids" - but us punks would have called them poseurs, right Ashley?) that are
just on the bandwagon for as long as it stays "in" to do in their set.  The
funniest thing I saw recently along these lines and I'd been meaning to share
it with the listees, is a posting on the AOL "Cocktails" board from a guy who
lives in Connecticut.  He writes: "Lounge Apparel:  Are there any brand names
of clothes that are considered lounge apparel?  If so, are there particular
stores that they can be found in?"  (I thought you'd all find this funny, I
still chuckle about this whenever I read it)

<<(d) The idea that "lounge" -- or whatever you want to call it; I  think
labels are immaterial in this case -- is "Republican ambient" was  not at all
retailed by me, but by critics, in this case, particularly,  Salon magazine.
In fact, given lounge's direct antecedents in the  Americanized punk
movement, and given that its progenitors in this country  were reacting quite
explicitly against the pervasive influence of
 "rockism," I'd say that lounge qualifies as an honestly radical, rather than
reactionary movement. Indeed, like punk, lounge adherents' affecting of
discredited "mainstream" cultural forms and styles can easily be interpreted
as a radical rejection of "acceptable" alternative cultural forms. As I wrote
in Esquire, it's a reaction against an "official avant garde." That lounge
has become (at, e.g., Greatest Bar on Earth, even Bar  D'O) an acceptable, if
not yet official, avant garde itself is, of course,  the fate of most
outsider cultural movements. I mean, I too was saddened
 when Ed Wood movies became a cool thing to love, having loved them 25
 years ago. But I console myself with the fact that it's now easier to see
 them. >>

Well, this is the best sociol/psycho theory I've heard for punks going
lounge, although I can't say that I, myself, fit into this category.  But
yes, the industry had co-opted punk with Green Day, etc., and now it is
normal to be alternative.  I would imagine that some long-time alternative
people would be looking for an alternative to the alternative (mainstream) so
this makes sense to those who are only looking for a soft landing.  These
same people, I suppose will be moving on when the next thing hits.  But
Lounge seems far from your characterization of it as an almost mainstream
accepted everybody-is-doing-it phenomenon.  At least what I can see of it
here in L.A. ...... "Lounge who???"

The Republican Ambient:  A Simple Matter of Paraphrasing:
Well, I was just commenting to my boyfriend how rock writers have the heavy
job of having to write alot of crap about nothing.  If you read any of these
band write-ups like the "Pick of the Night" in the L.A. Weekly, they can
write a whole paragraph about a band and when you are done reading it, you
ask yourself, did they actually say anything???  You look back over it and
realize that there is only one discernable fact that was given about the
whole band - the rest is "window dressing."  Perhaps that whole spiel was
just a lot of window dressing for this poor writer (the first one who did the
Lounge attack, for example) who was told by his editor to do a write up on
the Lounge phenomenon.  Then other rock papers, trying to keep up with the
latest trends, tell their reporters to do write-ups on the Lounge scene.  So
they do the "research" which basically entails digging up what other writers
have already written about it, and then they write it up (basically
paraphrase someone else's work).  That's why word for word, some of the stuff
I read in one article sounded exactly like that NPR commentary everyone was
in a huff about a few months ago.

Will wonders never cease!

- Michele

- Michele


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From: [e-mail] (Jill Mingo)
Subject: Re: (exotica) Instrumental Vs Vocal
Date: 12 Jul 1997 03:33:19 -0600



>     I think it's high time for an annoying blanket statement. I don't like
>     vocals mixin with my Mood Music! Plain and simple.

I have heard this sort of thing before. I have been often criticised as one
who hates vocalists, particularly females, but this is not true. I often
REALLY love vocals as much as I really love instrumentals. I tend to like
voices that sound unbelievably sincere or exceedingly bored. Not to mention
the ones that are just a bit weird too. As a DJ, I must say that playing to
people who usually don't know much about exotica, the vocal tracks usually
go down much better. People have something they can hook into, if you know
what I mean. Instrumentals are definitely more for the trained ear. Most
people can't really get into brilliant arranging. But I do appreciate a good
arrangement. And a good voice too.....

Jill "Mingo-go"





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From: Tony Wilds <[e-mail]>
Subject: (exotica) Deep Groove/Wilds Sounds, 1st estate-sale list
Date: 12 Jul 1997 11:00:10 -0400


Deep Groove* joins Wilds Sounds in an exciting vinyl venture.

New page at Wilds Sounds (at the Wilds Scene, URL below) for new, clean LPs
from our recent estate-sale stock. Prices are what we'll charge at shows
for record collectors (once we make a dent in the non-exotic/space-age
stuff). First show tonight.

There aren't too many listed now, but we'll have maybe 150-200 sealed LPs
and even boxes up shortly.

There's a lot of turnover going on, especially as a lot gets fire-saled, so
bear with me as I try to keep the pages updated. Thanks, all you DJs and
other wild-groove shoppers.

tony

*refers to the groove in the label of old LP records -- a general
indication of a record recorded well, pressed well, and heavy with rich,
beautiful sound.

The Wilds Scene ->  http://www.charm.net/~wilds/

"An avalanche is never welcome. Sabu constitutes an exception." -- Lasse
Mattsson



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

From: [e-mail]
Subject: (exotica) The "Ultra Lounge" Rip-Off
Date: 12 Jul 1997 11:14:33 -0400


* * * * * *

[e-mail] wrote:
> Subject: "Ultra Lounge: The Lexicon of Easy Listening" by Dylan Jones
> Publisher: Universe
> [Review:] "Ultra Lounge: The Lexicon of Easy Listening" by Dylan Jones
> provides an encyclopedic overview of mellow sounds from the
> late '50s to today's trip-hop...etc.

The above book is now officially--and thankfully--out of print.
So-called author/editor Dylan Jones appropriated four sets of my liner
notes (from Esquivel & RCA Space Age Pop CDs) without permission, and
without payment. I learned of this use after two friends "congratulated"
me on the book's publication. I assumed it was a little prank.

It was--the publisher's.

By the time I informed the publishers (Pavilion, UK, and
Universe/Rizzoli, US) of this infringement, EMI-Capitol had joined the
fray. Seems that not only did Mr. Jones appropriate a set of R.J. Smith
liner notes (from MONDO EXOTICA--also without permission or payment),
the book title (Ultra Lounge) constitutes trademark infringement against
Capitol's CD series, and Capitol LP covers were reproduced without
permission. All in all, a shabby job of clearing rights.

I was negotiating a fee for my purloined work when EMI-Cap attorneys
insisted that Pavilion & Universe withdraw the book from circulation and
destroy all copies. From EMI-Cap's legal department: "[T]he book has a
great number of factual inaccuracies, ... and we do not wish to invest
the time and trouble to correct these problems. Rather, we simply want
the book taken off the market." Hey, presto!--instant Collector's Item!!

I never saw a nickel, never will.

It was a lousy book anyway, whose only redeeming features were my essays
and Mr. Smith's. Remember: Space Age Pop is always more fun to hear than
to read about.

If you see Mr. Jones, let him know I'd be happy to deduct his unpaid
debt in community service hours. And if he has any free time, I need a
few windows washed and the catbox cleaned. Haven't had time for domestic
chores; too busy chasing deadbeat clients.

Feel free to boycott Universe and Pavilion books, with my blessings.

--Irwin Chusid

* * * * * *



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From: [e-mail]
Subject: Re: (exotica) Instrumental Vs Vocal
Date: 12 Jul 1997 14:40:28 -0400 (EDT)


Doug said:

<<      I'll take "The Three Suns" Fever over Peggy Lee's hit anytime of the
      day. Sure, there are many exceptions and sure... the vocalists outsell
      the instrumentalists 4 to 1, but that's because the majority of the
      music buying public are the same people that stay home and watch "Home
      Improvement" and wear "Just Visiting This Planet" T-shirts. I'm 75%
      serious about what I'm saying. Anyone with me? >>

...i'm with you...although sometimes, after hearing nothing but instrumental
versions of a space age pop standard, it's good to hear a vocal version.  For
instance, I'm listening to Burl Ives sing "The Moon of Manakoora" right now
and I'm loving it - from the Decca LP "Burl Ives On the Beach at Waikiki."
 Burl on the cover wearing a hawaiian shirt, seaman's cap and flanked by two
island girls in grass skirts.



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

From: "J. Diamond" <[e-mail]>
Subject: (exotica) Jack Diamond Music
Date: 12 Jul 1997 10:18:11 -0700


Hello,

My name's Jack and I sell high quality previously enjoyed records from
primarily the late 1940's through the 70's, specializing in BUT not limited
to;

Exotica, Space Age Pop, West Coast Jazz, Beatnik Poetry, Spoken Word,
Instrumental Steel Guitars, 60's Instrumental Pop/Rock Guitar, TV and Film
Soundtracks, Easy
Listening, Beatnik and Private Eye Jazz, Outer Space Exotica, Wordless
Vocals, Male and Female Jazz/Jazz Pop Vocals, Moog, Musique Concrete,
Electronics, Psychedelic, Blues, R & B, Jump, Rockabilly, Country Jazz,
Theremin, Nude/Cheesecake Album Covers, Jungley Tropical Rhythms
Pounding Out Voodoo Beams of Love and Erotica AND much much more;-)

Much of the music that I play on my radio show at KFJC-FM
(http://www.kfjc.org)
KFJC now has an Audio Feed at their web site and you just may be able to
pick us up through your computer!  It's a god damn miracle

Some of the LP's are expensive and some are not but 1 thing is for sure is
that I don't sell junk.  All killer no filler

I have an e-mail mailing list in which I send out lists of LP's I have
for sale that are graded Goldmine Collecting Standards *strict*, that
have extensive "Liner Notes" describing the sounds that lie within the
grooves leaving nothing to the imagination ;)

Do you want to be on my e-mail mailing list ?  If so then just reply
with a "Hey Jack!  Please add me to your mailing list dude" or some
reasonable facsimile there of;)  If not, then just don't.

Thank you very much for your time and bye for now.

Sincerely,
Jack Diamond
http://www.jackdiamond.com
http://www.KFJC.org


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

From: [e-mail]
Subject: Re: (exotica) Demographics, etc.
Date: 12 Jul 1997 14:57:54 -0400 (EDT)




<<  Well, I'm throwing this out there.  I know you old timers on the list
must
 be getting sick of me by now, but I hope you all will ad your infinite
 wisedoms to these remarks of ours. >>

i'm not sick of you and even if i was, it's nothing a press of the little
button marked "delete" can't fix.  which is exactly what i'll do the next
time the subject "Demographics/Lounge Attack" or any other topic which
refuses to die appears in my mailbox.





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

From: Tony Wilds <[e-mail]>
Subject: Re: (exotica) Folkiki
Date: 12 Jul 1997 15:19:07 -0400


>Burl on the cover wearing a hawaiian shirt, seaman's cap and flanked by two
>island girls in grass skirts.

Hey! "Keep your eyes on the hands!"

Speaking of the folk crossover:

Enjoying Les Baxter's Balladeers singing "Sinner Man" with some heated
words involving Mr. Satan. At last, the perfect segue between exotica and
Little Marcy!

Also, Bud and Travis --the poor man's Smothers Brothers-- are pretty funny
on the double live Liberty LP. Chatter about Polyne-zhee-ans and stuff.

tony
The Wilds Scene: LPs * Sabu Home Page * Tiki Gallery
                 http://www.charm.net/~wilds/
Email lists: new LP arrivals, web pages/sites, comps
                 To receive, email:  [e-mail]


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

From: "kevin king" <[e-mail]>
Subject: (exotica) Re: Lounge Attack!!
Date: 12 Jul 1997 14:39:21 -0500


[e-mail] wrote:

> Well, this is the best sociol/psycho theory I've heard for punks
> going lounge

Interesting theory about lounge=rebellion, but the only problem,
again, is that it's too specific....  too much of a generalization.
After all, there are plenty of other musical genres besides 'lounge'
to rebel from the mainstream with.  Likewise, there are plenty of
confirmed non-rebellious types who are into this stuff.  Can't make
much of a conclusion from that.

So...   here's my theory..  and it's a theory that's mine...  I have
this theory...   and it doesn't involve dinasours (obscure nerdy
Monty Python reference).

Consider a parallel between popular tastes in fine arts and pop
music.  Say that punk was more than a symbolic apocalypse of 'rock
and roll' in the same way that minimalism brought an end to
modernism.  What came afterwards?  Critical rebellions against the
monolithic grandaddy, or a magnification or reduction of it....  as
well as appropriations taken from... well, everywhere - time and
style-wise.  That's just what's happening with pop music at the
moment.  Lounge is just one manifestation which has had an additional
appeal to those cherishing thrifty collectible artifacts.  The true
test of this theory, which is mine, is to observe how varied kids'
tastes are today.  Compare that to the scope of what 30 and
40-somethings were listening to in their teen years (I'm talking
about individuals, not as a whole).  Also...  those chain stores,
well bashed by this list, are better these days at feeding our
voracious appetite for an endless variety of genres...   and good at
picking up on and promoting perceived trends.


kevin king
[e-mail]
http://www.radix.net/~xanadu


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

From: [e-mail]
Subject: (exotica) Attack!
Date: 12 Jul 1997 19:39:13 -0400 (EDT)


Hey, as an old-timer (now 48!) all I can say is you young
'uns sure have a way with words. Why I never saw such intellectualizin' goin'
on in my life over bad music (which I love, incidentally). I burned out on
the 6T's rock revival in 1983--then archived the ENTIRE sweet soul era of the
6T's. The 7T's revival was quick, As a collector even then, all I hadda do
was dig through my vinyl for a day or two, the 8T's revival--re-releases
notwithstanding-- is not ready for 2 and a half years (the 20-year rule), and
it was high time to dig up some new archival material to re-investigate.
Along came Lounge/EZ/Exotica--I'm alive again!----Jimmy/Geezerhood is
Powerful


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Folkiki
Date: 12 Jul 1997 20:30:19 -0400


> From: Tony Wilds <[e-mail]>
> Subject: Re: (exotica) Folkiki
>
> Speaking of the folk crossover:
>
> Enjoying Les Baxter's Balladeers singing "Sinner Man" with some heated
> words involving Mr. Satan.

Ah! Can you tell us more about this? I have a (rather beat) 7 inch of "Sinner
Man" (Les Baxter, His Chorus and Orchestra; Vocal by Will Holt) and "Tango Of
The Drums" (Les Baxter and His Orchestra; instrumental). "Sinner Man" is a
blast indeed, a stuck-throttle ride straight to its apocalyptic Hollywood Hell
climax (oh great -- now I'm lapsing into liner note cliche-speak).

Didn't Nick Cave or someone like that do a cover of "Sinner Man" in the recent
past?

m.ace
[e-mail]


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

From: [e-mail]
Subject: (exotica) Attack II--The Sequel
Date: 12 Jul 1997 20:38:47 -0400 (EDT)


Just a little more on my previous posting.....I guess for a lot of us
old-timers the Punk Era re-awakened us to what had gone down and how good it
truly had been. It also created the "genrefication" of pop musics in a new
way which really appealed to me. I don't believe that "garage" rock was an
acknowledged genre before punkers and the concept fascinated me. I quickly
burnt out though after compiling nugget after pebble after boulder, although
I still love garage rock. I never was good at following Ian's rule in
"Incredibly Strange Music" which is NEVER OVERPLAY YOUR RECORDS. Thus every
disc-overy would be followed by overplay and burnout. I burned out on  Garage
Rock, Girl Groups, and Sweet Soul of the 6T's although I love both of them
dearly to this day. This Lounge thing is like a breath of fresh air, although
I continue to be a compulsive collector/over-player of it and suspect the
same fate awaits.....Til then I am having a good time.......Jimmy/Make Mine
Manzanilla!


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

From: Michael Reading <[e-mail]>
Subject: Re: (exotica) Abstract Female Vocals
Date: 12 Jul 1997 17:40:28 -0700


Since many of the more obvious examples have already been cited, I just had
to mention a personal favorite featuring wordless vocals.  From 1979 (on
ECM, no less), "Fluid Rustle" by bassist Eberhard Weber with Gary Burton on
vibes and a young Bill Frisell on guitar.  The voices are those of Norma
Winstone (also of Azimuth, not to be confused with the Brazilian group
Azymuth) and Bonnie Herman (formerly of Singers Unlimited).  Not really
jazz, certainly not lounge, but actually kind of exotic sounding in its own
way, and just plain gorgeous in any case.  Last time I checked it was
available on CD, but could probably be found in a well-stocked used record
store with a decent jazz section for around 5 bucks.

Michael



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

From: "kevin king" <[e-mail]>
Subject: Re: (exotica) I've Got Two Questions
Date: 12 Jul 1997 20:01:45 -0500


[e-mail] wrote:

> 2. That "Dan & Dale" Batman lp that is really Sun Ra and the Blues
> Project - could that have also been released on Design records?
> It's credited to the Sensational Batboys.

I'm curious about this as well...  never considered it.  I posted
about this Lp a few weeks ago when I found it.  If it helps anyone to
come up with the answer, the track listing is:

Batman (theme)
Mighty Mayhem
Cheatin' Charlie
Uppercut Blues
Fight Flight
The Villain Strikes
Out With the In Crowd
Behind the 8 Ball
Mars' Visitor
It's Murder!



kevin king
[e-mail]
http://www.radix.net/~xanadu


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

From: [e-mail]
Subject: (exotica) Ultra Lounge / R. J. Smith Inquiry
Date: 12 Jul 1997 22:19:28 -0400 (EDT)


Just who is R. J. Smith who writes the liner notes for the Ultra Lounge
Series?

I really enjoy his comments (and style).  Has he posted here?

Any insights anyone?

Robert Brooks (aka Tiki Bob)


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

From: [e-mail]
Subject: Re: (exotica) Your Editors Pop Culture E-mail
Date: 13 Jul 1997 00:42:05 -0400 (EDT)


>[e-mail] wrote:
>
>"Ultra Lounge: The Lexicon of Easy Listening"
>by Dylan Jones
>Publisher: Universe
...
>Anyway, since the owl of Minerva is about to fly on
>this trend, it's time for the requisite volumes telling
>us what hip means this year. "Ultra Lounge: The Lexicon
>of Easy Listening" by Dylan Jones provides an
>encyclopedic overview of mellow sounds from the late
>'50s to today's trip-hop. Jones knows his hi-fi
>history, and, while appreciative of such contemporary

BUYER BEWARE!!! One of the problems of online book ordering services is
you can't flip through the book before you buy it. I saw this a couple
months ago at a local book store when it first came out, and virtually
read the whole thing in three minutes. A questionable purchase even as a
$2 remaindered title, some things to know that I observed:

This has NOTHING to do with Capitol's ULTRA-LOUNGE series (what's the
deal? looking at my ULTRA-LOUNGE CDs, it appears Capitol did not
TradeMark the name?!??). That suggests at least two possibilities: they
lifted the name because they knew they could exploit an easy association
and cash in on it, and/or they lifted it because they were too
unimaginative to think of anything unique for their book. Either is
pathetic.

If this Dylan Jones person has such a knowledge of music and this genre,
it's not apparent in this book. Cursory, superficial, thin, and weak!
(Remember recent observations on this list that most fans of this music
are much more musically literate than your average Joe? They won't be
fooled by this!) One mailing of the Exotica Mailing List Digest will
contain more meaty information than you'll ever find beneath this book's
bland cover. Exceptions: stuff like Irwin Chusid's liner notes that were
lifted for use as entries like Esquivel. How did these idiots arrange
rights for THAT?

The cover reproductions are generally boring covers/common LPs, and some
have questionable significance to the genre. Several of the photos are of
horrible condition copies of common, ubiquitous records. (Hint number one
you're not dealing with a serious collector here) The copy of Whipped
Cream & Other Delights with a HUGE white torn sticker or duct tape hole
torn out of the picture says it all.

How DO knuckleheads like this get a book published?

Ruthlessly yours,


Michael David Toth
[e-mail]
[e-mail]




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

From: [e-mail]
Subject: Re: (exotica) Your Editors Pop Culture E-mail
Date: 12 Jul 1997 23:12:18 -0800


> THIS MESSAGE IS IN MIME FORMAT. Since your mail reader does not understand
this format, some or all of this message may not be legible.

--Next_Part_2951593938_10328479_MS_Mac_IMN
Content-type: text/plain; charset="us-ascii"
Content-transfer-encoding: 7bit


>This has NOTHING to do with Capitol's ULTRA-LOUNGE series (what's the
>deal? looking at my ULTRA-LOUNGE CDs, it appears Capitol did not
>TradeMark the name?!??). That suggests at least two possibilities: they

=====

i *believe* brad benedict of captiol brillantly coined
'ultra lounge'.  capitol/emi has it copyrighted from here
to the far side of pluto.

paul moshay
mighty recording co.
search and destroy marketing
los angeles 78, calif.

=====
this weeks' heavy spin:
herb alpert & tijuana brass - performing a haunting version of
lennon/mccartney's "i'll be back" from A&M Lp "The Brass Are Comin"
(A&M SP-4228).   chillingly great.


--Next_Part_2951593938_10328479_MS_Mac_IMN
Content-type: text/html; charset="us-ascii"
Content-transfer-encoding: 7bit

<HTML>
<HEAD>
<TITLE>Re: (exotica) Your Editors Pop Culture E-mail</TITLE>
</HEAD>
<BODY BGCOLOR="#FFFFFF">
<TT><BR>
>This has NOTHING to do with Capitol's ULTRA-LOUNGE series (what's the <BR>
>deal? looking at my ULTRA-LOUNGE CDs, it appears Capitol did not <BR>
>TradeMark the name?!??). That suggests at least two possibilities: they <BR>
<BR>
=====<BR>
<BR>
i *believe* brad benedict of captiol brillantly coined<BR>
'ultra lounge'.  capitol/emi has it copyrighted from here<BR>
to the far side of pluto.<BR>
<BR>
paul moshay<BR>
mighty recording co.<BR>
search and destroy marketing<BR>
los angeles 78, calif.<BR>
<BR>
=====<BR>
this weeks' heavy spin:<BR>
herb alpert & tijuana brass - performing a haunting version of<BR>
lennon/mccartney's "i'll be back" from A&M Lp "The Brass Are Comin"<BR>
(A&M SP-4228).   chillingly great.<BR>
                     <BR>
</BODY>
</HTML>

--Next_Part_2951593938_10328479_MS_Mac_IMN--



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

From: Sonnenbergs <[e-mail]>
Subject: (exotica) Gleason/ Dali Lonesome Echo?
Date: 13 Jul 1997 01:47:14 +0000


I stumbled on a lovely 4 x 7" set today, am interested in selling it,
but am not sure what it's worth.   It's called "Jackie Gleason presents
Lonesome Echos (Capitol EBF 1-627 & EBF 2-627).  It consists of two
small, 45 rpm double "albums" (EPs?), has wonderful covers specifically
designed by Salvador Dali (!), and the inside cover of each has a
photograph of Jackie and Salvador shaking hands, along with the
following explication of the cover by the artist:
   "The first effect is that of anguish, of space, and of solitude.
    Secondly, the fragility of the wings of a butterfly, projecting long
shadows of late afternoon, reverbates in the landscape like an echo.
    The feminine element, distant and isolated, forms a perfect triangle
with the musical instrument and it's other echo, the shell."
             That text is followed by Dali's signature, and  "1955"

    The music is described as follows:
    "The nostalgic, lonely quality of this album's music is derived from
a novel instrumental concept.  For here Jackie Gleason has assembled an
exotic string combination: mandolins, 'cellos, and domras (richer,
deeper mandolins), augmented by guitars and marimba.  The featured solo
instrument throughout is the rare oboe d'amour, whose melancholy tone is
hauntingly displayed in each of these favorite selections."

   While I'm no expert in vinyl grading, I'd say  the strictest
standards would classify the vinyl as "good" (substantial crackles, but
dynamics of the music uneffected), although I've purchased such as VG.
The front covers are in very good condition (small pencil writing,
inside), and the back covers are ringworn, slightly mottled in one case
and stained in the other.

Let me know what you know about these little beauties!
Paul Sonnenberg
Austin TX


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

From: [e-mail]
Subject: (exotica) Two More Questions
Date: 13 Jul 1997 02:16:57 -0600


1.  Lalo Schifrin... is it pronounced "Lay-Low" or "lah-low"?  ive heard both.

2. Hugo Montenegro... was his "I Dream of Jeannie" theme (or a version of
it) ever on one of his own LPs?

i cannot sleep until i know the answers.





visit...

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
          King Kini's  C L U B  V E L V E T
             http://www.tamboo.com
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++




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

From: Hugh Petfield <[e-mail]>
Subject: (exotica) Capitol Records
Date: 07 Jul 1997 09:31:50 +0100



Has any reader any experience as to how Capitol Records are
with regards to coping with enquiries?  I wrote to them at the
beginning of the year with an (I thought) easy enquiry about
their back catalog, enclosing a S.S.A.E., but heard nothing.

Is it worth writing again, or is this par for the course?

They must keep comprehensive files, I'd have thought, given
that a lot of their back product is reappearing....

Thanks, Hugh





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

From: [e-mail]
Subject: (exotica) Lounge Laura
Date: 13 Jul 1997 13:22:11 -0400 (EDT)


As promised, I spoke to Laura moments ago. "I'm here, thanks for the
thoughts, I'm excited by the 3-D pictures of Mars taken by a robot," were her
words. She added that a transmission would be forthcoming as I offered her a
seat at my keyboard--perhaps as soon as Tuesday.......Jimmy


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

From: [e-mail]
Subject: (exotica) Under a Rock
Date: 13 Jul 1997 13:50:05 -0400 (EDT)


NASA has hush-hushed this but under a Martian rock named "Goodwill" the cute
little Happy Meal toy robot Sojourner found G/VG+ copies of Herb Alpert & the
TJB's "Whipped Cream and Other Delights" AND The 101 Strings' "The Soul of
Spain."

JB Twist


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

From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) Two More Questions
Date: 13 Jul 1997 13:36:11 -0400


At 2:16 AM -0600 7/13/97, [e-mail] wrote:
>1.  Lalo Schifrin... is it pronounced "Lay-Low" or "lah-low"?  ive heard both.

lah-low

>2. Hugo Montenegro... was his "I Dream of Jeannie" theme (or a version of
>it) ever on one of his own LPs?

"Theme For Irma" on his '65 album "Candy's Theme And Other Sweets" (with
the very provacative cover) is a virtual rewrite of the "I Dream of
Jeannie" theme. I have never seen the actual theme on any of his LP's.

br cleve





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

From: [e-mail]
Subject: (exotica) Searching for Bob Thompson CDs
Date: 13 Jul 1997 14:37:57 -0400


* * *

I am desperately trying to obtain the following import CDs. A few years
ago, BMG Victor (RCA), JAPAN, reissued three Bob Thompson albums (ca.
1960) on CD. I have the one entitled MMM, NICE! but need the other two,
entitled:
     JUST FOR KICKS
and
     ON THE ROCKS

I understand these CDs may already be out of print. I will pay decent
money for either or both. (I AM NOT LOOKING FOR VINYL. I already have
the LPs.)
If anyone has any leads, please contact me off-list.

Thanks.
Irwin Chusid

* * *



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

From: Brian Phillips <[e-mail]>
Subject: (exotica) Bluesman and Ra-bin
Date: 13 Jul 1997 16:46:50 -0400


I have the single on Tifton.  The flip is Robin's Theme.  I guess that this
is a Non-LP B side?



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

From: Randall Rothenberg <[e-mail]>
Subject: Re: (exotica) The "Ultra Lounge" Rip-Off
Date: 13 Jul 1997 23:28:30 -0400 (EDT)


     Irwin's notes about the ripoffs in the "Ultra-Lounge" book are
amazing. It moves me to recommend to any and all who write, at least
part-time, for a living to join the National Writers Union, which has a
well developed procedure for extracting payments for members from such
malfeasants. It's listed in the NYC phone directory (and San Francisco),
is affiliated with the AFL-CIO, and does a very good job on intellectual
property rights.



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

From: [e-mail]
Subject: (exotica) "Ultra Lounge" Rip-Off/NWU
Date: 14 Jul 1997 00:57:59 -0400


Randall Rothenberg wrote:
>
> Irwin's notes about the ripoffs in the "Ultra-Lounge" book are
> amazing. It moves me to recommend to any and all who write, at least
> part-time, for a living to join the National Writers Union, which has a
> well developed procedure for extracting payments for members from such
> malfeasants.

I joined the NYC chapter of the NWU about a decade ago--and quit after a
frustrating year. They seemed solely concerned with left-wing political
issues, and very little with writing as a profession. One can only take
so much of that envy-driven Loser Mentality typical of militant lefties
and aging Sixties holdovers. Eventually, adulthood intervenes--if you're
lucky.

--Irwin Chusid

P.S. Randall, I mean no disrespect. This is my impression of the NWU,
not a personal barb.





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

From: [e-mail]
Subject: Re: (exotica) Demographics/Lounge Attack -0In defense of Audrey Hepburn
Date: 14 Jul 1997 08:32:12 -0400 (EDT)


In a message dated 97-07-12 08:09:17 EDT, [e-mail] writes:

>But, the confusion is that Lounge music covers 1950's through the 1970's
>period and therefore cannot be tied to a single generation.  For example -
>look at the Audrey Hepburn movie, Breakfast at Tiffany's.  Now she is
>supposed to be 20-something and it takes place in the 1960's, but instead of
>being a hippy, she is "digging" lounge music.  So I asked my hippy friend -
>"what about that?"  He says that the music was going on all during that
>period and appealed to any folks who were in the older age group during that
>period (So does that mean that Audrey Hepburn was portraying a nerd in that
>movie?).  He ads that at that time, in the hippy culture, it was really
>uncool to like lounge.

In defense of Audrey Hepburn:

In 1960 when Breakfast At Tiffany's was being filmed, rock and Sinatra and
mood music still found equal time on top 40 radio. It really wasn't until the
mid to late 60's that radio started to change formats and "pop" no longer
included the "old guard" of Sinatra and the like.(Rememeber even Martin Denny
even performed his chart topper "Quiet Village" on American Bandstand in 1959
to accepting kids).

Now what Audrey played in her swingin' apartment party was jazz, which at the
time (I'm sure Jack Diamond will concur) was considered pretty wild and not
something for the older folks to appreciate. Remember that the "beatniks"
predated the "hippies" of the later '60s and their anti-establishment musical
weapon was jazz.


Ashley


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

From: Peter Hipwell <[e-mail]>
Subject: Re: (exotica) Re: Lounge Attack!!
Date: 14 Jul 1997 15:25:03 +0100


"Jim Gerwitz" <[e-mail]> wrote:

>
> That's it in a nutshell, although I love the creative definitions already
> proposed by members of our world-wide exotica/lounge cult (except I
> couldn't make heads or tails of what that Englishman was talking about.)
>

No worries, Jim: I can't make head nor tail of any of the sociological
ponderings on the topic. 'Sides, Continental-style philosophy is good
for its sheer Gaul.



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

From: Ross Orr <[e-mail]>
Subject: (exotica) Re: RJ Smith
Date: 14 Jul 1997 11:19:04 -0400


>Just who is R. J. Smith who writes the liner notes for the Ultra Lounge
>Series?
>
>I really enjoy his comments (and style).  Has he posted here?

I'm sure some of you NYC'ers can give a better answer about what he has
been up to lately. . . but with this whole demographics thread going on I
just wanted to mention that I knew him 20 years ago--he dated a housemate
of mine in college (my brush with stardom!)

He would be about 37 now, plus or minus a year or two. Back in school he
was already heavily into music, and wrote reviews for the U of M student
paper the Michigan Daily. A sort of intense, intellectual guy. He was
pretty open-minded about liking different things, I recall him being into
everything from Talking Heads to John Hiatt to early Prince--at least these
were things he endorsed as we were making up one particular party tape.
However he rocketed to his greatest notoriety with one infamous Daily
review, where he absolutely savaged a big Grateful Dead concert. He pretty
much said that the whole hippie noodling guitar-solo thing was exhausted
and dead and should just go away.

He left Ann Arbor owing a friend of mine $25. . . Much later I think I
heard that he had been inadvertently arrested in a crackdown on a pirate
radio ship moored somewhere off New York? Then he popped up doing the UL
liner notes.

Don't think he's ever posted here. . .  Where exactly this places him in
the larger demographic continuum is left as an excercise for the reader.

Yours in HiFi,

 --Ross

|| Ross "Mambo Frenzy" Orr  <[e-mail]>
|| Ann Arbor, Michigan USA




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

From: [e-mail] (Doug Frisby)
Subject: (exotica) Re: Irritainment CD
Date: 14 Jul 1997 11:22:36 -0700



Because several of you asked, here's the info on the "Exotic Trilogy II" CD.
First off, I highly recommend it. The sound quality is quite good and as long as
you like the three songs, it's a winner. Here are the songs and the artists
renditions:

QUIET VILLAGE                   TABU                    CARAVAN
1. Ted Auletta                  2. Douglas Gamley       3. The 3 Suns
4. Tommy Garrett                5. Billy May            6. Living Guitar
7. Bill Justis                  8. Hal Shutz            9. Marty Gold
10.The Aliis                    11. Ensemble Of 7       12.Enoch Light
13.Ferrante & Teicher           14.Geri Galian          15.Lloyd Burry
16.Hawaiian Brass               17.Orizaba              18.Hal Mooney
19.Al Bollington                20.Al Hirt              21.George Wright

It's nice for a change to see some of the lesser known artists reissued.

*The kick-ass track is the Living Guitars version of "Caravan". Anyone know what
album that is from?

Doug





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From: [e-mail]
Subject: (exotica) Keely Smith - Bio Info
Date: 14 Jul 1997 22:18:01 -0400 (EDT)


Hey Retrolites:

I was listening to a radio station this past weekend and the DJ keep saying
that it was Keely Smith's birthday.  Before posting a happy birthday to this
excellent diva I checked a couple of net sources.  Alas, it was not her
birthday but I did find this information which list members may enjoy:

Keely was born March 9, 1932 in Norfolk, VA. Her real name was Dorothy
Jacqueline Keely. After her parents divorced and her mother remarried Jesse
Smith when she was nine years old, she changed her name to Keely Smith after
she joined Louis Prima and his band. Her family had a tough time and her
three brothers and her took in laundry to make ends meet. in 1947 she was on
a vacation trip to New York city where the heat became oppressive. The family
decided to go to Atlantic City, NJ instead. Keely went to the Steel Pier
where Louis Prima was appearing. In 1948 Prima appeared at the surf club in
Virginia looking for a singer. Keely auditioned and was selected and hit the
road at 18 years old. They were subsequently married on july 13, 1953 and
issued two daughters, Toni and Luanne. Keely was prima's fourth wife. For
many years that appeared together in Las Vegas with bandleader Sam Butera and
made "that old black magic" a standard. In 1961 Keely filed for divorce
citing extreme mental cruelty. In 1965 she married Jimmy Bowen a record
producer and they were later divorced. She currently lives in Nevada and
makes appearances in the Las Vegas area. Prima died in a nursing home in New
Orleans on august 24, 1978 after being in a coma for several years. Her film
credits include: Sing Sing Sing, Thunder Road and Hey Boy! Hey Girl!

Regards,

Robert Brooks (aka Tiki Bob)


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

From: [e-mail]
Subject: (exotica) Lounge Rip-Off Question
Date: 15 Jul 1997 01:32:03 -0400 (EDT)


[e-mail] wrote:

>By the time I informed the publishers (Pavilion, UK, and
>Universe/Rizzoli, US) of this infringement, EMI-Capitol had joined the
>fray. Seems that not only did Mr. Jones appropriate a set of R.J. Smith
>liner notes (from MONDO EXOTICA--also without permission or payment),
>the book title (Ultra Lounge) constitutes trademark infringement against
>Capitol's CD series, and Capitol LP covers were reproduced without
>permission. All in all, a shabby job of clearing rights.

I saw this book about a month ago at Borders on La Cienega.  What exactly do
you mean by "appropriated"?  Did he plagerize you or just quote you and if it
was a quote of your liner notes, isn't that okay as long as they cite the
author.  Forgive me for not being up on all of this, but I cite authors all
the time when I'm doing research papers and I always thought we could quote
or paraphrase as long as we gave the source.  I have never contacted any of
my sources and asked permission to cite them in my papers and no one has told
me that I needed to.  Can someone who's got the time and info please explain
this to me?  Also Paul wrote that Capitol has the rights to the name "Ultra
Lounge,"  which means that no one can use it - as in what exactly?  Like
coming out with a CD titled Ultra Lounge?  So does that mean we cant use
those words anymore, what exactly does it mean we can or cant do?

- Michele
Flipside


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

From: [e-mail]
Subject: Re: (exotica) Lounge Rip-Off Question
Date: 14 Jul 1997 23:36:01 -0800


> THIS MESSAGE IS IN MIME FORMAT. Since your mail reader does not understand
this format, some or all of this message may not be legible.

--Next_Part_2951768161_1891348_MS_Mac_IMN
Content-type: text/plain; charset="us-ascii"
Content-transfer-encoding: 7bit


>this to me?  Also Paul wrote that Capitol has the rights to the name "Ultra
>Lounge,"  which means that no one can use it - as in what exactly?  Like
>coming out with a CD titled Ultra Lounge?  So does that mean we cant use
>those words anymore, what exactly does it mean we can or cant do?


coming out with any entertainment (and possibly other) product would
most likely be an infringement of trademark (speaking NOT as a
representitive
of Capitol/EMI here)...just from vantage point of 10 yrs a rec biz marketing
exec.

i dont know about the use of trademarked concept in venues that do not
constitute a direct commercial infringement on a franchise. consult your
publishers/counsel :) !

paul / mighty recording co.

--Next_Part_2951768161_1891348_MS_Mac_IMN
Content-type: text/html; charset="us-ascii"
Content-transfer-encoding: 7bit

<HTML>
<HEAD>
<TITLE>Re: (exotica) Lounge Rip-Off Question</TITLE>
</HEAD>
<BODY BGCOLOR="#FFFFFF">
<TT><BR>
>this to me?  Also Paul wrote that Capitol has the rights to the name "Ultra<BR>
>Lounge,"  which means that no one can use it - as in what exactly?  Like<BR>
>coming out with a CD titled Ultra Lounge?  So does that mean we cant use<BR>
>those words anymore, what exactly does it mean we can or cant do?<BR>
<HR ALIGN=CENTER SIZE="3" WIDTH="80%"><BR>
coming out with any entertainment (and possibly other) product would<BR>
most likely be an infringement of trademark (speaking NOT as a representitive<BR>
of Capitol/EMI here)...just from vantage point of 10 yrs a rec biz marketing<BR>
exec.<BR>
<BR>
i dont know about the use of trademarked concept in venues that do not<BR>
constitute a direct commercial infringement on a franchise. consult your<BR>
publishers/counsel :) !<BR>
<BR>
paul / mighty recording co.
</BODY>
</HTML>

--Next_Part_2951768161_1891348_MS_Mac_IMN--



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

From: [e-mail]
Subject: Re: (exotica) Keely Smith - Bio Info
Date: 15 Jul 1997 10:13:01 -0400 (EDT)



In a message dated 7/14/97 9:10:17 PM, you wrote:

<<In 1965 she married Jimmy Bowen a record
producer>>
Jimmy Bowen also had a One Hit Wonder called, "I'm Stickin' With You", by
Jimmy Bowen with the Rhythm Orchids, co-written with Buddy Knox. The other
side of this hit single was "Party Doll", with the lead sung by Buddy Knox,
as Buddy was part of the Rhythm Orchids.
Gloria



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

From: Ross Orr <[e-mail]>
Subject: (exotica) Christmas in July
Date: 15 Jul 1997 11:40:02 -0400


> I think it's high time for an annoying blanket statement. I don't like
>     vocals mixin with my Mood Music! Plain and simple.


Until very recently I would have completely agreed: if it has lyrics,
forget it.  Of course there would have to be be an exception for the
occasional Esquivel-esque "Zoo zoo zoo" or lyric fragement.

(By the way I just picked up _The Versatile Henry Mancini_ on Liberty and
love his ethereal take on Exotica--his "Poinciana" has one of these
fragementary vocals, the ladies breathing "speak to me of love. . ." and
then vanishing.)

. . . But as so often happens, the more things I listen to the more my
rules and arbitrary categories seem to break down. I just got that infamous
Stereo Action LP by the Keith Trextor singers, and it is so wigged that you
can hardly object to the lyrics. And a copycat album on MGM ("the Dancing
Voices") has a Cha Cha version of "Don't Get Around Much Any More" which
I'm getting to be rather fond of.


But speaking of breaking my own rules, I must give lavish public credit
here to Vern Stoltz for getting me to break my longstanding rule of "No
Christmas Albums." After reading _Cannot Be Obsolete_ #3 (the Xmas Issue),
which is a hoot, I got a few Xmas LPs last weekend. I feel like I'm off on
a whole new terrifying adventure:

 Lenny Dee _Holi-Dee_ (Decca).  This may be the hammiest Dee album I have
ever heard. Jumped-up "Jingle Bells," rockabilly "Rudolph," scorching
"Sleigh Ride," and a triple-speed "Auld Lang Syne." Wow. There's even some
"stereo action" going on! (Plus the Anita Kerr singers singing "Santa.
Santa. Santa." in a way that seems to me to foreshadow the Residents'
"Santa Dog". . . )

 _Yuletide Disco_ as performed by Mirror Image (Pickwick). I'm just getting
started in the "inappropriate dicso" area, but I have to say I can't
imagine it getting much stranger than this. The "Hark the Herald Angels"
disco version sounds like a parody straight from _The Simpsons_.
Unfortunately this disc got sharply *folded* at some point (latent
hositility?) and the big kink means I can't really play "the Twelve Days of
Christmas"--it seems to be another howler.

Does anyone else have Christmas favorites with something a little. . .
different. . .  about them?

Ho ho ho,

 --Ross

|| Ross "Mambo Frenzy" Orr  <[e-mail]>
|| Ann Arbor, Michigan USA




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

From: "J. Diamond" <[e-mail]>
Subject: (exotica) Playlist for Jack
Date: 14 Jul 1997 21:11:57 -0700


KFJC-FM play list 7/6/97 for Jack Diamond




ARTIST                    TRACK                            ALBUM
______________________________________________________________________________

Planets                    Chunky
Herb Geller-Alto            Jack Sheldon-Trumpet
Buddy Collette-Clarinet        Jack Montrose-Tenor Sax
Johnny Graas Nonet            Let's Fall in Love                    Decca, 1957
Nelson Riddle Orch            One for the Rogue                    The Rogues, 1964
Peter Thomas                Space Patrol
Pete Rugolo Orch
W/ Jack Costanzo            Bongo Riff                        1958, Mercury
Ken Nordine                When You Are Born,
                        Piccolos, Knee
Hugo Montenegro            Yale's Pool Room                    Lady in Cement
Johnny Pate                Shaft in Africa                    1973
Robert Prince Orch.            Blues, Mambo,                        Jazz Ballet,                         Maria Cha Cha,
Jump1958                U.S.A.

Tab Hunter and                                                Film, 1958, Rca
Gwen Verdon                2 Lost Souls                        Damn Yankees
Mancini                    Orson Around                        Touch of Evil
W/ Barney Kessel-Guitar        Plas Johnson-Tenor Sax                Mike Pacheco-
        Conga
Dave Pell-Bari Sax            Jack Costanzo-Bongos                Conte Candoli-Tpt
On Her Bed of Roses            Main Title/Walk to Hell                On Her Bed of Roses
Kenyon Hopkinse             The Loft                            Nightmare
Herbie Hancock                Bring Down e Birds                    Blow Up
Dave Dudley                6 Days on e Road                    Jimmy Colvard
Electric Coconut            Popcorn                            G. Kingsley
Johnny Mandel Orch.
Feat. Art Pepper            Georgia on My Mind                    1958, World Pacific
Lalo Schifrin Feat.
Bill Plummer-Sitar             The Sniper
Les Baxter Orch.            Barbarian                            Plas Johnson-Tenor
Chaino & Mate                Jungle Chase                        Omega-Disc
Jack Burger                Bongo Insuction                    Hi Fi
Boz Scaggs                Runnin' Blue
Raymond Scott Orch.            Twilight in Turkey                This Time W/ Strings
Lord Sitar                Blue Jay Way                        George Harrison
Mancini                    Experiment in Terror                Spooky Version
Fifty Foot Hose            Rose                                Cauldron
Marshall McLuhan             The Medium Is The Massage
Machito Orch.                Congo Mulence                        A.K. Salim
Daphne Hellman Qrt. W/
Mundell Lowe-Gtr            March of the Siamese Children &     Summertime
Lambert, Hendricks &
Ross                        Mr. P. C.                            Coltrane
Billy May Orch.            Rusty in Orchestraville
Kenyon Hopkins Orch.        The Winner                         The Hustler
Johnny Mandel Orch.            The Last Mile
Jr. and His Soulettes        Thang, Do The Creep                    Psychodelic Sounds
O'Donel Levy                Playhouse                            Manny Albam-Arrgr
Hugo Montenegro            Jungle Heat                        More Man From Uncle
Alan Tew Orch.                Doctor in The House
Lalo Schifrin                Turning Point                        CTI, 1976, Funk
Robert Prince Orch.            Cool                                West Side Story
Mel Henke                    Last Night on The Back Porch
Warren Barker Orch.            Caper at The Coffeehouse            77 Sunset Sip
Tom Glazer                Vitajex Jingle                        Face in The Crowd
Thumbs Carlisle            Gettin' Your Ship Back Together
Agnes Moorhead                Sorry, Wrong Number
Pete Rugolo Orch.            Diamond On The Move                    Richard Diamond

4 Titles available on CD-Guess which one's:-)
he he he he he he he he he

KFJC 12345 El Monte Road, Los Altos Hills, CA 94022

KFJC is now live on the web. Direct your browsers toward http://www.kfjc.org
and see what all the fuss is about!

Totally insane and awesome Music Database with Keywood Search
DJ Playlists w/ Hot Links to Reviews and all sorts of other cool stuff


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

From: "Ray Coffey"<[e-mail]>
Subject: (exotica) Lalo Laura
Date: 15 Jul 1997 13:12:55 -0400



 A fellow Argentinian says that Lalo Schifrin's first name is pronounced
 Lah-lo, not Lay-lo.  This doll composes orchestral jazz music too!

 Even stranger, her name is Laura (L-Ow!-rrrrrr-uh *not* Lore-uh)
 -same as that Taylor woman, aka Lounge Laura, who despite becoming a
Hausfrau, still has a serious vinyl addiction, and is jonesing for more.
 Alas, her recent "slacker" job at Tower Records does not allow
five-fingered discounting.  Nor does it leave much money after rent is
paid.

 Her usual field for employment has a glut of workers v. jobs, as the
public radio market in Boston is saturated with talent, especially with the
demise of Monitor Radio at the Christian Scientists' Mother Church.

 Job offers will continue to be accepted and reviewed by Miss Taylor in the
order in which they are received.

 Her house is apparently becoming a showplace, with much of her free time
devoted to grooming it!

 Anybody know of anything wonderful in West Palm Beach, Florida?
 I'm looking for architecural examples (any Deco there?), thrifts, record
stores, bars, lounges, and restaurants.
 Even Gawd-offal Extreme American Culture sites are desirable.


 Pecan Logs, here I come!


 Ray (Koffee Kup) Coffey




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

From: Johan Dada Vis <[e-mail]>
Subject: (exotica) some cd's i liked
Date: 15 Jul 1997 16:20:30 +0200


some cd's i liked:
-----------------

    * v/a: Another cray cocktail party: shake your congas

it's funny but also sad that i had to learn about this belgian release from
an american dj (thanx, Darrell!). i'm not on any promo list you see, and cd
distribution in belgium, well ... anyway, this is a collection of both
silly and cool "cocktail" music from the late 60's, the accent lies on
novelty arrangements. cover says "file under grounge" but it sounds too
clean to claim such a label, much cleaner than what you hear on "the sound
gallery"  for exemple.
oh yes, part 1 (crazy cocktail party) is deleted already ;-(

    * Roy Budd: Rebirth of the Budd

a couple of the best tracks were already featured on the "the sound
spectrum" and "the easy project vol 2" comps. half of it is good and
tasteful piano cocktail jazz, the rest fits in the "sound gallery and easy
project" style.

    * Les Reed: Girl on a motorcycle

more of the same euro/loungecore: provocative arrangements, nice melodies,
weird sounds, lush strings, brass action, loungecore in the easy project
style. brilliant.

    * Airto: The best of

contains 2 tracks from "free", 3 from "fingers", 2 from "virhin land" and 2
from "deodato/airto in concert". an absolutely fantastic mix of latin, funk
and exotic elements, highly recommended!

    * Xavier Cugat and his Orchestra: Cugie A-Go-Go

zip-a-dee-doo-dah! chim, chim, cher-ee! goldfinger! thunderball!
see the article on "go-go" sound in the last "cool & strange music"

    * v/a: Ultra-Lounge On the rocks 1: rock'n'roll distilled for ez l.

i absolutely LOVED this! (vol 2 a bit less) you shouldn't compare them to
rhino's "golden throats" as this is not as much atrocious music, it's just
easyfied (instrumentalised) pop classics; a few are silly, but a lot have
that "now sound". very interesting. a friend dj who's very much into
dub/techno/drum & base/acid jazz and who also likes some of the stuff i
play for him (like the sound gallery and the crippled dick soundtracks)
found it very groovy!

    * The Gentle People: Soundtracks For Living

far too expensive (clearly aimed at the japanese market). cosmic lounge,
new age exotica. they've listened a lot to klaus schulze.

    * Emil Richards: Wonderful World of Percussion

think of "stones" and "psychedelic percussion" without the guitars and
electronics. wonderful!

    * Astrud Gilberto: Beach samba

from the liners: "astrud would make clear that pop music, not jazz, was her
forte, covering songs made famous by vicki carr and the lovin' spoonful,
sneaking up some hollywood and broadway show tunes and introducing ballads
and  ovelties from he native land".

    * Edmundo Ros and His Orchestra: Vaba-Va-Voom

i don't like ross as much as cugat or prado, because he sounds too
european, and he sings ;-). some funny bits here: tico tico/ toreador's
song/ summertime/ hare krishna/ aquarius/ let the sunshine in/ up up and
away/

    * Shig & Buzz: Double diamonds

good melodies in a shadows/ventures way

    * Tipsy: Trip Tease

yeh, i know, i once said i didn't like their first maxi, but i guess that
was too dance-oriented for me, i'm not a dance-oriented kinda guy ;-)
there's a lot more happening on this cd, sometimes so much it becomes
hilarious. great fun!

    * Cal Tjader: Several Shades of Jade / Breeze from The East

beautiful blend of soul/pop/jazz and subtle oriental influences.

    * v/a: Further Inflight Entertainment

not as amazing and surprising as vol 1, but still highly recommended, if
you don't mind the disgustingly high price...
(what the heck is happening in europe? german and english cd's cost almost
as much as japanese!!!)

    * Ennio Morricone: More Mondo Morricone

if you liked the first one, you'll also like this one (if you don't mind
the...)

    * The Soul of Jazz, vol. 1

great dancefloor jazz with hugh masekela; jimmy smith (2 tracks, 1 of them
from "the cat" see below); cal tjader; quincy jones; james taylor quartet;
and others. there are more volumes, though don't know how many. i prefer
this over the "mojo" dancefloor jazz" cd i listened to as that one has lots
of vocal tracks, and i prefer instro jazz.

    ???     does anyone know if this JAMES TAYLOR QUARTET has a cd
        out with the same kind of exciting groovy funk-jazz as here
        with the track "theme from starsky & hutch"?

    * Jimmy Smith (arranged & conducted by Lalo Schifrin): The Cat

woow, this is dynamite! soulful big band + hammond jazz

    * Lambert, Hendricks & Ross: The Hottest New Group In Jazz

mindboggling and amazing virtuoso acrobatic vocal jazz.

    * Snoopy's Beatles Classiks On Toys

if you like Pianosaurus, you'll love this one! also available:
Christmas/Classical/Nutcracker/Jazz on toys, but haven't heard those yet.

    * v/a, cond. by Dick Jacobs: Themes from Classic Science Fiction,
Fantasy and Horror Films

one of the few horror (comp) soundtrack cd's that i found entertaining.
amusing even at times.


--------------------------
stuff i wasn't impressd by:
--------------------------

    * The Horror Films Collection - Classic Italian Soundtracks

boring! clichee! i liked 4 tracks out of the 23... the kind of music that
works great when you watch the movie... i must add and admit that i haven't
listened to it yet after midnight ;-)

    * Morricone: Una lucertola con la pelle di donna

boring, dark, noisy, without melody, except for the heavenly title track,
which is featured on Mondo Morricone. 3 other track are not bad either, but
all in all not worth the $30 price tag, IMH and melody-lovin' O.

    * Najma: Forbidden Kiss

maybe i'm suffering from an overdose of indian film music after going
through 20 or so tapes my parents brought back from a trip to India. they
couldn't find ANY  Vijaya Anand alas. it all sounds the same after a
while...

for label and origin info, see

        eXotica Releases Overview:
        http://bewoner.dma.be/Dada/disq/disq.htm
        or
        http://195.13.24.3/Dada/disq/disq.htm

        Johan
        [e-mail]  =  [e-mail]
        ---




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

From: Johan Dada Vis <[e-mail]>
Subject: (exotica) New eXotica Releases Overview Update
Date: 14 Jul 1997 20:25:07 +0200


A new update to the eXotica Releases Overview is now available, containing
816 entries.

The main "raison d'etre" of this XRO still is:
to give anyone an idea of what is currently available in the "exotica"
genre, and to give you exact titles and release details to make your life
easier :-)

        eXotica Releases Overview:
        http://bewoner.dma.be/Dada/disq/disq.htm
        or
        http://195.13.24.3/Dada/disq/disq.htm

        Dada'quariums Exotica:
        http://bewoner.dma.be/Dada/index.htm
        or
        http://195.13.24.3/Dada/index.htm

        Johan |)/\|)/\ Vis
        [e-mail]  =  [e-mail]




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

From: [e-mail]
Subject: Re: (exotica) Re: RJ Smith
Date: 15 Jul 1997 02:38:36 -0400 (EDT)


>He left Ann Arbor owing a friend of mine $25

Well, last I looked (which was about two months ago) RJ Smith was residing
somewhere in LA (and a former scribe at the LA Weekly)
If you really need that $25 it shouldn't be too hard to find him

Got anymore dirt?


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From: [e-mail]
Subject: (exotica) Re: Dylan Jones, etc.
Date: 15 Jul 1997 15:08:18 -0400 (EDT)


I thought I'd read here that the new Ultra Lounge book by Dylan Jones had
been deleted and taken off the shelves. I found some at Tower Records this
morning. What's the story?

I screwed up my courage and bought the two Ultra Lounge CDs that I'd been
avoiding. "On The Rocks" Vol. I and II. I've only listened to half of Vol I,
but quite amazingly, I like it. I took my portable CD player with me on my
morning walk, and thoroughly enjoyed what I heard.
Gloria


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From: [e-mail] (Peter Becker)
Subject: (exotica) Tipsy in the Bay Area
Date: 15 Jul 1997 16:14:23 -0500


I have no details yet, so please wait!

This hot off the Asphodel press...

FYI, Tipsy will be at Lounge-a-pallooza '97 this year at the Transmission
Theatre and Paradise Lounge on August 23. They will be on the
Transmission stage, time, and door prices TBA.

[e-mail]
Peter Becker, Promotions: Retail,  DJ Pool

Asphodel Records, NYC
PO Box 51, Chelsea Station, NY NY 10113
 Phone # [phone]
FAX # [phone]
http://www.asphodel.com





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

From: "kevin king" <[e-mail]>
Subject: Re: (exotica) some cd's i liked
Date: 15 Jul 1997 17:34:18 -0500


Johan Dada Vis wrote:

> --------------------------
> stuff i wasn't impressd by:
> --------------------------
<snip>
>  * Morricone: Una lucertola con la pelle di donna
>
> boring, dark, noisy, without melody, except for the heavenly title
> track, which is featured on Mondo Morricone. 3 other track are not
> bad either, but all in all not worth the $30 price tag, IMH and
> melody-lovin' O.

ahhhh!!  :  )
to each their own I guess...    total disagreement other than it
being dark, noisy and heavenly - it can be got for $21 btw -
at Footlights, I think

Just scored Jimmy Smith's The Cat at a thrift and dig it much! - tho'
I'm still partial to Peter & the Wolf and Monster (don't care for big
band when it gets too brassy - unless Walter Kime is there to add
space-age vocals).

Also..  at a not so thrift (for 18 bucks) scored a mint mono of
Quincy Jones' In Cold Blood which is everything Jack sez it is.
Seeing the film (just watched it last night) doesn't fully prepare
you for this record...   It's almost too good a soundtrack and
is integrated beautifully with the film.   But on record...  WOW!
Intense scary stuff - dark, noisy..  uh oh, there i go again...



kevin king
[e-mail]
http://www.radix.net/~xanadu


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

From: "J. Diamond" <[e-mail]>
Subject: Re: (exotica) Playlist for Jack
Date: 15 Jul 1997 15:00:33 -0700



>*> Kenyon Hopkins                           The Loft        Nightmare

>*bootleg

Wrong.  Vinyl


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

From: "Lazlo Nibble" <[e-mail]>
Subject: (exotica) Re: Dylan Jones, etc.
Date: 15 Jul 1997 17:18:37 -0600 (MDT)


> I thought I'd read here that the new Ultra Lounge book by Dylan Jones had
> been deleted and taken off the shelves. I found some at Tower Records this
> morning. What's the story?

"Out of print" does not imply "recalled".  Presumably the publisher will no
longer be filling orders for the title and that's the end of it.

Your money would be much better spent on "Hi-Fis and Hi-Balls" anyway
(mentioned here a while back).

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


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

From: Randall Rothenberg <[e-mail]>
Subject: (exotica) Re: "Ultra Lounge" Rip-Off/NWU
Date: 15 Jul 1997 23:52:41 -0400 (EDT)


Irwin,
     I had the same experience with the National Writers Union -- and I
was a founding member. Dropped out after I came to the conclusion that
they were more concerned about the rights of poets ("Free verse!" "No free
verse!") than with those of working writers.
     Since that time, though, and pronouncements and perceptions to the
contrary, the organization has cleaned up its act and become a
hard-working, responsible group fighting, successfully, on economic and
financial issues. It's put together a terrific on-line registry, to
capture monies lost to unapproved electronic distribution. It's got a good
health plan. And its grievance procedure is quite excellent. Worth a
second look.



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

From: [e-mail]
Subject: Re: (exotica) Re: RJ Smith
Date: 16 Jul 1997 00:06:01 -0400 (EDT)


In a message dated 97-07-15 13:54:43 EDT, you write:

<< >He left Ann Arbor owing a friend of mine $25

 Well, last I looked (which was about two months ago) RJ Smith was residing
 somewhere in LA (and a former scribe at the LA Weekly)
 If you really need that $25 it shouldn't be too hard to find him
  >>

I think the point was that true friends do not leaving other friends holding
the bag for money they owe them.  It is, in my opinion, one of the ultimate
indications of character when a "friend" does not make good on moniesowed to
other "friends".  I may be wrong, but I think this was what the original
author of the post was trying to point out.

Robert


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

From: [e-mail]
Subject: Re: (exotica) Re: RJ Smith
Date: 16 Jul 1997 00:07:25 -0400 (EDT)


In a message dated 97-07-15 13:54:43 EDT, you write:

<< >He left Ann Arbor owing a friend of mine $25

 Well, last I looked (which was about two months ago) RJ Smith was residing
 somewhere in LA (and a former scribe at the LA Weekly)
 If you really need that $25 it shouldn't be too hard to find him
  >>

I think the point was that true friends do not leaving other friends holding
the bag for money they owe them.  It is, in my opinion, one of the ultimate
indications of character when a "friend" does not make good on moniesowed to
other "friends".  I may be wrong, but I think this was what the original
author of the post was trying to point out.

Robert


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

From: [e-mail]
Subject: (exotica) Ernie Kovacs Music CD
Date: 16 Jul 1997 01:58:47 -0400


* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

After two years in production, finally released 15 JUL 97:

THE ERNIE KOVACS RECORD COLLECTION (CD)
Original Themes and Sketch Music from the Ernie Kovacs TV shows

Produced by Irwin Chusid, Edie Adams and Cary E. Mansfield
Varese-Sarabande Records (VSD 5789)
package design by Chris Ware
mastering by Bill Inglot
research, programming, sequence, and liner notes by Irwin Chusid

TRACK SEQUENCE
  1.  Please Stand By... (EK soundbite)
  2.  Tony DeSimone Trio - Oriental Blues (Ernie's Tune)
  3.  Wolfgang Neuss - Mack the Knife
  4.  Robert Maxwell - Song of the Nairobi Trio (Solfeggio)
  5.  Arthur Fiedler/Boston Pops - Polka fr. Golden Age by Shostakovich
  6.  Ferrante & Teicher - Oye Negra
  7.  Ernie Kovacs & Tony DeSimone Trio - Hotcakes & Sausage
  8.  Clancy's Clowns - Saxophobia
  9.  Esquivel  - Jalousie/Sentimental Journey (medley)
10. Edie Adams & Ernie Kovacs - The Wrong Man
11. Henry Burr - There's a Little Spark of Love Still Burning
12. Leona Anderson - Fish
13. Les Baxter & Orchestra - Celestial Nocturne
14. Ferrante & Teicher - African Echoes
15. Edie Adams & Ernie Kovacs - Indian Love Call
16. Yma Sumac - Tumba
17. Leona Anderson - Rats in My Room
18. Ferrante & Teicher - Mississippi Boogie
19. Chicago Symphony Orch - Lt. Kije, Part III (Kije's Wedding)
20. LeRoy Holmes & His Tug Boat Eight - Oriental Blues (Ernie's Tune)

DEDICATED TO ERNIE and Musical Gorillas everywhere

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *



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

From: [e-mail]
Subject: (exotica) Re: Bluesman and Ra-bin
Date: 16 Jul 1997 07:55:58 -0400


     Brian Phillips wrote:

           have the single on Tifton.  The flip is Robin's Theme.  I
          guess that this is a Non-LP B side?

     No, "Robin's Theme" is the first track on side two of the Tifton
     LP (and my fave cut on the album). Great soul-female-vocalist
     repeating "Robin here, Robin there" until it becomes a wordless
     mantra-type of thing. Ridiculous, sloppy, streams of guitar from
     Danny Kalb. I love it.

     Craig



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

From: [e-mail]
Subject: (exotica) Legend Alert
Date: 16 Jul 1997 08:00:05 -0400


     From the July 21 issue of The New Yorker:

     Jazz Master Class with Dick Hyman and Derrick Smith at the 92nd
     St. Y, Lexington at 92nd St. July 21 at 8:15. (996-1100).

     If any NYC area listers attend, post a review please?

     Craig


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

From: [e-mail]
Subject: Re: (exotica) Ernie Kovacs Music CD
Date: 16 Jul 1997 06:48:32 -0700 (PDT)


At 01:58 AM 7/16/97 -0400, Irwin Chusid wrote:
>After two years in production, finally released 15 JUL 97:
>THE ERNIE KOVACS RECORD COLLECTION (CD)
>Original Themes and Sketch Music from the Ernie Kovacs TV shows
>Produced by Irwin Chusid, Edie Adams and Cary E. Mansfield
>Varese-Sarabande Records (VSD 5789)

And what a collection!  I am headed to the store TODAY!  About the only thing
that's not on it is Bela Bartok's Concerto for Orchestra...but its a little
long and doesn't really fit the character of the CD.  After all there are
plenty of recordings of that around!

Now, what about recommendations for accompanying videos?  Public TV in the
late 70's did a series of Ernie Kovacs specials...are those the ones I've
seen advertised in sunday supplement adverts?  One of the movie channels
(Showtime?) had an hour or 90 minute special on Ernie Kovacs.  I believe
this was available commercially. I have a tape of Kovacs on the Corner.  Are
there other tapes available?  Or, even better, laser discs?

To bad someone doesn't put out a video especially as a companion to the CD.

By the way, why a medley of the Esquivel selections?  I know both are
available elsewhere on CD.  I guess the idea was to acknowledge their
appearance, but to send you to the other releases.  Also, I imagine, it was
difficult to convince RCA to let them go on another recording...so this was
one way to do it.

Capitol did these medley things quite a bit...and it was one of the most
annoying parts of the Ultra Lounge series.  I suppose some people like this,
but for me its like taking something away: the ability to mix and separate
music as I like.

However, I am NOT complaining about the Kovacs collection, merely wondering
about the story behind the medley.

Kudos for the Kovacs Kollection!

Byron Caloz





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

From: "Robbie Baldock" <[e-mail]>
Subject: Re: (exotica) JTQ
Date: 16 Jul 1997 13:45:12 +0000


Johan wrote:

> ??? does anyone know if this JAMES TAYLOR QUARTET has a cd
>  out with the same kind of exciting groovy funk-jazz as here
>  with the track "theme from starsky & hutch"?

JTQ have released several CDs - they must been around for 10-15
years now and everything they do is in this "car chase funk" style.
If you like their Starsky and Hutch theme you'll probably want all of
their CDs - except perhaps the more recent stuff which is starting to
get very commercial and poppy.

If you have trouble getting their stuff in Belgium give me a shout
and I'll raid the local record store racks...


Robbie

** ** ** * Spaced Out - the Enoch Light Website * ** ** **
** ** ** http://easyweb.easynet.co.uk/~rcb/light/ ** ** **


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

From: [e-mail] (Doug Frisby)
Subject: (exotica) Re: JTQ
Date: 16 Jul 1997 09:52:20 -0700


     Robbie wrote:

     > JTQ have released several CDs - they must been around for 10-15
     > years now and everything they do is in this "car chase funk" style.
     > If you like their Starsky and Hutch theme you'll probably want all
     >of their CDs - except perhaps the more recent stuff which is starting
     > to get very commercial and poppy.

     I too must chime in here. James Taylor Quartet is an instrumental,
     soundtrack sounding, spy sound loving group you should not overlook.
     Look for the early CD's (or LP's) some of which have been reissued
     through Acid Jazz. They are Mission Impossible (includes songs like
     "Blow-Up" and "Mrs. Robinson"), The Money Spyder (a soundtrack to a
     Spy movie that does not exist), Wait A Minute (their BEST! including
     "Starsky & Hutch" theme) as well as Get Organized! (their closest
     album to the Jimmy Smith,Groove Holmes style jazz) After that, they
     start going in the direction of that hip-hop, acid-jazz vibe and while
     they still have a few cuts that are only instrumental, the rest are
     songs with special guest Acid Jazz vocalists. Echh..

     Anyway, the latest tune from JTQ on the "Austin Powers" soundtrack is
     truer to their earlier work. If you liked that, buy any of the above.
     You won't regret it.

     BTW, the same thing goes for the group "Corduroy". They too are an
     instrumental group in the "Lounge" style and you should pick up their
     first two CD's (not the later ones), if you like the early JTQ sound.
     Includes great tributes to Sergio Mendes and "Breakfast At Tiffany's".



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

From: [e-mail]
Subject: (exotica) cars
Date: 16 Jul 1997 13:17:05 -0400 (EDT)


Oh no--now I am a "Car Chase Funk" completist


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Ernie & Edie
Date: 16 Jul 1997 14:05:14 -0400


> From: [e-mail]
> Subject: Re: (exotica) Ernie Kovacs Music CD
>
> Now, what about recommendations for accompanying videos?  Public TV in the
> late 70's did a series of Ernie Kovacs specials...are those the ones I've
> seen advertised in sunday supplement adverts?  One of the movie channels

Issue #8 of Outre' Magazine has a terrific interview with Edie Adams. Wow --
she is one totally cool person. As far as video goes, she has archived
everything she could get hold of. 10 volumes are available through White Star
Video (I don't know the address). This series is authorized and supervised by
Edie. She also talks about a connection with Comedy Central, but as far as I
know, those stiffs haven't run anything in several years.

I was a rapt viewer of that PBS series -- I think it ran in '77 as half hour
episodes airing through spring and summer. Pre-VCR days, unfortunately. I
recall that had the really classic material, maybe including "Eugene". The
Comedy Central run had more of their off-the-cuff stuff, including Edie's
hysterical Marilyn Monroe number. I think I saw the hour or hour and a half
special you mentioned, but as usual with that sort of thing, the wholesale
chopping of material just frustrated me. I guess White Star Video is the best
bet.

She also mentions that a web site is under development. I don't if that's up
yet, but I have stumbled onto this unofficial one:
http://www.users.interport.net/~manaben/kovacs.html

She also ALSO mentions an album she did in 1959 with Ernie & Mancini called
"Music To Listen To Records By". She describes it as, "It is SO stupid!" and I
think she means that in a positive way. Sounds good to me.

The letters column in issue #9 of Outre' includes an account (from Greg
Douglass) of her recent (April) appearance at the Viper Room in LA, for the
release party of a Jack Kerouac poetry readin' tribute album. She performed
"Dr. Sax" ("complete with dead-on physical impersonations of Lugosi and
Karloff") and "Silly Goofball Pome", accompanied by Ray Pizzi on bassoon.
Unfortunately, she doesn't actually appear on the CD, but Eddie Vedder and
Michael Stipe do. Go figger.

The address for Outre' is P.O. Box 1900 / Evanston, IL 60204. They're also on
the web at:
http://www.filmfax.com/
but they've been stuck in the "we're still moving in" stage for months. No, I'm
NOT connected with Outre' or Filmfax -- only as a subscriber.

m.ace
[e-mail]


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From: "m.ace" <[e-mail]>
Subject: (exotica) Misc.
Date: 16 Jul 1997 14:24:52 -0400


Where's Jessica and her weekend finds? Maybe it will turn out to be a special
"summer vacation finds" edition?

Perhaps our psycho/socio/demographic contingent can diagnose this one for me:

For the past week or so I've had a scary amount of early '80s new wave tunes
popping up on my mental hi-fi. This morning it was Nena's "99 Luftballoons"! (I
had a heck of a time identifying that one, especially since I was hearing an
instrumental version.) Is my subconscious mind trying to tell me that it's
useless to brush that stuff under the rug?

Not again! Now it's the Eurythmics' "Sweet Dreams".

m.ace
[e-mail]


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From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Ernie & Edie
Date: 16 Jul 1997 15:47:57 -0400


> Subject: Re: (exotica) Ernie & Edie
>
> She also mentions that a web site is under development. I don't if that's up
> yet, but I have stumbled onto this unofficial one:
> http://www.users.interport.net/~manaben/kovacs.html

I just stopped by the above site and it has further info and links regarding
Kovacs video.

m.ace
[e-mail]


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From: Jessica Cameron <[e-mail]>
Subject: (exotica) Edie Adams Sings?
Date: 16 Jul 1997 15:53:47 -0400


Someone mentioned Edie Adams "Music to Listen to Records By," which I tried
to look up in my comedy record guide, but all I found was this "Edie Adams
Sings?" Henry Mancini did the music for this album too, and it's on the MGM
label. Is one of these a reissue of the other or are they two different
records?  Anyway, the book sez the album is "Adams re-interpreting some
classic pop tunes with a droll, hip edge.  Some of the tunes are
"Whiffenpoof Song," "Indian Love Call," "All of a Sudden My Heart Sings,"
"School Days," and "Singing In the Rain." The book also says that Ernie does
backing vocals (er, backing yells) on "Indian Love Call."

Edie's "Behind Those Swinging Doors" (which I mentioned before) has some
funny moments, too. Esp. "Rings on My Fingers" and "Frankie and Johnny."

(unrelated) BTW, does anyone know anything about Diana Dors's album? I think
it's called "Swinging Dors." Or maybe that's the name of her autobiography.
Thanks for any help.

And thanks for the space! Jessica ^_^

PS--I haven't posted any finds lately because I haven't found anything worth
posting about! Just minor stuff. Sorry!



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

From: Jessica Cameron <[e-mail]>
Subject: Re: (exotica) Christmas in July
Date: 16 Jul 1997 16:02:09 -0400


>(By the way I just picked up _The Versatile Henry Mancini_ on Liberty and
>love his ethereal take on Exotica

Ooh, I love this album....is it just me, or did Liberty reissue it about a
100 times? I've seen so many different versions of it.

> Lenny Dee _Holi-Dee_ (Decca).

This is my _favorite_ Christmas album, and one of the few Christmas albums
that stays out all year (the so-so ones get shoved under the bed).
>
> _Yuletide Disco_ as performed by Mirror Image (Pickwick)

Love that discoteque "Rockin' Around the Christmas Tree"...... ^_-
>
>Does anyone else have Christmas favorites with something a little. . .
>different. . .  about them?

Earl Grant's "Winter Wonderland" is sort of a mellowed out "Happy Holi-dee."
I like it a lot. I also like Bert Kaempfert's Christmas album (it may be
_too_ mellow for some of you).  "Christmas Becomes Electric" is nutty and
has lots of  different tunes on it (both secular and santa). I like Ken
Griffin's Christmas album because it's sort of  Lenny Dee-esque  and has one
cool original, "Kringle's Jingle." I'm sure I'd love the 3 Suns' Christmas
album if I had it. :(  I know there's a Hawaiian Christmas album by the
Waikikis, but I haven't bought the copy I saw at  the flea market yet (I'm
holding out until I'm in a more Christmas-y mood).

Thanks for the space, Jessica

PS--The Spike Jones Christmas album is very unmemorable! I learned the hard
way. :(



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From: [e-mail]
Subject: Re: (exotica) Misc.
Date: 16 Jul 1997 16:52:02 -0400 (EDT)



'80's Alert: The 7/10/97 San Francisco Examiner had an article titled "Clubs
Go Back To The '80s", listing 7 Bay Area clubs with '80's nights and two
impending releases from St. Martin's Press, "Pretty In Pink" and "Totally
Awesome 80's: A Lexicon"..etc.
Scoop up those Kajagoogoo LP's NOW !!!!!!  At this rate of retro-ism, Can the
Soundgarden Reunion Tour be far behind ?  Remember , '80's is also spelled
MTV.

Thanks to all involved in the Ernie K. and Edie A. release. Her "why don't
you pick one up and SMOKE it sometime" Dutch Masters commercial was the
sexiest ad of the '50's.  The '60's winner would of course be the shaving
commercial "take it off, take it all off."

JB


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

From: Tony Wilds <[e-mail]>
Subject: (exotica) NEW Sabu double LP -- Sabu in Space!!!
Date: 16 Jul 1997 17:08:16 -0400


Newly available from wonderful online source Dusty Groove,

http://www.dustygroove.com/orderfrm.htm
[e-mail]     phone: [phone]  Dusty Groove America, 1507 E. 53rd
St., Suite 473, Chicago, IL 60615

the latest double-LP reissue by Sabu Martinez, the master of modern Latin
jazz (Jazz Espagnole), the king of exotica (Sorcery, Safari, etc.), the
funkiest hippie --at least in Sweden-- (Afro Temple), and revered Blue Note
percussionist (various LPs):

"Sabu in Orbit," featuring the following two LPs recorded Nov. 15, 1960:

In Orbit
Astronautas de la Pachanga

There's organ, there are vibes, and there are liner notes (by a Sabu expert
I must phone today). From just after the recording of "Sabu's Jazz
Espagnole," the masterpiece which still causes a stir in jazz circles and
is well worth the $45 that CD Banzai charges to import it (on CD) from Japan.

But first, get the Orgy in Rhythm CD and Afro Temple a.s.a.p.; check 'em
all out at the Sabu Martinez Home Page. Partial "Sabu in Orbit" details go
up soon, but get that Dusty Groove order in now.

Tony
The Wilds Scene: LPs * Sabu Home Page * Tiki Gallery
                 http://www.charm.net/~wilds/
Email lists: new LP arrivals, web pages/sites, comps
                 To receive, email:  [e-mail]

"I'm just a wild man. You know I'm not a follow-style man." -- Mose Allison


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

From: Bruce Rhodewalt <[e-mail]>
Subject: Re: (exotica) Misc.
Date: 16 Jul 1997 14:25:09 -0700


[e-mail] wrote:

> Thanks to all involved in the Ernie K. and Edie A. release. Her "why
> don't
> you pick one up and SMOKE it sometime" Dutch Masters commercial was
> the
> sexiest ad of the '50's.  The '60's winner would of course be the
> shaving
> commercial "take it off, take it all off."

I will never miss an opportunity to plug TJB's "Whipped Cream..." and
this is one.  Yes, that was the '60s winner, and was somehow related to
the above LP, although I'll be danged if I can explain how.  (My dad
used to crack up whenever the "take it off" commercial came on, usually
during a football game or "Wide World of Sports."  Do you think it was
nervous laughter?)

I promise: There will be a "Whipped Cream..." web site on the
tikipub.com server some day.  Please send any info you have that isn't
apparent from the jacket, sleeve and vinyl itself.  Thanks.

--
Bruce Rhodewalt     aka [e-mail]
Tiki Publishing: Creative Internet solutions since 1995
78-365 Highway 111, #241    ...lists? We got 'em:
La Quinta, CA 92253            http://www.tikipub.com/tikilists.html




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

From: Lou Smith <[e-mail]>
Subject: (exotica) Edie Adams Sings?
Date: 16 Jul 1997 17:39:07 -0400 (EDT)


At 03:53 PM 7/16/97 -0400, Jessica wrote:
>
>Someone mentioned Edie Adams "Music to Listen to Records By," which I tried
>to look up in my comedy record guide, but all I found was this "Edie Adams
>Sings?" Henry Mancini did the music for this album too, and it's on the MGM
>label. Is one of these a reissue of the other or are they two different
>records?

One record with two titles on the cover: Music To Listen To Records By
floats across the top of the picture, while Edie Adams Sings? is written to
the right of an industrial strength photo of the fetching Ms. Adams.

This would be a fun Lp to reissue - not essential, but fun.

-Ultra Lou
(if Capitol wants my butt for infringement, they can get in line)




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

From: "Jim Gerwitz" <[e-mail]>
Subject: (exotica) Connie Francis
Date: 16 Jul 1997 14:45:23 -0700


http://www.batnet.com/mfwright/connie_francis.html

Connie was overlooked in the recent "female belters" thread, but the above
fan club web page has tons of info. I gained a new appreciation for her
when I picked up a used cassette of her "Rock Sides" a few years back. Her
"Songs for a Swingin' Band" came at Christmas with my first record player,
along with Chubby's "Twist" LP. Too bad the recent 4 CD set omits "He's A
Scientist,"  perfect background music for the sight of hugging and jumping
NASA Nerds.

[e-mail]


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Edie Adams Sings?
Date: 16 Jul 1997 18:18:45 -0400


> From: Lou Smith <[e-mail]>
> Subject: (exotica) Edie Adams Sings?
>
> One record with two titles on the cover: Music To Listen To Records By
> floats across the top of the picture, while Edie Adams Sings? is written to
> the right of an industrial strength photo of the fetching Ms. Adams.

In the interview she mentions that she posed with a lug wrench for the cover
photo. Is that the industrial element? Hmmm -- could this be the genesis of the
hardware & gals calendar genre?

m.ace
[e-mail]


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

From: "Derek Grime" <[e-mail]>
Subject: Re: (exotica) More Whipped Cream
Date: 16 Jul 1997 21:01:47 -0400


On Jul 16,  2:25pm, Bruce Rhodewalt wrote:
> Subject: Re: (exotica) Misc.
>
>
> I promise: There will be a "Whipped Cream..." web site on the
> tikipub.com server some day.  Please send any info you have that isn't
> apparent from the jacket, sleeve and vinyl itself.  Thanks.
>

I can't remember the artist but I have an 60's LP called "Spaghetti
Sauce & Other Delights" which is a parody of "Whipped Cream".


--
Derek Grime                                  EMail: [e-mail]
C.O.R.E. Digital Pictures           http://www.coredp.com/index.html



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

From: "kevin king" <[e-mail]>
Subject: Re: (exotica) Misc.
Date: 16 Jul 1997 20:15:05 -0500


m.ace wrote:

> Perhaps our psycho/socio/demographic contingent can diagnose this
> one for me:
>
> For the past week or so I've had a scary amount of early '80s new
> wave tunes popping up on my mental hi-fi.

i don't know what you're talking about.

listening to Soft Cell in my 501's,
kevin


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Misc.
Date: 16 Jul 1997 23:27:16 -0400


> From: [e-mail]
> Subject: Re: (exotica) Misc.
>
> Scoop up those Kajagoogoo LP's NOW !!!!!!  At this rate of retro-ism, Can the
> Soundgarden Reunion Tour be far behind ?

Heck, they're already hawking '90s compilations! We should soon be reaching the
point where the retro preceeds the original. Maybe then we'll finally be able
to get something really new going?!?

m.ace
[e-mail]


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

From: Will Straw <[e-mail]>
Subject: (exotica) Re: 80s revival
Date: 16 Jul 1997 18:15:27 +0000


The thing about an eighties revival, if you ask me, is not that it
might be happening but that, despite 2-3 years of people hyping one,
investing in it, and theorizing about it, it hasn't really take off.  Eighties
nights at clubs seem intermittent and often short-lived, the various
80s music compilation series all seem somehow imperfect, and
Time magazine has yet to do a cover story.  Perhaps all these still-born
attempts to keep the revival off will finally pay off, but I think it's
still going
to take some time.

Will


Will Straw

Associate Professor and Acting Director,
Graduate Program in Communications
McGill University
3465 rue Peel,
Montreal, Quebec
H3A 1W7

Phone: [phone]; Fax: [phone]
http://www.arts.mcgill.ca/gpc/

Director, The Centre for Research on Canadian Cultural Industries and
Institutions
http://www.arts.mcgill.ca/gpc/crccii/

Co-editor.  Topia:  A Journal of Canadian and Cultural Studies
http://www.arts.mcgill.ca/gpc/topia/





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

From: [e-mail]
Subject: (exotica) Letter to L.A. Weekly/Lounge Attack
Date: 17 Jul 1997 02:24:25 -0400 (EDT)


Well, by now you all must be wondering if anyone ever wrote in and complained
about the lounge attack article in the L.A. Weekly, called "Return of the
Repressed"

The following letter was printed in the July 11-17th issue:

"In 'The Return of the Repressed' (June 20-26), Manohla Dargis writes,
"Confused by feminism and post-feminism, irritated by identity politics,
weaned on Nick at Night, catered to by an endless run of male lifestyle
magazines, primed by Tarantino, slave to the gym, shut out of the coolest
male subjectivity (Public Enemy got it wrong: It was never fear of a Black
Planet; it was envy), disgusted by Clinton, bored by the Republicans, bored
by alt-rock, bored period, young white guys are regressing into the past and
finding a faux-hipster identity that they can groove on in all its
single-malt glory."

My, what a hornet's net of buzz-words.  But isn't her rationale of why white
males are turning to the Cocktail Nation scene the same one that was supposed
to explain why white maies loved grunge so much?  You know, boredom, disgust,
disenchantment, frustration?  Wait, I remember now, that's why we loved punk
so much.  Or was it gangsta rap?  Or extreme sports?  Or Jenny McCarthy?
 Then again, maybe Ms. Dargis' rationale is a stock answer for lazy
pop-culture writers hoping to have their rock reviews and cheesy movie-fest
articles come off as think pieces instead of puff pieces.

Plain and simple, no guy I know gets into the Rat Pack, the swinging '60s,
Bond films or any of this junk without an incredible shot of irony.  It's a
joke - a slick, self-consciously suave joke, but a joke nonetheless, and one
that Ms. Dargis' humorless essay - one can assume that's her feminist side
speaking and not her post-feminist side, eh? - completely misses.  No one I
know wants to be Sinatra or one of the Pack.  But their laughably naive and
block-headed approach to life, marinated liberally in Sinatra's endless
romanticism of said life, is some of the most subtle comedy going right now.
 Context, Manohla, context.  It's the spice of life.  Or as Frank once put it
to Juliet Prowse, "Come on baby, swing a little."'

- Ben Schwartz
Hollywood


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

From: Pea Hicks <[e-mail]>
Subject: Re: (exotica) Re: 80s revival
Date: 16 Jul 1997 23:47:50 -0700


Will Straw wrote:
>
> The thing about an eighties revival, if you ask me, is not that it
> might be happening but that, despite 2-3 years of people hyping one,
> investing in it, and theorizing about it, it hasn't really take off.
> Eighties
> nights at clubs seem intermittent and often short-lived, the various
> 80s music compilation series all seem somehow imperfect, and
> Time magazine has yet to do a cover story.  Perhaps all these
> still-born
> attempts to keep the revival off will finally pay off, but I think
> it's
> still going
> to take some time.
>
> Will
>
Plus you have to remember that i think there's alot of 80's music that
never really fell out of rotation the same way that, say, disco just
fell completely off the map. Heck, i remember our local "alternative"
radio station, 91X, first started doing 80's revival weekends around
1988 or so. ever since then, there's always been a deliberate attempt to
at least periodically keep alot of that stuff in rotation in some form
or another. Even MTV had an 80's revival show around 1990 or so (what
was that called...?).

I don't think there was quite such an attempt made with mainstream 70's
music and culture. I think you could probably say that there was a
period of at least a few years when alot of mainstream 70's pop groups
simply could not be found *anywhere* in rotation. The backlash seemed
pretty severe, as far as i can tell. Anything that's ever been denied so
heavily has always come back for a vengeance!

The 80's was really a time when all sorts of counter-cultural things
really started to go mainstream. Just look at, for example, a group like
the Thompson Twins, which seem to be totally mainstream 80's pop
culture. But think of them in terms of the way they looked, their punk
roots, their use of synthesizers, etc and they really do seem light
years away from what was on the Top 40 just a few years before in the
70s. I guess my point is that since there's always a necessary dose of
irony in any of these pop culture revivals, as we move into 80's
territory there's less and less to be ironic about, hence it's more
difficult to put a new spin on that stuff. Not that I think the Thompson
Twins are some kind of pillar of credibility, i just think that the
aesthetic boundaries here are a bit more blurred than with a group like,
say, The Bee Gees. The Thompson Twins, as saccharine as they may seem,
already had alot of irony built into what they were doing, so as we move
into the 80's it makes less and less sense to add our own ironic "spin"
on things. Case in point: look at a band like Servotron. They're
currently doing this real hyperactive pastiche of the "Devo" aesthetic.
They're pretty good/funny, but it ultimately seems pointless because
Devo was already being campy/ironic about their image to begin with.

I think that maybe the "exotica" revival might be partially credited to
alot of the people that *would* be reviving the 80's right now, but they
simply have no compelling need to do so.  So instead, they're getting
interested in a different revival that, for them, really comes from way
out of left field and really feels like something new. There's still
plenty of new "spins" that can be added to the "exotica" genre.

Obviously this can't be any kind of blanket statement, but I certainly
think it's somewhat true for myself (I'm 26) and some of the people i
know. I still love 80's pop music, but have never had any need to
"revive" it because i never put it on the shelf in the first place!!

Also (and this is kind of disorganized, I know!) i think it's important
to make a distinction between a general pop culture revival and more
specific "scene" revivals. You could say, for instance, that there's
currently at least one legit 80's scene revival happening- 80's style
ska. (Which was, of course, originally a revival of 60's ska to begin
with, but that's another story...) You could also argue that, like the
punk and disco before it, ska never really died out completely- it only
"went to the bathroom" (to quote a famous house music producer's comment
on where disco went in the early/mid 80's). You could also say the same
thing about goth music- i think there's plenty of room for that to
receive a large scale revival (though you could argue that it's already
happening- only it's been combined with the glam metal revival in the
form of bands like Marilyn Manson).

In any event, these more specific "scene" revivals seem to be where most
of the 80's reviving is going on. The more mainstream, general stuff
from the 80's just doesn't seem to require much resuscitation!

thanks for trying to follow my meandering thought process...

pea
--
                        Pea Hicks
               "Memory is my drug of choice."
               <---Realm 'O' The Optigan--->
               http://www.pilot.com/optigan
               Who will be the next to brave
                   the *perils* of the
                    VIRTUAL OPTIGAN??!


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

From: [e-mail]
Subject: Re: (exotica) More Whipped Cream
Date: 17 Jul 1997 12:06:54 -0600


>On Jul 16,  2:25pm, Bruce Rhodewalt wrote:
>> Subject: Re: (exotica) Misc.
>>
>>
>> I promise: There will be a "Whipped Cream..." web site on the
>> tikipub.com server some day.  Please send any info you have that isn't
>> apparent from the jacket, sleeve and vinyl itself.  Thanks.
>>
>
>I can't remember the artist but I have an 60's LP called "Spaghetti
>Sauce & Other Delights" which is a parody of "Whipped Cream".
>


"Pat Cooper" was it?

there are other spoofs as well... you should put 'em all on the site!

"Sweet Cream & Other Delights" (feat. 70's black woman)
"Sour Cream & Other Delights" (5 old women)
"Clam Dip & Other Delights" (Soul Asylum)

more...?






visit...

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
          King Kini's  C L U B  V E L V E T
             http://www.tamboo.com
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++




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

From: "Brian Karasick" <[e-mail]>
Subject: (exotica) Re: Mental sounds
Date: 17 Jul 1997 13:46:13 EST5EDT


m.ace wrote:

> Perhaps our psycho/socio/demographic contingent can diagnose this one for me:
> For the past week or so I've had a scary amount of early '80s new wave tunes
> popping up on my mental hi-fi. This morning it was Nena's "99 Luftballoons"! (I
> had a heck of a time identifying that one, especially since I was hearing an
> instrumental version.) Is my subconscious mind trying to tell me that it's
> useless to brush that stuff under the rug?
Doesn't take a psychologist to know that "what goes around  comes
around" (I think I got that saying right?) as the very existence of this list attests
to.  Seems to be a revival of 70's German "Krautrock" currently happeneing these
days.  But as for late 70's - early 80's new wave,  it's time will
come.  Especially so  seeing as that was a time that produced a huge lot of very strong
output and energy,  nothing like it IMO has since matched it.  So don't feel too bad, I hear
even stranger examples of the genre popping up in my head,  just this morning now that I
think about it Renaldo & The Loaf...  Yesterday Der Plan...  Tomorrow???

Happy listening,

Brian


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

From: [e-mail]
Subject: (exotica) "Lounge" strikes back!
Date: 17 Jul 1997 15:35:06 -0400 (EDT)



>My, what a hornet's net of buzz-words.  But isn't her rationale of why white
>males are turning to the Cocktail Nation scene.......<etc>

>Plain and simple, no guy I know gets into the Rat Pack, the swinging '60s,
>Bond films or any of this junk without an incredible shot of irony.  It's a
>joke - a slick, self-consciously suave joke, but a joke nonetheless,


Aaaawwww...and it started out in such a promising way.

Disappointedly,

The Millionaire






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

From: Ross Orr <[e-mail]>
Subject: (exotica) Re: RJ Smith
Date: 17 Jul 1997 15:01:38 -0400


>indications of character when a "friend" does not make good on moniesowed to
>other "friends".  I may be wrong, but I think this was what the original
>author of the post was trying to point out.

Wait! Hang on everybody. That was just an anecdote I threw out for a
laugh--i never intended to suggest any deep character flaws. I'm sure RJ is
now a upstanding and well-adjusted adult.

As I say, I would hate to be held accountable for everything *I* did as a
20-year old.

--Ross




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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) New Wave
Date: 17 Jul 1997 16:36:55 -0400


> From: Pea Hicks <[e-mail]>
> Subject: Re: (exotica) Re: 80s revival
>
> Anything that's ever been denied so
> heavily has always come back for a vengeance!

Once again, I'm quoting Pea out of context, 'cause it seems so fitting for the
little 80s cavalcade going on in my head. I've got to 'fess up. In recent years
I have tended to block out my memories of the new wave side of those years
(late 70s/early 80s) in favor of the punk side. 'Cause punk was TUFF and new
wave was "industry manufactured" (where have we heard that phrase lately?).
Wotta dope. I really should know better by now. At the time I listened to
plenty of new wave and maybe even identified with that term more than punk
("new wave" might get you sneered at, but "punk" could get you beaten up). By
the time punk became more codified with a (nearly) heavy metal approach, the
wider variety of new wave seemed more interesting. I don't think I really
bought the "manufactured" rap back then, but with it being repeated all these
years, maybe I began to be influenced by it. Funny how I could tune into
"abused" musics like exotica, while casting the same abuse on new wave. Maybe
it just needed to age a little. But I guess it's time to embrace my inner
spikehead and cast a fresh eye on new wave.

And new wave is not without certain (loose definition) exotica characteristics.
It could be very colorful, with clever, snappy arrangements. Like exotica, new
wave does not have a single defining style -- lots of variety. And then there's
Lene Lovich -- if we could edit together her non-verbal moments, she could
certainly stand toe-to-toe with any of the abstract female vocalists we've been
discussing. And of course, exotica and new wave have both been dismissed as
piffle by the pundits.

Then again, maybe I've just been having too much subliminal exposure to these
K-Tel style TV ads for 80s comps.

m.ace
[e-mail]


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

From: Tony Wilds <[e-mail]>
Subject: (exotica) New (sealed) LPs and more
Date: 17 Jul 1997 16:57:54 -0400


See all the sealed LPs now listed at Deep Groove + Wilds Sounds:

    http://www.charm.net/~wilds/WSounds/

Need some Jimmy Swaggart to help you cope with temptation in this hellish
summer? No problem. We've got plenty of untainted Jim, on Jim Records, to
meet your needs. Just don't speak to us of IRONY, please. Record collecting
is sacred.

Other newness at Wilds Sounds:

lowered prices
less old stock to wade through
new, near-mint exotica from the estate sale
James Blonde
Jack Sperling's Fascinatin' Rhythm (Coral stereo)
Nashville Brass play the Nashville Sound
VA: Kings of Steel Guitar
Cugat's Latin-American Rhythms -- 40pp sheet music
more Polynesian films
more used CDs
posters

Get 'em now before they go to shows. And make everyday truly EXOTIC!

wilds
The Wilds Scene: LPs * Sabu Home Page * Tiki Gallery
                 http://www.charm.net/~wilds/
Email lists: new LP arrivals, web pages/sites, comps
                 To receive, email:  [e-mail]

"I'm just a wild man. You know I'm not a follow-style man." -- Mose Allison


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

From: "Robert P. Krajewski" <[e-mail]>
Subject: Re: (exotica) Hippies and Demographics
Date: 17 Jul 1997 18:53:47 -0400


>In France, there has always been demand for clever lyrics and quality
>production numbers. Artists  such as Serge Gainsbourg, Dalida, and Les
>Campagnons de la Chanson blended American jazz influences of the forties
>with traditional French musical styles such as Musette (a sort of street
>accordian music, "Tin Pan Alley" a la francaise.)

You know, you might have hit on the underlying reason why rock/pop from
the Continent, and Europe in particular, has always had a major
credibility problem in the United States.


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

From: Vik Trola <[e-mail]>
Subject: (exotica) hmmmm...
Date: 17 Jul 1997 21:19:02 -0500


interesting what you find while cleaning out old mail...

>>Welcome to exotica

Any email message sent to [e-mail] will immediately be forwarded
to all members of the exotica mailing list.  New members are encouraged to
introduce themselves.  When you join, please send a message to the list
describing (in brief) who you are and your interest in the list's topic.

Here are some guidelines to remember when using the list:

  * 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.

 * The usual rules of list courtesy apply:... (no general advertisements
   "warnings" about viruses, chain letters, and so forth).<<


guess it's like those laws where you can't carry a pig through Yorktown in
winter months with an "r" in them...

waking up in the city that never sleeps,
Vik

Vik's Lounge
http://www.chaoskitty.com/t_chaos/lounge.html

Space Age Bachelor Pad Music
http://www.chaoskitty.com/sabpm/





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

From: [e-mail]
Subject: (exotica) Batman
Date: 17 Jul 1997 23:31:30 -0400 (EDT)


I dropped by my local Tower Records for the Ernie Kovacs Collection and
spotted Razor and Tie's reissue of two classic Neal Hefti Batman LP's, "Hefti
In Gotham City" and
"Batman Theme And Other Bat Songs".  Twenty titles altogether, two complete
albums, original artwork.  Not much in the way of liner notes, but for then
sale price of $8.99, ya can't go wrong!!

The Gotham City LP features "Gotham City Municipal Swing Band", the main
theme on Bob Wilkens "Creature Features" show back in the late sixties, early
seventies.  You SF Bay Area people know who I mean.

Someone on the list asked about this record awhile back, so now is your
chance!

The Kovacs is great.


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

From: "Robert P. Krajewski" <[e-mail]>
Subject: Re: (exotica) Hippies and Demographics -- Doh !
Date: 17 Jul 1997 23:53:04 -0400


In a previous article I wrote:

>You know, you might have hit on the underlying reason why rock/pop from
>the Continent, and Europe in particular, has always had a major
>credibility problem in the United States.

What I *meant* to say, your majesty, was:

>You know, you might have hit on the underlying reason why rock/pop from
>the Continent, and *France* in particular, has always had a major
>credibility problem in the United States.


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

From: [e-mail] (John Jones)
Subject: (exotica) Jewish Brass
Date: 18 Jul 1997 11:30:23 GMT


Hey all!

I've seen an album at a local flea market that I was wondering about.=20

I don't remember the whole name of it, but it was a takeoff of Herb
Alpert, and it was by the Jewish Brass and it had Lou Jacobi on it.=20

And it was on Capitol records.

Is this worth paying a dollar for?
Any comments appreciated.

Thanx
John
--
No one will ever know exactly why or how, but by the
year 2050, everyone born in Baltimore will look=20
exactly like Ernest Borgnine.

Drew Friedman


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

From: "kevin king" <[e-mail]>
Subject: (exotica) ambisonics
Date: 18 Jul 1997 15:50:11 -0500


Don't know if this was mentioned in the surround sound thread, but
while searching the web for info on the KPM music library, I came
across a site devoted to ambisonics and surround sound:

http://www.apogeedigital.com/ambindex.html

it includes info on a surround sound mailing list, plus pointers to
articles on the history of ambisonics.

I picked up a wonderful KPM disc that's very bosworth/sound
galleryish called 'nature study'.  some titles are 'dateline safari,'
'on the prowl,' 'premonition fearful,' 'nature bossa.'  saw a few of
these while in london that were kind of pricey and didn't look as
interesting.  This has probably been discussed before while I was
off-list or 'gone to the restroom,' but has anyone come across other
especially good editions of this series?

got a sealed On Her Bed of Roses for 8 bucks - are dealers' prices
finally falling off - a little?  it's a great record...  beyond those
first two crazy psychedelic excursions, there's some very cool mood
jazz - and that humorously manic 'the boozer.'

-received those MSR cd's in the mail and I just luv them!  and volume
5 is in the works?!!!

I'd encourage anyone to visit the Basta site where they've added
samples of the Raymond Scott Sounds for Baby discs.

kevin king
[e-mail]
http://www.radix.net/~xanadu


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

From: [e-mail]
Subject: (exotica) Jack Smith? Kizer's Batman (or Badman???)
Date: 18 Jul 1997 21:46:15 -0400 (EDT)


Hey gang,

I was listening to a local radio station (that is a syndicated program) that
features tunes from the 40-60's and heard a catchy tune called:

"I was Kizer Bill's Batman (Badman???)" by Jack Smith.

Does anyone have information on this song and performer.  Vinyl v. CD
availability?

Thanks,

Robert


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

From: [e-mail]
Subject: (exotica) 80's revival
Date: 19 Jul 1997 01:49:47 -0400 (EDT)


[e-mail] (Pea Hicks) wrote:

>Obviously this can't be any kind of blanket statement, but I certainly
>think it's somewhat true for myself (I'm 26) and some of the people i
>know. I still love 80's pop music, but have never had any need to
>"revive" it because i never put it on the shelf in the first place!!

>Also (and this is kind of disorganized, I know!) i think it's important
>to make a distinction between a general pop culture revival and more
>specific "scene" revivals. You could say, for instance, that there's
>currently at least one legit 80's scene revival happening- 80's style
>ska. (Which was, of course, originally a revival of 60's ska to begin
>with, but that's another story...) You could also argue that, like the
>punk and disco before it, ska never really died out completely- it only
>"went to the bathroom" (to quote a famous house music producer's comment
>on where disco went in the early/mid 80's). You could also say the same
>thing about goth music- i think there's plenty of room for that to
>receive a large scale revival (though you could argue that it's already
>happening- only it's been combined with the glam metal revival in the
>form of bands like Marilyn Manson).

Pea is 26, I'm 35 and I spent my teenage years and early 20's growing up and
listening to KROQ which was the new wave station that made their career on
80's music like Flock of Seaguls, Thomspon Twins, etc. (Kevin mentioned Soft
Cell)  Anyway the thing that I find so disturbing about the K-Tel-izing of
the 80's music which is now being hocked on national television is the
complete lack of respect for something that for some of us may hold fond
memories.  I guess it is the quick comoditization or the co-opting that is
being done, like, "isn't anything sacred?!"  Apparently if there is a buck to
be made the music industry is ready to cash in.  The other annoying thing
about it is the lumping together on these albums of ALL 80's music - where
Kajagoogoo is on the same album as Toto - as if the people who are to buy
these albums have no music taste that they'd like all these bands - I'm not
really stringing this together as coherantly as I'd like, but what they are
doing is highjacking culture taking the specialness out of something - like
they did with Greenday and punk rock.  I mean, who ever thought that the day
would come when we could go into Nordstroms and buy a pair of Doc Martins?!

My other thought along the lines of what Pea had to say is why the 80's?
 Well, he's right - at the time those KROQ bands were really doing something
that was totally different style-wise/music-wise and therefore today is a
"novelty" and lends itself to being retro-ized very quickly than something
like the 70's music which was not a great departure from what had come before
it (this is just my opinion).  Remember when jackets with fringe were in
style in the 1980's?  A year or two after that fad was over, no one would
want to be caught dead in that outfit and anyone that'd wear a jacket like
that would stick out like a sore thumb.  I think the 80's new wave is much
like the fringe jacket in that it sticks out like a sore thumb in the
continuum of music between the 1960's and 1990's.

- Michele


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) 80's revival - name game
Date: 19 Jul 1997 14:54:24 -0400


> From: [e-mail]
> Subject: (exotica) 80's revival
>
> Pea is 26, I'm 35 and I spent my teenage years and early 20's growing up and
> listening to KROQ which was the new wave station that made their career on
> 80's music like Flock of Seaguls, Thomspon Twins, etc.
>
> The other annoying thing
> about it is the lumping together on these albums of ALL 80's music - where
> Kajagoogoo is on the same album as Toto
>
> I think the 80's new wave is much
> like the fringe jacket in that it sticks out like a sore thumb in the
> continuum of music between the 1960's and 1990's.

I guess the basic gist of my "New Wave" post was that even when you try to have
a very "open ear" policy towards music, you can still develop a blind spot here
and there. And this is probably more likely when the blind spot involves
something from your own recent past. Maybe an element of, "I've already done
that to death -- go away."

Reading these posts, I'm thinking that we may all have different views of what
new wave is. In the K-Tellers' vision, apparently any 80's release by white
people who are NOT heavy metal qualifies. Or bouncy music with lotsa keyboards.
For me and my circle (about Michele's age and in the northeast US), it was more
like this...

Punk had hit in '77, but I think it was '78 when the term new wave came into
use. To us, the difference seemed pretty simple. Punk was totally aggressive,
with a sound based purely on heavily distorted guitars -- Ramones, Pistols,
Damned, etc. New Wave was the stuff that was a clear break from conventional
rock, but wasn't punk either. Devo, B-52s, Magazine, The Monochrome Set, Lene
Lovich, etc. (trying to be diverse here). As such, new wave didn't have a
clearly defined "sound", and it's always nice to have vague boundaries. We
loved punk, but new wave seemed to create a real healthy environment of
quirkiness and originality -- at least until the carbon-copy types flooded the
pool within a few years. By '83, I think new wave had become pretty much a dead
term for us. It had been superceded by the flowering of all sorts of
sub-genres. In punk alone, you had "classic punk", "post-punk" and "hard-core
punk" (whatever happened to soft-core punk?). As early as '83, I was hearing
"80's Pop" used to describe stuff like the Go-Go's or the Human League. I THINK
it was also around this time that interviewed artists started saying things
like, "Oh, I had nothing to do with new wave -- that was just something you
writers made up." The distancing had begun (although that remark may have
sometimes been true).

So my personal image of new wave is the earlier, quirkier stuff -- which
slipped through before the industry figured out how to rig the new game. I have
trouble seeing the later, more manufactured sounding stuff as new wave. Then
again, I listened to college stations, so my viewpoint was prejudiced in a more
radical direction. BUT -- I'm thinking that even though I always thought of the
Flock Of Seagull's singer as "that unfortunate fellow with the silly pizza
slice haircut" -- this may be falling into the old rock-style "cool" syndrome.
And I should give the later stuff a shot as well, from an exotica sort of
perspective (meaning; without prejudice, with fresh ears, something like that).

As for the clunkiness of the comps currently being hawked, whaddya expect? If
you want scholarly boxed sets you might have to wait a little. I take that back
-- they're probably already out there. Wasn't there a Stiff Records box a
couple of years ago already?

I dig that fringe jacket analogy.

m.ace
[e-mail]


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Jack Smith? Kizer's Batman (or Badman???)
Date: 19 Jul 1997 16:57:21 -0400


> From: [e-mail]
> Subject: (exotica) Jack Smith? Kizer's Batman (or Badman???)
>
> "I was Kizer Bill's Batman (Badman???)" by Jack Smith.
> Does anyone have information on this song and performer.

I think the title is actually, "I Was Kaiser Bill's Bat Man".

For some reason, it sticks in my head that it's a British novelty tune having
something to do with WW1 and cricket (I'm probably all wet). I know nothing
about Jack Smith.

Maybe one of our British associates can straighten this out.

m.ace
[e-mail]


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

From: Vernon Stoltz <[e-mail]>
Subject: Re: (exotica) Whipped Cream.
Date: 19 Jul 1997 21:51:58 GMT


At 02:25 PM 7/16/97 -0700, you wrote:
>I promise: There will be a "Whipped Cream..." web site on the
>tikipub.com server some day.  Please send any info you have that isn't
>apparent from the jacket, sleeve and vinyl itself.  Thanks.
>

How about some whipped cream with a twist?

Check out: http://dryer.www.media.mit.edu/people/dryer/g/daniels.html

A fellow by the name Godfrey Daniels entered a car in the 1997 Art Car
Weekend held in Houston.  His art car was plastered with actual copies of
the "Whipped Cream" album and for the art car parade featured a real live
model doing a pretty good job of recreating the famous cover pose.

His Web site features many, many photographs presenting a pseudo-documentary
of his entire trek: from making the art-car itself, transporting it across
country, and of course the parade itself.  Paging through his photo journey
was by far the most entertaining things I've done this week.  Completely
100% Amazing!!

One warning:  there are lots of photos, so if you have a slow network
connection, it will take a while to get through it all. Still, its well
worth doing so.

His Web Page also features his latest creation:  the whipped cream bicycle!!
I haven't checked that section yet myself . . .gotta save some of the cream
of the crop for later tasting..

Vern



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

From: [e-mail]
Subject: Re: (exotica) I Was Kaiser Bill's Batman
Date: 19 Jul 1997 20:21:00 -0400 (EDT)


Sung by Whistling Jack Smith, reached #20 on the Billboard Charts on June 3,
1967. Here's what the blurb says: "Whistling Jack Smith never existed. There
had been a Whispering Jack Smith, though - a British recording artist who
half-talked and half-sang his way through tunes because of a WWII injury. Not
a soul who bought "I Was Kaiser Bill's Batman" suspected that Whistling Jack
Smith was a total fabrication. Even knowing this would not have made much
difference: the song and the artist had silly names, the tune had an
infectious little melody, and the dingy disk was disturbingly different from
anything on top 40 radio at that time.
    A fog surrounds the actual conception of Jack the whistler. Was it the
uncredited producer of the session, or the tune's conceivers - the
songwriting team of Greenaway and Cook - who dreamed up the idea? Possibly
the whole episode was a spur-of-the-moment studio fluke. We do know that the
song features the Mike Sammes Singers, a then-popular TV group, plus some
session musicians.
    Once copies of "I Was Kaiser Bill's Batman" began flying off the shelves, a
Jack Smith had to be located for making personal appearances. Billy Moeller
(b. Feb. 2, 1946, Liverpool) - brother of Tommy Moeller, lead singer for Unit
Four Plus Two - agreed to play the role of Jack smith and tour behing the
single. He had been recording for British Decca as Coby Wells, and his disks
under that name had no exactly been burnig holes in the charts.
    When Whistling Jack's magic moment had passed, Billy Moeller returned to
being Coby Wells and, later still, recorded under his God-given name. Poor
fellow: even under three different pseudonyms, he was unable to place another
disk on the charts in the US or the UK."
Now!! aren't you glad you asked? And we all thought Milli Vanilli were the
only ones to fake making a record!!
Gloria


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

From: "kevin king" <[e-mail]>
Subject: Re: (exotica) Batman
Date: 20 Jul 1997 14:44:22 -0500


[e-mail] wrote:

> "Batman Theme And Other Bat Songs".  Twenty titles altogether, two
> complete albums, original artwork.  Not much in the way of liner
> notes, but for then sale price of $8.99, ya can't go wrong!!

Razor & Tie are also coming out with original soundtracks for Secret
Agent and The Saint next month!  also bargain priced.


kevin king
[e-mail]
http://www.radix.net/~xanadu


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

From: Jessica Cameron <[e-mail]>
Subject: (exotica) Recent Finds
Date: 20 Jul 1997 16:13:29 -0400


I haven't had any time to write about what I've found at the flea market
lately until now. Most of it's pretty general, but  I don't have anything
better to do, and the list has been sort of dull lately. So bear with me,
OK? ^_-

The "Jessica has Flipped!" file:

State Fair original motion picture soundtrack: The oh-so wholesome Pat Boone
and Bobby Darin cover conceals an amazing, five minute track by Ann-Margret:
"Isn't it Kind of Fun?" She starts out like Deanna Durbin and in mid-song
starts getting torchy and bongo-delic. This song is great!!!!!

Lawrence Welk's Baby Elephant Walk: I never thought I'd live to see the day
I bought a Lawrence Welk album, but I saw one of the tracks from this album
performed on his show last night on public tv, and decided to buy the whole
dang album. For thirty-five cents, it's a keeper.

Lounge albums:

Happiness is the Jack D'Johns (???): with a sucky yet enjoyable version of
"Caravan."
Daybreak by the After Six Combo: Blood, Sweat, and Tears-esque lounge. Kinda
nice.
Dennis de Souza and his Trio: Rendezvous for Rhythm (pleasant piano jazz)
The Zara's Hits (the best of all the lounge albums I bought--cool versions
of  Telstar, the Happy Organ, etc.)

Easy listening, etc.:

Big Band Guitar by Buddy Morrow
The Most, vol. IV (jazz cuts, one by Machito)

The Happy Sound of  Ray Conniff (Ray tries to be all things to all people by
attacking disco and big band in the same album. He also poses with his scary
looking family on the cover.)

Miss Smith Goes to Paris (Ethel, that is)
My Reverie by the Three Suns
Overheard in a Cocktail Lounge by the Murray Arnold Quartet (guitar by
Barney Kessel)

Scary stuff:

Stereo Dynamics to Scare Hell out of Your Neighbors (skeleton cover--eeeek!!)
Children's Missionary Adventure stories (religious racism--eeeeeeeekkk!!!!)

Adventures in Sound:
Gypsy Fire by Boris Sarbeck
Dark Eyes by Boris Sarbeck

Now sounds:

The Hullabaloo Show (!!!)
Is that all there is? by Peggy Lee (Peggy rocks on some tracks--this is
almost as cool as her "Sounds of the 70s")

Soundstage Spectacular by Terry Baxter (weird versions of movie hits--some
electronic noodling)

PARTY HAPPENING: 90 minutes of dance music: This one's pretty cool. It's a
three record set from Audio Fidelity records, made up of  "Jet Set
Discoteque," "Latin Discoteque," and  "Tequila a go-go." It even has one
Harry Breuer cut.

Thanks for the space, Jessica ^_^





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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Recent Finds
Date: 20 Jul 1997 18:48:39 -0400


> From: Jessica Cameron <[e-mail]>
> Subject: (exotica) Recent Finds
>
> Lawrence Welk's Baby Elephant Walk: I never thought I'd live to see the day
> I bought a Lawrence Welk album, but I saw one of the tracks from this album
> performed on his show last night on public tv, and decided to buy the whole
> dang album. For thirty-five cents, it's a keeper.

As long as you've broken that barrier, you might want to keep an eye out for
LW's "Calcutta!" (DOT DLP 3359).

"The smash hit single leads a parade of instrumental hits"
"Featuring Frank Scott at the harpsichord"
"Arrangements by Larry Gordon, Bill Fontaine, George Wyle, Bob Ballard, George
Cates, Milt Rogers and Joe Rizzo"

I must admit that I can only handle this album in tiny doses, but "Perfidia" is
pretty priceless. It also includes "April In Portugal", for those of you
looking to hear every version of that. The harpsichord's sound has an amazingly
in-yer-face quality to it. Overall, a brittle and scary sort of album.

I'm trying a slightly different setting on my mail program, so if this message
comes through oddly, please let me know.

m.ace
[e-mail]


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

From: [e-mail]
Subject: (exotica) 80's Retro
Date: 20 Jul 1997 23:39:54 -0400 (EDT)


m.ace
[e-mail] wrote:

>So my personal image of new wave is the earlier, quirkier stuff -- which
>slipped through before the industry figured out how to rig the new game. I
have
>trouble seeing the later, more manufactured sounding stuff as new wave.

I agree with you.  My mistake here - in my rush to get the ideas into the
email I should have clarified that the early stuff is really the new wave, or
what most people think of new wave music.  KROQ played the early new wave
stuff like the Romantics, Soft Cell, Human League etc, and continued to
feature the "alternative" to mainstream music (whatever you want to call it:
"alternative," "power pop", etc.) like, The Lightning Seeds, The Lemonheads,
Depeche Mode, Duran Duran.  I am lumping all this continuum into the one
term, "new wave."  In anycase, my point was, whatever you want to call it,
KROQ really pioneered that sound here in Southern California and it was the
alternative soundtrack to my life as I grew up from 16 to 26 years of age
(when I was not participating and writing on the punk scene for Flipside) to
me, new and alternative stuff like that is rather "sacred ground" and I
detest seeing it hocked on television on one of these K-Tel style albums.
 The advertisement I'm thinking of is for the "Retro 80's" CD set. I guess by
retro they are not being specific or meaning to imply that the album is
solely going to be the new wave 80's stuff, but it is hard for me to believe
that there would be customers out there who would equally be patrons of
"Toto" and at the same time listen to the new wave offers on the album.  It
implies that we've got a bunch of very unsophisticated music consumers out
there.

>I dig that fringe jacket analogy.

And remember the fringe boots to go with it ladies?

- Michele


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

From: "Lazlo Nibble" <[e-mail]>
Subject: Re: (exotica) Whipped Cream.
Date: 20 Jul 1997 22:35:25 -0600 (MDT)


> Check out: http://dryer.www.media.mit.edu/people/dryer/g/daniels.html

I second Vern's recommendation, and ask that you continue upward from
Godfrey's page and partake of the other varied offerings from Dryer, for your
beloved list admin is also a Senior Editor of that fine publication (formerly
X Magazine, Your Humor and/or Music Goo).

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


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

From: [e-mail]
Subject: (exotica) 8T's "Retro"
Date: 21 Jul 1997 00:38:11 -0400 (EDT)


Doesn't this qualify as an oxymoron?.....Jimmy/Geezerhood is Powerful


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

From: "kevin king" <[e-mail]>
Subject: (exotica) Re: 80's revival
Date: 21 Jul 1997 02:41:55 -0500


this thread seems waaaay off topic - so i'll try to keep my own
indulgence brief.  as a former dc punker who used to slam dance at
the foot of the stage while the likes of minor threat or bad brains
thrashed and spat, i'd have to say that at the time, 'punk/new wave'
bands, a.k.a. 'poseurs,' were just as uncool (or rather, as cool...
which was uncool  - comprende?) as Toto, ELO and the Little River
Band, with whom they would often enough share the airwaves (and I
listened to it all - really, even when pretending not to like it.  so
i guess i got no taste and am eternally uncool, that's ok).  Let's
not forget that the Police were once considered 'punk,' as was 'Betty
Davis Eyes' and Joe Jackson.  Hardcore anti-rock aside, a lot of 80's
'new' music was indeed plain power pop and made no
excuses for it, including Thompson Twins, ABC, Haircut 100, the
Shoes, etc. etc...  Some bands had more edginess and straddled the
critics' 'punk'/new wave fence, like Blondie, Talking Heads,
Costello, XTC.  A lot of it was self-conscious of fashion and tongue
in cheek to begin with so it's inclusion in a k-tel 80's comp is
hardly sacrilege.  and I'd be more amused than offended to see them
do the same with Joy Division, Gang of Four, the Fall....   Pure
Moods II maybe? Or remember that travelling revue last year of Sex
Pistol look-alikes ala Beatlemania?  ... wait a minute - that was
really them wasn't it?  Of course, there was, always is i guess, a
sizeable underground of sorts going on (officially 'cool' 80's bands
like Wire, Slits, Throbbing Gristle, the forever underappreciated
Mekons as well as the newly appreciated Raincoats did NOT get airplay
alongside Toto)...   but the bands mentioned on this thread (most of
which I do like) all received heavy exposure and were probably
enjoyed by many more people than you imagine, even those who dared
listen to other types of music.  (I just had a 15 yr. flashback of a
bunch of heavy metal enthusiasts at a Cramps/Iggy concert - woohoo!)

denying the existence of any punk revival band other than atari
teenage riot ('sick sick sick like i've never been sick before!!!!')
, running on much longer than intended and hoping not to trod on
anyone's sacred ground - then remembering how hardcore punk was a
reaction against the sacredness and heroicism of pop (drawing that
tenuous connecting line back to today's topic...)

ramble off....
kevin king
[e-mail]
http://www.radix.net/~xanadu


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

From: [e-mail]
Subject: (exotica) Tiki porno?
Date: 21 Jul 1997 03:32:48 -0400 (EDT)


>Austrian guy who won this contest to participate in this porno movie where
Jasmine St. Clair brakes a new record by getting screwed by 300 guys. They
followed this guy from his Austrian village to a Hollywood soundstage where
the marathon was filmed, in front of a set decorated with SEVERAL TIKIS

Does anyone know the name of the aforementioned porn video?


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

From: Peter Hipwell <[e-mail]>
Subject: Re: (exotica) Jack Smith? Kizer's Batman (or Badman???)
Date: 21 Jul 1997 12:17:40 +0100


> From: "m.ace" <[e-mail]>
> > From: [e-mail]
> > Subject: (exotica) Jack Smith? Kizer's Batman (or Badman???)
> >
> > "I was Kizer Bill's Batman (Badman???)" by Jack Smith.
> > Does anyone have information on this song and performer.
>
> I think the title is actually, "I Was Kaiser Bill's Bat Man".
>
> For some reason, it sticks in my head that it's a British novelty tune having
> something to do with WW1 and cricket (I'm probably all wet). I know nothing
> about Jack Smith.
>
> Maybe one of our British associates can straighten this out.
>

It's "I Was Kaiser Bill's Batman" by Whistling Jack Smith.

It's a 60s novelty tune: purely instrumental, with the melody
whistled, a catchy little number. "Batman" is a military term
for an attendant to an officer --  in cricket you have a
"batsman". FWIW.

I don't know about availability on CD -- I think you'd be looking for
a 60s compilation album, as I've never heard of anything else
Mr. Smith did. I've got it on an old vinyl compilation (Decca: World
Of Hits Vol. 2). There are also a few cover versions, including a
Latin-ized version by Edmundo Ros (on the "Heading South" album -- the
same one that has "Light My Fire").

I always get caught by the key change, but then I've never been much
of a whistler.

Cheers,
Pete.



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

From: [e-mail]
Subject: (exotica) Tiki tatoos??
Date: 21 Jul 1997 03:32:52 -0400 (EDT)


Does anybody out there have a tatoo which features a Tiki or know of someone
who does?

Contact me.
Otto


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

From: [e-mail] (Ingemar Breithel)
Subject: Re: (exotica) Jack Smith? Kizer's Batman (or Badman???)
Date: 21 Jul 1997 18:00:40 +0100


At 12.17 970721, Peter Hipwell wrote:
>It's "I Was Kaiser Bill's Batman" by Whistling Jack Smith.
>
>I don't know about availability on CD -- I think you'd be looking for
>a 60s compilation album, as I've never heard of anything else
>Mr. Smith did.

There's an entire album called "I Was Kaiser Bill's Batman",
released in the US on Deram (DES 18006), where Mr. Smith
whistles his way through "Battle Hymn of the Republic",
"Waltzing Matilda", "Happy Wanderer", "Hava Nagila" etc.
Suffice it to say he's no Muzzy Marcellino or Fred Lowery
--the record is definitely a case of so bad it's bad.

Ingemar Breithel







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

From: [e-mail]
Subject: (exotica) Whipped Cream (& cheap imitations in general)
Date: 21 Jul 1997 11:46:39 -0400 (EDT)



>On Jul 16,  2:25pm, Bruce Rhodewalt wrote:
>> Subject: Re: (exotica) Misc.
>>
>>
>> I promise: There will be a "Whipped Cream..." web site on the
>> tikipub.com server some day.  Please send any info you have that isn't
>> apparent from the jacket, sleeve and vinyl itself.  Thanks.
>
>I can't remember the artist but I have an 60's LP called "Spaghetti
>Sauce & Other Delights" which is a parody of "Whipped Cream".

Several of these covers are at the aforementioned Whipped Cream Car Web
site. If you haven't gone to it yet, there is NOTHING you're doing right
now that can possibly be more important. *Incredible* Plan on donating at
least a half hour of your life though.

http://dryer.www.media.mit.edu/people/dryer/g/art_car/0_intro/main.htm

One thread I've been meaning to initiate is "cheap imitations" -- a
record/artist that was released clearly to capitalize on the popularity
of another enormously successful one, perhaps trying to dupe an
unsophisticated consumer into thinking it was the original. (Note,
sometimes these actually ARE pretty good LPs though)

Some I've seen:

Command Percussion series rip-offs: maybe one of the most common of this
genre; the most blatant being the ones with geometric shapes on the cover
and "P******* Percussion" titles

Budget label Three Suns knock-offs: "The Twilight Three" on Varsity, and
a couple "Three ******s" artists I can't recall their exact names with
"Guitar, Organ, Accordian" emblazoned on the cover.

Perez Prado and/or "Havana 3 AM" imitations: arguably the funniest being
"Havana 2 AM," with "Havana at Midnight" and artist names like "Pedro &
His Orchestra" offering additional amusement

The Exotic Sounds of Martin Denny/Arthur Lyman: "KAPU (Forbidden): The
Exciting Sounds of Milt Raskin" with the Lyman-esque volcano on the front
is a noteworthy example



Michael David Toth
[e-mail]
[e-mail]




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

From: [e-mail]
Date: 21 Jul 1997 10:35:24 -0600



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

From: Johan Dada Vis <[e-mail]>
Subject: (exotica) new esquivel cd's?
Date: 20 Jul 1997 16:49:35 +0200


came accross these 2 new Esquivel cd titles :

Infinity In Sound / cd, RCA 478722, ?, 1997
Exploring New Sounds In Hi-Fi / cd, RCA 478712, ?, 1997

but i don't know where they were reissued ($27.10 @ gmx)

especially the "Infinity In Sound" looks appealing, as it has 10 tracks (if
i counted right) not yet on cd. "Exploring" only 5....

        Johan
        [e-mail]  =  [e-mail]
        ---




        Johan |)/\|)/\ Vis
    [e-mail]

        Dada'quariums Exotica:
        http://bewoner.dma.be/Dada/ or: http://195.13.24.3/Dada/

        ---




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

From: Java Man <[e-mail]>
Subject: (exotica) Schifrin interview transcript
Date: 21 Jul 1997 15:06:39 0000


I didn't read it yet, but I know someone out there will be happy to.

<http://www.pubnix.net/~peterh/cjad23.htm>





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

From: [e-mail]
Subject: (exotica) Who are the Living Guitars?
Date: 22 Jul 1997 00:18:27 -0400 (EDT)


Just got two Living Guitar lps - "Shindig" & "Music From The Pink Panther and
Other Hits".  Both pretty cool. The notes claim that "the guitars are manned
by a veritable 'who's who' of the guitar world" , but doesn't bother to
mention them by name. Anyone know?


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

From: [e-mail]
Subject: (exotica) Retro 80's
Date: 22 Jul 1997 01:19:10 -0400 (EDT)


Kevin King wrote:

> Some bands had more edginess and straddled the
>critics' 'punk'/new wave fence, like Blondie, Talking Heads,
>Costello, XTC.  A lot of it was self-conscious of fashion and tongue
>in cheek to begin with so it's inclusion in a k-tel 80's comp is
>hardly sacrilege.  and I'd be more amused than offended to see them
>do the same with Joy Division, Gang of Four, the Fall....   Pure
>Moods II maybe?

Well, I guess it all boils down to how seriously we take ourselves?  Right?
 Of course Blondie, Talkingheads, etc. broke the barriers down and
mainstreamed new wave for the masses and enabled the bands that followed to
get their chance in the mainstream sun.  We will all agree that this was a
good thing since finally all the friends and relatives that were telling us
that we were making a mistake with our lives by indulging in punk rock, could
at least now see what the attraction was (since it was being played on
regular radio, it is assumed that the masses were agreeing with our taste in
music)  But in so far as being "sacrilege" or finding amusement in the
K-Telizing of the music, I guess my discomfort stems from the old punk rock
jealousy of not wanting to share the private party with the masses.  But I'd
like to reiterate my main dislike of this phenomenon, which is the
wholesaling of music culture - the mass-marketing of your culture, your
music, to the masses.  To me, this is not a comfortable feeling by any means.

- Michele



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

From: [e-mail]
Subject: (exotica) Tiki Porno Video
Date: 22 Jul 1997 01:19:13 -0400 (EDT)


Otto wrote:

>Austrian guy who won this contest to participate in this porno movie where
>Jasmine St. Clair brakes a new record by getting screwed by 300 guys. They
>followed this guy from his Austrian village to a Hollywood soundstage where
>the marathon was filmed, in front of a set decorated with SEVERAL TIKIS

>Does anyone know the name of the aforementioned porn video?


The woman you are talking about was on Howard Stern (no I don't watch that
show, but Mike does) and it isn't a movie, it is like the filming of her
record-breaking attempt.  She had to take antibiotics for like a month prior
to this "event" and then after the 300 guys, they had to put her on ice.  The
tiki's are certainly a weird angle, Mike says nothing was said about the set
except that it was Hawaiian or exotic.  Well, that's all I got.  Maybe
somebody else on the list has more info.

- Michele


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

From: Frank <[e-mail]>
Subject: Re: (exotica) Who are the Living Guitars?
Date: 22 Jul 1997 08:20:19 -0400


On the couple of LG lps I have ("Shindig" and something else...), Al
Caiola is mentioned - no one else, though.

> Just got two Living Guitar lps - "Shindig" & "Music From The Pink
> Panther and
> Other Hits".  Both pretty cool. The notes claim that "the guitars are
> manned
> by a veritable 'who's who' of the guitar world" , but doesn't bother
> to
> mention them by name. Anyone know?
>




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

From: [e-mail] (ANITA SERWACKI)
Subject: (exotica) Italian Nudie Sax
Date: 22 Jul 1997 10:43:47 -0400


     Just back from a big trip to the Amalfi Coast with a stack of EZ
     records by Italian saxophonists Fausto Papetti and Gil Ventura, all -
     and I mean ALL - featuring naked senoritas (or certain of their
     anatomical parts) on the covers.  The musical content varies from
     fairly straight up jazz, to fun pop song covers with female worldless
     vocals to fairly uninspired dreck - but I'm guessin the musical
     content wasn't what sold these records.  Based on these gentlemen's
     back catalogs as pictured on the inner sleeves, nearly *every single
     records each of these guys released over 20 some odd years* had nudie
     covers.  Any Italian list members have some historical info or insight
     on this trend?

     grazie!
     Anita


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

From: Jonathan Perl <[e-mail]>
Subject: (exotica) CDs must go
Date: 22 Jul 1997 17:09:00 +0100



I'm moving continent and will be over in America from this autumn. I
therefore am reluctantly having to sell much of my music collection in order
to get there. So far I have prepared listings of E/L, exotica, Soundtracks
etc on CD. Vinyl will come soon.  I'm not selling everything I own, but I am
selling quite a bit.

Quite a few unusual things here, as well as lots of things most people
already have.

Feel free to take a look:
http://www.angelfire.com/ut/erus/index.html
or email me for a list

thanks

Jonny


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

From: Viktrola <[e-mail]>
Subject: (exotica) Chatting at Vik's
Date: 22 Jul 1997 13:17:30 -0500


in the words of TV Food Network's Emeril Lagasse..."Let's kick it up a notch!"
web chat has come to Vik's, albeit in an extreme test phase. now Vik is
looking for victims...err,,ummm...testers to see if this thing really
works. the entrance is at http://www.chaoskitty.com/lounge/ and there's no
real help guide yet (we told you it was a work in progress) but drop by and
take a spin. Vik will be dropping in throughout the day to see what's
up...he's even there now!!!

cheers...be talkin' at ya!
Vik




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

From: Vik Trola <[e-mail]>
Subject: (exotica) this didn't make the list...trying again
Date: 22 Jul 1997 20:19:50 -0500


we're trying out a very very early version of a chat area over a Vik's.
drop by http://www.chaoskitty.com/lounge/ and see if it works. there may be
an Internet Explorer bug...let us know...

waking up in the city that never sleeps,
Vik

Vik's Lounge
http://www.chaoskitty.com/t_chaos/lounge.html

Space Age Bachelor Pad Music
http://www.chaoskitty.com/sabpm/





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

From: Will Straw <[e-mail]>
Subject: Re: (exotica) 80's Retro
Date: 23 Jul 1997 12:26:30 +0000


KROQ's role in creating a sense of what "New Wave" was can't be
underestimated . . . in particular, the idea that it was about eclecticism
(everything from
the neo-rockabilly of the Stray Cats through British synth pop and new
girl groups like the Go-Go's), and that it was about recreating some of the
sense of excitement and novelty associated with older Top 40 radio
stations.   This package was part of programmer Rick Carroll's genius,
and if you follow the marketing of the format outward from California during
the early 1980s you can see the spread of the idea of New Wave as being
bound up with a rebirth of teenage culture.  And in the wake of that  came
the bratpack movies and MTV.

Will

Will Straw

Associate Professor and Acting Director,
Graduate Program in Communications
McGill University
3465 rue Peel,
Montreal, Quebec
H3A 1W7

Phone: [phone]; Fax: [phone]
http://www.arts.mcgill.ca/gpc/

Director, The Centre for Research on Canadian Cultural Industries and
Institutions
http://www.arts.mcgill.ca/gpc/crccii/

Co-editor.  Topia:  A Journal of Canadian and Cultural Studies
http://www.arts.mcgill.ca/gpc/topia/





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

From: [e-mail]
Subject: (exotica) re:80's revival
Date: 23 Jul 1997 12:29:48 -0400 (EDT)



 Just a not-so-quick response to all the 80's talk- I was a newwave geek girl
back in the day, and as much as this music was a sacred secret joy to me, I
think it's only natural that it now gets the K-Tel treatment. You have to
imagine, for every cheesy retro compilation, there is an original die-hard
lover of that trashed genre shedding a wistful tear for the heyday...nothing
is sacred!
Yup, I knew plenty of kids who willingly listened to Toto, Simple Minds,
Journey, Whitney Houston and Duran Duran, all with equal exuberance. They
liked whatever they heard on pop radio and saw on MTV...just like nowadays,
when teens seem to find room to enjoy crass rap artists, lazy r&b ballads,
twee bands like the Cardigans, along with Oasis and the Brit-wave stuff and
heck, even Squirrel Nut Zippers. If it's on the radio, it must be cool, they
think. But I find it truly sweet that many high school goers are discovering
80's newwave/pop- my girlfriend's little sister (now 16) loves early Police
and Billy Idol, and she has a few of those 80's comps, too.
But what does this have to do with Exotica? I'll save face by asking this
question:anyone know anything about Bimbo and les Royale Tahitians (sp)?-I
heard their music used in a short animated film, and it was dreamy,
percussive Polynesian-esque stuff- is anything currently available, and is it
recommended? Thanks to all for suffering through my babble-
Mona


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

From:      "George V. Chastain" <[e-mail]>
Subject: (exotica) Need info on Brother Theodore recording(s)
Date: 23 Jul 1997 12:44:52 -0400 (EDT)


Can anyone provide details about any recording(s) by stage
performer and occasional film actor Brother Theodore (Gottlieb)?
I found his intense version of Poe's story "Berenice" on a
Halloween compilation tape a couple of years ago, and there
must be more of his stuff out there somewhere. Any help will
be greatly appreciated.
George Chastain


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

From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) new esquivel cd's?
Date: 23 Jul 1997 13:40:38 -0400


At 4:49 PM +0200 7/20/97, Johan Dada Vis wrote:
>came accross these 2 new Esquivel cd titles :
>Infinity In Sound / cd, RCA 478722, ?, 1997
>Exploring New Sounds In Hi-Fi / cd, RCA 478712, ?, 1997

Just a word to the wise -

If you live in the U.S., don't bother buying these high priced imports.

Why, you ask? Details will be announced soon.

that ol' diskteaser,
br cleve





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

From: "kevin king" <[e-mail]>
Subject: Re: (exotica) Retro 80's
Date: 23 Jul 1997 14:36:52 -0500


[e-mail] wrote:

>
> Kevin King wrote:
>
> > Some bands had more edginess and straddled the
> >critics' 'punk'/new wave fence, like Blondie, Talking Heads,
> >Costello, XTC.  A lot of it was self-conscious of fashion and tongue
> >in cheek to begin with so it's inclusion in a k-tel 80's comp is
> >hardly sacrilege.  and I'd be more amused than offended to see them
> >do the same with Joy Division, Gang of Four, the Fall....   Pure
> >Moods II maybe?
>
> Well, I guess it all boils down to how seriously we take ourselves?
> Right?

Not at all.  It's a matter of reading the content as well as the
trend.  There's a paradox in the marketing of punk that was exploited
long ago (remember Rock 'n Roll Swindle?...  or for more recent
self-awareness (that's not such a swindle) try Mekons' Rock 'n Roll)
It's a love/hate of r 'n r thing.  As someone else I think stated,
one of the joys of punkhood was to poke fun at loyal Deadheaders or
worshippers at the arena rock altar.  So you can't miss the irony of
aging new-wavers creating an altar of their own, can you?

I respect your sentiments.  But though I may tend to express
myself with more than the necessary dose of good natured humor (and a
little flippancy when it gets late), my comments were made in all
seriousness.

kevin king
[e-mail]
http://www.radix.net/~xanadu


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

From: "m.ace" <[e-mail]>
Subject: (exotica) Nude Wave (re-post)
Date: 23 Jul 1997 15:02:55 -0400


It's been almost 24 hours since my first attempt at sending this, and it still
hasn't turned up in Exotica. So here we go again. The usual apologies for any
doubles that may turn up.

> From: kevin king <[e-mail]>
> Subject: (exotica) Re: 80's revival
>
> Of course, there was, always is i guess, a
> sizeable underground of sorts going on (officially 'cool' 80's bands
> like Wire, Slits, Throbbing Gristle,

Then again, concepts like "officially cool" are part of the problem with the
rock mindset. I still haven't managed to completely de-program that sort of
thing out of my head. (And no matter how much I used to deny it, there's no
getting around it -- even at its most anti-rock, punk is still rock. And some
punk bands got rather pompously "heroic" themselves.)

It's very prescient of you to mention The Slits, in light of the "Italian Nudie
Sax" post. Remember their album, "Cut", with its aggressively de-glamorized
approach to the nude cover? It's even somewhat tribal or... exotic. Come to
think of it, the music is sort of exotic too, in a very unique way.

m.ace
[e-mail]



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

From: "kevin king" <[e-mail]>
Subject: Re: (exotica) Nude Wave
Date: 23 Jul 1997 16:16:32 -0500


m.ace wrote:

> > (officially 'cool' 80's bands
> > like Wire, Slits, Throbbing Gristle,
>
> Then again, concepts like "officially cool" are part of the problem
> with the rock mindset. I still haven't managed to completely
> de-program that sort of thing out of my head. (And no matter how
> much I used to deny it, there's no getting around it -- even at its
> most anti-rock, punk is still rock. And some punk bands got rather
> pompously "heroic" themselves.)

Exactly!  and that's why some of the more successful bands like the
Clash, U2 (who've turned the whole irony thing into a vaudeville act)
have been chided for 'selling out.'

> It's very prescient of you to mention The Slits, in light of the
> "Italian Nudie Sax" post. Remember their album, "Cut", with its
> aggressively de-glamorized approach to the nude cover? It's even
> somewhat tribal or... exotic. Come to think of it, the music is sort
> of exotic too, in a very unique way.

I luuuurv the Slits - pre-riot grrrl act that they were!  Their other
Lp 'Return of the Giant Slits' is also brilliant (if you can find
it).  They do have an exotic sound, more specifically it was heavily
influenced by reggae.  They were big fans - sported dreadlocks
even.


kevin king
[e-mail]
http://www.radix.net/~xanadu


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

From: Tony Wilds <[e-mail]>
Subject: (exotica) Max theremin in Brazil
Date: 23 Jul 1997 16:38:10 -0400


Decca is the best label for ethnic pop (exotica). No other major label
comes close to their stable of Hawaiian stars; the many Latin and
Brazillian records are hard to beat, too.

The liners of the 1950 10" LP "Sambas" have this to say of Maximillian
Bergere:

"Added to his triumphs, Bergere has a mastery of the Theremin, that magical
instrument which combs music from the ether waves."

----

Great spins from space: John Keating Space Experience, Jeff Wayne Space
Shuttle

The Wilds Scene:  http://www.charm.net/~wilds/
  REAL EXOTICA    LPs * Sabu Home Page * Tiki Gallery
Get the first word on top LPs. Email: [e-mail]

"I'm just a wild man. You know I'm not a follow-style man." -- Mose Allison


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

From: Jessica Cameron <[e-mail]>
Subject: (exotica) In Praise of Budget Labels.....
Date: 23 Jul 1997 16:29:05 -0400


Sorry if this shows up twice...my computer has been acting nutty again..... :(


Excuse the following rant, but it's a dreary, rainy day here in
Pennsylvania, and the list has been pretty slow lately.

I was just thinking about budget labels. REAL budget labels, like Crown,
Somerset/Alshire, and Pickwick. Crown and Pickwick are weird cases because
their overall quality went up and down so much. It always seemed to me that
Crown started out really really cheap, got better for a little bit (nicer
jackets, colored vinyl), and then got really really cheap again. Pickwick is
the real mystery, because it started out so cool (Happy Moog, anyone?) and
then got SO cheap. I bought a 70s Pickwick LP that featured "The Rock
Version of the Lord's Prayer," (I knew it would be a cover version, but I
wanted to hear it anyway) and it was beyond mere thriftiness. They really
scraped the bottom of the barrel--cover versions from "Godspell" on one
side, traditional religious music on the other. Does anyone know the true
story of the label with an identity crisis? ^_-

Another thing--does anyone know how certain recordings would bounce around
from label to label? I have a semi-cheap percussion album (sort of a
pretender to the "Persuasive" throne) on the Kent label. The sleeve is
flimsy, but there are full liner notes giving credit to all the studio
musicians--so it's a little better than one of those anonymous labels with
just ads on the back cover, but it's still pretty cheap. Anyway, some of the
tunes on this album turn up on "Dynamic Percussion" on the Modern label. I
also have a Modern "Today's Jazz All-Stars" record with two cuts from "Jazz
Heat Bongo Beat" retitled. Did Modern just steal them? (too bad they didn't
use those cuts on their "bongo" album by "Haji Baba" which I SWEAR didn't
have anything more than a snare drum. >:( !!)

My favorite budget label is probably Alshire/Somerset, for putting out so
many cool Skip Martin records in the 50s, and so many "NOW" sounds in the
60s. Whatta label! ^_^ BTW, did Skip Martin drop off the face of the earth
after the early 60s or what? It doesn't seem like he did anything after
those LPs for Somerset. Did he die, or go into a new line of work?

Anyhoo, in conclusion, I thought it would be neat if we all gabbed about our
_all time favorite_ (don't you hate that expression?) budget label records.

Thanks for the space, Jessica ^_^

PS--Mine are Scherajazz, TV Jazz Themes, and Jazz Heat Bongo Beat.

PPS--Would you consider Strand to be a budget label? I'm not sure.

PPPS--Have a nice day! ^_-



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

From: [e-mail]
Subject: (exotica) Bent Fabric
Date: 23 Jul 1997 20:56:48 -0400 (EDT)


A while back there was a bit of chat about the artist called Bent
Fabric--here's what I've found based on "Alley Cat", a1962  LP of his, if
anyone's still interested:  He appears to be named Benton Fabricius-Bjerre
based upon the writing credit on an LP-tune  called "Early Morning In
Copenhagen." He played piano. Quoting from the liners on "Alley Cat"..."The
Alley Cats are swinging as never before. It all started when Bent Fabric, the
international authority on the swinging life of the Alley Cat, answered the
age-old question--what would an Alley Cat play if he could play the piano?
Mr. Fabric's demonstration of the Alley Cat's swinging sounds quickly
captured the attention of listeners across the land, who secretly knew that
the Alley Cat was the hippest of all our four-legged animals. It will come as
no surprise to anyone that Fabric is a pretty cool cat
himself..............."


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

From: Kerry Keane <[e-mail]>
Subject: (exotica) Pickwick
Date: 23 Jul 1997 20:51:13 -0500 (CDT)




I am grateful to Pickwick for supplying me with cheap re-issues (all
found in thrift store bins).  Pickwick re-released the mighty monster
_Ventures in Space_ album.  I also think they put out Dionne Warwick
cheapies.  I have Happy Moog and some disko re-hash called the Disko
Band.  It's not very good, but I do think they had the right idea in
spelling disko with a "k".

Also, there is a Neil Diamond tribute band here in Nebraska called Pickwick.
Who the hell in *Nebraska* would get that joke (besides me)?
Haven't seen them yet, but with a name like that, you just know they're
reprising the late-60s Velvet Gloves and Spit Hot August Neil.

Went shopping in Chicago and picked up the infamous Yma Sumac "rock" album.
All I can say is eeeeyugghhh...why couldn't it be a *real* psychploitation
album, instead of this bad prog-fusion crap?  I think I might still listen
to it just for the vocal workout--she still sounds good, even with all
the crap playing in the background.





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

From: [e-mail]
Subject: Re: (exotica) In Praise of Budget Labels.....
Date: 24 Jul 1997 00:51:59 -0400 (EDT)


Sometimes these labels just managed to put out really cool stuff - maybe
because by using people who were not exactly "stars" they hit on something
more real than the polished big budget acts. Or maybe because their names
weren't going on the records, some top session players just got to have fun
for a change.

One of my recent favorites is "Brasilian Beat '67" by Los Brasilios
(Featuring Alberto on marimbas & the Juan Morales Singers) on Design Records.
Total Segio Mendes cover rip-off and no more info except for song titles .
And it is way better than I expected.


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

From: [e-mail] (ANITA SERWACKI)
Subject: Re: (exotica) Pickwick
Date: 24 Jul 1997 10:12:29 -0400


>I am grateful to Pickwick for supplying me with cheap re-issues (all
>found in thrift store bins).  Pickwick re-released the mighty monster
>_Ventures in Space_ album.  I also think they put out Dionne Warwick
>cheapies.  I have Happy Moog and some disko re-hash called the Disko
>Band.  It's not very good, but I do think they had the right idea in
>spelling disko with a "k".

Within the last year or so, I've also come across a few early-mid 70's Pickwick
reissues of Command records.  There's a whole new project for ya, Robbie!

Anita


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

From: Lou Smith <[e-mail]>
Subject: (exotica) Need info on Brother Theodore recording(s)
Date: 24 Jul 1997 10:34:53 -0400 (EDT)


At 12:44 PM 7/23/97 -0400, George Chastain wrote:
>
>Can anyone provide details about any recording(s) by stage
>performer and occasional film actor Brother Theodore (Gottlieb)?

As far as I know, there are only 2 recordings by Theodore.
There's a live recording from 1955 on Proscenium called 'Entertainment of
Sinister and Disconcerting Humor.'
The studio recording, which included Poe's "Berenice", is called 'Coral
Records Presents Theodore.'

Good luck finding either! These disks are over-due for re-issue.
I find it surprising, given Theodore's long exposure on TV (from Merv
Griffin in the 60s to Letterman in the 80s) and his 40+ years performing,
that there are no other recordings/videos available. You'd think he had the
plague or something.

-Lou

BTW, Joe Frank has a bit of Bro. Theodore inserted in one of his radio
works. Sorry, but I don't recall which one.




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

From: "Lazlo Nibble" <[e-mail]>
Subject: (exotica) Welcome to exotica
Date: 24 Jul 1997 11:03:08 -0600 (MDT)


> Welcome to the exotica mailing list!

Just FYI, everyone got this because the subscriber list was accidentally
zeroed out at xmission and I needed to resub everyone by hand.

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


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) In Praise of Budget Labels.....
Date: 24 Jul 1997 14:24:11 -0400


> From: Jessica Cameron <[e-mail]>
> Subject: (exotica) In Praise of Budget Labels.....
>
> Anyhoo, in conclusion, I thought it would be neat if we all gabbed about our
> _all time favorite_ (don't you hate that expression?) budget label records.

Thanks to Kerry for mentioning Pickwick's late 70's re-ish of "Ventures In
Space". I wouldn't have thought of that, and it might be a major contributor to
leading me down this branch of the road to perdition.

They also re-ished the Surfaris' "Wipe Out & Surfer Joe" album around that
time. BTW, the actual Surfaris are only on those two tracks ("W.O." & "S.J.").
The rest were done by session musicians. It was a very big surprise to The
Surfaris when the album came out a mere week after they recorded a batch of
tracks for it. It was an even bigger surprise when they listened to it and
discovered -- Hey! That's not us! Just another friendly prank from producer
Richard Delvy, who along with some members of the Challengers, had signed a
contract with DOT representing themselves as the Surfaris. Yeesh! The Surfaris
had a lot of dirty dealing going on around them (or to them). Babes in the
woods. For his part, Delvy has commented, "...but accidently I kept the rights
to 'Wipe Out,' and that particular copyright has been wonderful for me." Yeah,
REAL accidental, I bet.

But I think Jessica is after something more obscure, so here's an item that is
not a favorite, but a bit of a curio...

From the label, POWER Apple Honey Series (Newark, NJ), comes The Honolulu
Guitars -- "Songs Of Hawaii". Although to be honest, I have a feeling that the
Honolulu Guitars may be country session players from Nashville or California.
The instrumentation is pedal steel, electric guitar and bass (although the bass
parts MIGHT just be the guitar player doing the thumb thing -- the sound is a
little too murky to make that out). All with a strong dose of slap-back echo.
The steel player has a lot of licks that sound like half-speed swipes from
Speedy West. It's fairly sleepy stuff on the whole. The front cover has a nylon
string guitar with a straw hat on its tuning head and a couple of leis draped
around the neck (a very literal art director), along with an inset photo. On
the back cover is a full-size version of this photo, which is: a rather
Anglo-looking woman with heavy eyeliner, squatting in the surf, wearing a brown
(!), long-sleeved (!), one-piece with a neckline that dips halfway down her
torso (but isn't really exciting at all). And that's the Honolulu Guitars.

m.ace
[e-mail]


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

From: [e-mail]
Subject: (exotica) Tales of Don Tiki
Date: 24 Jul 1997 09:11:34 -1000


Aloha exoticats + kitties-

Howz your long hot summer going? Muchos mahalos for recent inquiries to
all who are waiting with baited sushi breath re the release date for
"The Exotic Sounds of Don Tiki." The project is finally moving forward
again with financing from silent partner with several small labels here
(Poki, Pumehana, and Discos Tropic=E1l) who is helping Perry Coma and I
form our own... Taboo Records. Goal is to finish additional tracks for
mastering by Sept.1 for fall release.=20

We've had some nice press recently in Lounge magazine and Strange & Cool
Music. Thanks again to Sam Wick and Dana Countryman for your enthusiasm
and kokua. Also, did the exotica music for a Hawaiian Historic Society
fundraising event called "Journey to Samolo"... a mythological
polynesian kingdom created by Noel Coward in the '30's. Martin Denny
struck an antique Burmese gong to start the procession.
Seemed appropriate... faux music for a faux kingdom!

Hope all have a swell weekend. Me, i'm gonna check out the Hawai'i
All-Collectors Show '97 over at Blaisdell Exhibition Hall, then go to
the (free!) Ukulele Festival at Kapiolani Park. Imua!

On a final note, can't thank Tony the Tiger Wilds enough for the tip on
Art Blakey's "Orgy in Rhythm" recent domestic release on Blue Note
starring original wild man icon, Sabu. It's the real deal, too hot... go
get it kids!

Alohadercci,

Fluid Floyd/Don Tiki


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

From: Tony Wilds <[e-mail]>
Subject: Re: (exotica) Tales of Don Tiki
Date: 24 Jul 1997 15:49:03 -0400


>On a final note, can't thank Tony the Tiger Wilds enough for the tip on
>Art Blakey's "Orgy in Rhythm" recent domestic release on Blue Note
>starring original wild man icon, Sabu. It's the real deal, too hot... go
>get it kids!
>
>Alohadercci,
>
>Fluid Floyd/Don Tiki

Was going to save this for the release party announcement, but if the final
Don Tiki CD is anything like the demo, everyone fun has got to have it. I
won't say it's the world's only true, exotica party band, because there's
also the Swingin' Swamis and maybe some others, but they do have an
everything-exotic sound that cries party-fun-carnival even during the
quieter, more vibe-ish moments. A good reflection on Hawaii; where there's
Don Tiki, there's a party going on. Humor, fun, exotica, can't miss.

tony
The Wilds Scene:  http://www.charm.net/~wilds/
  REAL EXOTICA    LPs * Sabu Home Page * Tiki Gallery
Get the first word on top LPs. Email: [e-mail]

"I'm just a wild man. You know I'm not a follow-style man." -- Mose Allison


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

From: "J. Diamond" <[e-mail]>
Subject: (exotica) KFJC-FM, Jack in the box
Date: 24 Jul 1997 12:11:36 -0700


Hello,

Anyone who is interested;
I'm doing a show this afternoon from 2PM-6PM on 89.7FM, KFJC
Tune your fave browser to http://www.kfjc.org and click on Internet
Broadcast and see what happens.

It will be much different than the "usual" show I do on Sunday mornings
though still wonderful

The KFJC Internet connection is infinitely better than the "experiment" we
had going on before

Good luck

Later,
Jack


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

From: [e-mail] (Ingemar Breithel)
Subject: Re: (exotica) In Praise of Budget Labels.....
Date: 24 Jul 1997 22:57:03 +0100


>One of my recent favorites is "Brasilian Beat '67" by Los Brasilios
>(Featuring Alberto on marimbas & the Juan Morales Singers) on Design Records.
>Total Segio Mendes cover rip-off and no more info except for song titles .
>And it is way better than I expected.

I agree, this is truly excellent. Great pop-jazz beat with organ, bongos
and girls vocalizing in unison--someone should reissue it on CD! Produced
and arranged by "Bugs" Bower and Joe Abend  (whoever they were), the
label states.

There's an interesting bossa nova exploitation album on Wyncote, called
"The Girl from Ipanema" (natch), by Jimmy Davis and Norma Lee. One song
is a carbon copy of "Desafinado", there's a really incongruous Les Baxter
pastiche, of all things, called "Astrud", as well as some pretty swinging
instrumental jazz.

Another favorite is Herb Jeffries (spelled Jefferies here) "Devil is a
Woman" on Golden Tone.  And let's not forget Alshire, who gave us a
tiny percentage of brilliant101 Strings albums. Recently I saw an
album of theirs which had an African big game hunting theme
(can't remember the title). Anyone know if this is worth picking up?




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

From: [e-mail]
Subject: (exotica) Tiki News #11/zines vol. 2
Date: 24 Jul 1997 17:46:34 -0400 (EDT)


The San Francisco issue of Tiki News is out now
(aka issue #11)
available by mail order from Schwarz Grafiken or at a retail outlet near you.

Tiki News is also prominently featured in Vale/VSEARCH's new book
"zines vol. 2" at ANY bookstore.


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

From: [e-mail]
Subject: (exotica) Tiki events SF/LA
Date: 24 Jul 1997 17:47:44 -0400 (EDT)


Just a reminder that Tiki News night at the Chameleon is tonight Thurs July
24 with Pineapple Princess & Frenchy.
____________________________________________
Friday July 25th
CACAO coffeehouse in West Los Angeles
"One More Tiki Show" featuring the art of
Crazy Al Evans; Michael "Tempo"; Dave Silva
11609 Santa Monica Bl. 7 - 10 pm
__________________________
REEF MADNESS CD Release Party at The Paradise Lounge
Saturday, August 2
San Francisco

REEF MADNESS is new compilation of surf and instrumental bands being released
by Deep Eddy Records of Austin Texas. The 74 minute CD will feature 24 bands,
from such diverse locations as Finland, New Zealand...... and yes, six from
the San Francisco Bay Area.
The REEF MADNESS CD Release Party will feature all but one of the Bay Area
contributors, and two bands from So. Cal. As you might expect, each of the
San Francisco bands offer a unique take on the surf genre. The Aquamen are
masters of intoxica, the perfect party band. Pollo Del Mar drags surf music
kicking and screaming into the next millenium. The Torpedoes play in the
tradition of Hot Rod, with the intensity of Skate-core. Santa Cruz's
Sub-Mersians invite you to a place where The Velvet Underground go surfing.
Brazil 2001, coming up from Los Angeles, are a hard hitting pop band with a
surf side. And Santa Barbara's Kelp have a more experimental jam side played
with a lighthearted spirit.

The Paradise Lounge
308 11th St. in San Francisco  -   [phone]
Doors: 8PM, Cover $8
The Aquamen
Brazil 2001
Pollo Del Mar
The Torpedoes
Berzerkers
Kelp
The Sub-Mersians
_________________________
Los Angeles
Saturday August 2, 8:00 pm sharp
LA Chamber Ballet & Joey Altruda's 18 Piece Mambo Orchestra
perform "Coctails With Joey - A Ballet Noir for Swingers"
We needn't explain to you that this will be a fine moment of semi-high brow
entertainment for the Cocktail Nation crowd.
Luckman Fine Arts Complex
at Cal State LA
5151 State University Drive
213/343-6600


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

From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) new esquivel cd's?
Date: 22 Jul 1997 20:57:52 -0400


At 4:49 PM +0200 7/20/97, Johan Dada Vis wrote:
>came accross these 2 new Esquivel cd titles :
>Infinity In Sound / cd, RCA 478722, ?, 1997
>Exploring New Sounds In Hi-Fi / cd, RCA 478712, ?, 1997

Just a word to the wise -

If you live in the U.S., don't bother buying these high priced imports.

Why, you ask? Details will be announced soon.

that ol' diskteaser,
br cleve





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

From: "Br. Cleve" <[e-mail]>
Subject: (exotica) Rod McKuen Does It Again!
Date: 22 Jul 1997 21:03:36 -0400


Thanks Rod!

I'm sitting here enjoying the Laserlight CD reissues of the Russ Meyer
soundtracks "Cherry, Harry & Raquel" and "Vixen". The original Bevery Hills
Records LP's from '67 and '68, not dubs taken from the movies. And only
$5.99 a piece! Bodacious!! Even Martin Boorman will dig 'em.

br cleve








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

From: Vik Trola <[e-mail]>
Subject: (exotica) Vik's Newsletter
Date: 22 Jul 1997 21:12:29 -0500



Back again with yet another update from Casa Vik's. As some of you may
already know, our latest project involves a guava, two African sparrows and
a web based chat area. It's in the extreme early phases of testing and
Vik's is looking for victims...err...guests to help see if it works. Simply
drop by http://www.chaoskitty.com/lounge/ and join the fun. There's not
much in the way of help (yet) but it shouldn't take a mixologist to figure
out how it works. Vik will be dropping in often to join the party...

Over at Radio Vik
(http://www.chaoskitty.com/t_chaos/radio/radiovik.html)...two, count'em,
two new Global Radio broadcasts. First up is the Bethany Lounge helmed by
West Virginia's own Jimmy the Z. One show of '50s lounge; one of '60s
hipster. Or kick back for both shows. Then, if you've never been to In
Hi-Fi at Bar d'O (or want to relive the experience), we've got an hour of
swelligant sounds from the Batman and Robin of West NYC lounge. Tag teaming
on the wheels of steel...two half hour sets or the whole enchilada.


In other web related cocktail driven events...

The folks over at Barnes and Noble Online dropped into Vik's to sample
Max's summer drink menu and tip Vik to an online chat for Thursday July 24.
At 8 pm ET, Anistatia R. Miller and Jared M. Brown, authors of "Shaken Not
Stirred," as well as Tom Connor, author of "The Handmade Cigar Collector's
Guide and Journal" will be chatting live online at
http://www.barnesandnoble.com/live. BarnesandNoble.com will be hosting a
"theme party" of sorts with the authors
of two separate books.  They are devoted to the refined palates of cigar and
martini enthusiasts.  Come chat about your favorite cigars, exchange martini
recipes, and swap stories of exquisite experiences. Check out the Shaken
Not Stirred site at http://www.axionet.com/key/, might swank sipping!

The latest issue of Yahoo! Internet Life (the one with Conan O'Brien on the
cover) mysteriously has a side bar to the O'Brian article listing "late
night places" on the web. In addition to the Shaken Not Stirred site above,
there's mention of Dr. Bombay's fabulous Rat Pack site
(http://www.primenet.com/~drbmbay) and The Oscar Meyer Soup and Sandwich
site (http://www.oscar-mayer.com/soup.n.sandwich/)

It's just starting but could be something big...check out Tony Caravan's
site at http://home.earthlink.net/~tcaravan/THESHOW.html. Looks very
promising and Vik hears there will soon be a webcast with King Kini and
Robbie Baldock.

Finally, for those who think some people take this whole EZ/lounge/cocktail
music to seriously...Vik was recently contacted by Rob Sloane,a graduate
student at Bowling Green State
University, who is currently writing his master's thesis on lounge music.
Anyone interested in giving a helping hand with research and such can email
him at [e-mail] and tell'em Vik sent ya!

waking up in the city that never sleeps,
Vik

Vik's Lounge
http://www.chaoskitty.com/t_chaos/lounge.html

Space Age Bachelor Pad Music
http://www.chaoskitty.com/sabpm/





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

From: Lou Smith <[e-mail]>
Subject: (exotica) Retro 80's
Date: 22 Jul 1997 22:04:00 -0400 (EDT)


Can all those good brothers and sisters who think this thread has had its
day please raise their martini glasses and say 'amen'?


--Lou

Oh, OK, that sounds a bit bitchy. Let me put it this way:
If Punk was Rock as if Sgt. Pepper never happened, then this Exotica
umbrella covers Popular music as if Rock never happened. If I wanted Rock
I'd go to the Bomp list.

And I'm just not ready yet to look back at the 80s. Give me another 20 years.




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

From: Tony Wilds <[e-mail]>
Subject: Re: (exotica) Norma Lee from Ipanema, Jeffries
Date: 25 Jul 1997 01:04:08 -0400


>There's an interesting bossa nova exploitation album on Wyncote, called
>"The Girl from Ipanema" (natch), by Jimmy Davis and Norma Lee. One song
>is a carbon copy of "Desafinado", there's a really incongruous Les Baxter
>pastiche, of all things, called "Astrud", as well as some pretty swinging
>instrumental jazz.

TERRIBLE singing, which perversely is the high mark for Girl from Ipanema.

>Another favorite is Herb Jeffries (spelled Jefferies here) "Devil is a
>Woman" on Golden Tone.

Totally awesome. Afro-Cuban wonderland. He did something with Eden Ahbez as
well.

tony
The Wilds Scene:  http://www.charm.net/~wilds/
  REAL EXOTICA    LPs * Sabu Home Page * Tiki Gallery
Get the first word on top LPs. Email: [e-mail]

"I'm just a wild man. You know I'm not a follow-style man." -- Mose Allison


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From: [e-mail] (Subliminal Sounds)
Subject: (exotica) Martin Denny Video
Date: 25 Jul 1997 16:02:00 +0200 (MET DST)


Aloha,

if anyone out there (Duda are you still around?) have a copy of Martin Denny
on the Webley Edwards Hawaii Calls show video and could dupe it for me I
would be very happy. Some asshole stole my copy at our Tiki Room party last
Wednesday and I really miss it. Please help!!!

Mahaolo!

Stefan/Subliminal Sounds



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From: [e-mail] (Subliminal Sounds)
Subject: Re: (exotica) In Praise of Budget Labels.....
Date: 25 Jul 1997 16:06:57 +0200 (MET DST)


>m.ace wrote:
>The Surfaris
>had a lot of dirty dealing going on around them (or to them). Babes in the
>woods. For his part, Delvy has commented, "...but accidently I kept the rights
>to 'Wipe Out,' and that particular copyright has been wonderful for me."

As far as I know Merrell Fankhauser (of the Impacts, MU etc) finally (last
year) got the rights to "Wipe Out" which he wrote.

Stefan/Subliminal Sounds



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

From: Jessica Cameron <[e-mail]>
Subject: Re: (exotica) In Praise of Budget Labels.....
Date: 25 Jul 1997 09:34:41 -0400


>>One of my recent favorites is "Brasilian Beat '67" by Los Brasilios
>>(Featuring Alberto on marimbas & the Juan Morales Singers) on Design Records.

I just got this one on Sunday, sans cover (it came from one of those budget
five-record sets and has a silver label instead of the red "Design" label).
It IS good! ^_^

> Recently I saw an album of theirs which had an African big game hunting theme
>(can't remember the title). Anyone know if this is worth picking up?

Ooh, I bet this was SAFARI, with the 101 Strings posing as "The Trans World
Symphony Orchestra." I like this one a lot, but it may be too stodgy for
other list members. The cover is cool, though. It's basically a study of a
safari in stereo (say that ten times fast), with jungle drums, chanting, and
strings. There's another Trans World Symph album called "Conquerors through
the Ages." It sounds like an old Hercules movie. ^_^

I went through the stacks just now and picked out some other budget classics:

Dixieland and Blues: The Rondolette label is SO bizarre. The cover of this
album shows three fluffy kittens sleeping in socks hanging on a clothesline.
What does that have to do with dixieland???

Pet Ice Cream Presents: Tijuana Today (a George Garabedian production, of
course!) These Mark 56 records crack me up. I used to have one for a grocery
store that flat out admitted that it was a rip-off in the liner notes.
Classic! And I floored my Latin American culture professor with a copy of
Colonel Sanders' Tijuana Picnic. ^_-

Longines Symphonette: Is this a budget label? It's sort of cheap, but the
records are on decent vinyl. I only have two LS albums, Mexicali Brass goes
South of the Border, and Enchanted Island (the NOW sounds of Hawaii)--this
one is filed under WHAT WHERE THEY THINKING?!?

International Award Series: Exotic International Percussion featuring
Berlingeri and his Percussive Harpsicord with Orchestra. I dared myself to
buy this, and it's actually very, very good. Kind of like Enoch Light's Far
Away Places albums, but I like this one better. It's actually percussive,
which for Int. Award is very  unusual.

More Mancini Favorites by Rudolph Statler: I bought this one just to round
off a buy at a three for a dollar stand. But it's really good. It has one of
the coolest versions of  "Peter Gunn" I've ever heard, and great extended
version of  "A Shot in the Dark."

Organ in Hi-Fi on Riviera (by Johnnie Johnson) : A friend gave this me and
initially I was like, "thanks for NOTHING!" But this a funny record with a
great  "Chiapanecas" (that's the Bugs Bunny bullfighting tune for lowbrows
like me) with all kinds of kooky sounds used in place of hand-clapping
(cuckoo clocks, etc.).

There are lots more, but I don't want to take up anymore space! ^_^ Jessica



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

From: [e-mail]
Subject: Re: (exotica) Whipped Cream (& cheap imitations in general)
Date: 24 Jul 1997 22:16:40 -0600


>
>The Exotic Sounds of Martin Denny/Arthur Lyman: "KAPU (Forbidden): The
>Exciting Sounds of Milt Raskin" with the Lyman-esque volcano on the front
>is a noteworthy example
>
>


KAPU, however is a great li'l record!





visit...

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
          King Kini's  C L U B  V E L V E T
             http://www.tamboo.com
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


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From: "m.ace" <[e-mail]>
Subject: (exotica) Nude Wave (re-post)
Date: 23 Jul 1997 11:56:28 -0400


It's been almost 24 hours since my first attempt at sending this, and it still
hasn't turned up in Exotica. So here we go again. The usual apologies for any
doubles that may turn up.

> From: kevin king <[e-mail]>
> Subject: (exotica) Re: 80's revival
>
> Of course, there was, always is i guess, a
> sizeable underground of sorts going on (officially 'cool' 80's bands
> like Wire, Slits, Throbbing Gristle,

Then again, concepts like "officially cool" are part of the problem with the
rock mindset. I still haven't managed to completely de-program that sort of
thing out of my head. (And no matter how much I used to deny it, there's no
getting around it -- even at its most anti-rock, punk is still rock.)

It's very prescient of you to mention The Slits, in light of the "Italian Nudie
Sax" post. Remember their album, "Cut", with its aggressively de-glamorized
approach to the nude cover? It's even somewhat tribal or... exotic. Come to
think of it, the music is sort of exotic too, in a very unique way.

m.ace
[e-mail]


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From: "kevin king" <[e-mail]>
Subject: Re: (exotica) Retro 80's
Date: 22 Jul 1997 20:56:57 -0500


[e-mail] wrote:

>
> Kevin King wrote:
>
> > Some bands had more edginess and straddled the
> >critics' 'punk'/new wave fence, like Blondie, Talking Heads,
> >Costello, XTC.  A lot of it was self-conscious of fashion and tongue
> >in cheek to begin with so it's inclusion in a k-tel 80's comp is
> >hardly sacrilege.  and I'd be more amused than offended to see them
> >do the same with Joy Division, Gang of Four, the Fall....   Pure
> >Moods II maybe?
>
> Well, I guess it all boils down to how seriously we take ourselves?
> Right?

Not at all.  It's a matter of reading the content as well as the
trend.  There's a paradox in the marketing of punk that was exploited
long ago (remember Rock 'n Roll Swindle?...  or for more recent
self-awareness (that's not such a swindle) try Mekons' Rock 'n Roll)
 As someone else I think stated, one of the joys of punkhood was to
poke fun at loyal Deadheaders or worshippers at the arena rock altar.
 So you can't miss the irony of aging new-wavers creating an altar of
their own, can you?  It's a love-hate thang.

I respect your sentiments.  But though I may tend to express
myself with more than the necessary dose of good natured humor (and a
little flippancy when it gets late), my comments were made in all
seriousness.

kevin king
[e-mail]
http://www.radix.net/~xanadu


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From: "kevin king" <[e-mail]>
Subject: (exotica) "i'm no' dead yet!"
Date: 25 Jul 1997 13:36:32 -0500


Lou Smith wrote:

> Oh, OK, that sounds a bit bitchy. Let me put it this way:
> If Punk was Rock as if Sgt. Pepper never happened, then this Exotica
> umbrella covers Popular music as if Rock never happened. If I wanted
> Rock I'd go to the Bomp list.

well, Lou, it's nice to have your input on the topic anyway...
couldn't resist, could ya?   and the last word at that - how
conveeenient!

retro-bitchily,

kevin king
[e-mail]
http://www.radix.net/~xanadu


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From: Jessica Cameron <[e-mail]>
Subject: (exotica) In Praise of Budget Labels.....
Date: 23 Jul 1997 10:13:54 -0400


Excuse the following rant, but it's a dreary, rainy day here in
Pennsylvania, and the list has been pretty slow lately.

I was just thinking about budget labels. REAL budget labels, like Crown,
Somerset/Alshire, and Pickwick. Crown and Pickwick are weird cases because
their overall quality went up and down so much. It always seemed to me that
Crown started out really really cheap, got better for a little bit (nicer
jackets, colored vinyl), and then got really really cheap again. Pickwick is
the real mystery, because it started out so cool (Happy Moog, anyone?) and
then got SO cheap. I bought a 70s Pickwick LP that featured "The Rock
Version of the Lord's Prayer," (I knew it would be a cover version, but I
wanted to hear it anyway) and it was beyond mere thriftiness. They really
scraped the bottom of the barrel--cover versions from "Godspell" on one
side, traditional religious music on the other. Does anyone know the true
story of the label with an identity crisis? ^_-

Another thing--does anyone know how certain recordings would bounce around
from label to label? I have a semi-cheap percussion album (sort of a
pretender to the "Persuasive" throne) on the Kent label. The sleeve is
flimsy, but there are full liner notes giving credit to all the studio
musicians--so it's a little better than one of those anonymous labels with
just ads on the back cover, but it's still pretty cheap. Anyway, some of the
tunes on this album turn up on "Dynamic Percussion" on the Modern label. I
also have a Modern "Today's Jazz All-Stars" record with two cuts from "Jazz
Heat Bongo Beat" retitled. Did Modern just steal them? (too bad they didn't
use those cuts on their "bongo" album by "Haji Baba" which I SWEAR didn't
have anything more than a snare drum. >:( !!)

My favorite budget label is probably Alshire/Somerset, for putting out so
many cool Skip Martin records in the 50s, and so many "NOW" sounds in the
60s. Whatta label! ^_^ BTW, did Skip Martin drop off the face of the earth
after the early 60s or what? It doesn't seem like he did anything after
those LPs for Somerset. Did he die, or go into a new line of work?

Anyhoo, in conclusion, I thought it would be neat if we all gabbed about our
_all time favorite_ (don't you hate that expression?) budget label records.

Thanks for the space, Jessica ^_^

PS--Mine are Scherajazz, TV Jazz Themes, and Jazz Heat Bongo Beat.

PPS--Would you consider Strand to be a budget label? I'm not sure.

PPPS--Have a nice day! ^_-


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) In Defense Of Lou, Hail To Lazlo
Date: 25 Jul 1997 15:01:43 -0400


> From: kevin king <[e-mail]>
> Subject: (exotica) "i'm no' dead yet!"
> Date: Friday, July 25, 1997 2:36 PM
>
> Lou Smith wrote:
>
> > Oh, OK, that sounds a bit bitchy. Let me put it this way:
> > If Punk was Rock as if Sgt. Pepper never happened, then this Exotica
> > umbrella covers Popular music as if Rock never happened. If I wanted
> > Rock I'd go to the Bomp list.
>
> well, Lou, it's nice to have your input on the topic anyway...
> couldn't resist, could ya?   and the last word at that - how
> conveeenient!
>
> kevin king

In Lou's defense, I noticed in "properties" that he actually sent the message
on Tuesday, but due to the same Xmission hiccup that now has duplicates of OUR
earlier posts rolling in, his post didn't turn up until Thursday night.

Lou: these duplicates floating in are not under our control! Don't panic! Duck
and cover is not necessary. I ended my end of the dreaded 8Ts thread on Tuesday
('course it didn't turn up until Wednesday). Just use your delete key. Like I
just did. On myself, at that.


> Just FYI, everyone got this because the subscriber list
> was accidentally zeroed out at xmission and I needed
> to resub everyone by hand.
>
> ::: Lazlo

Yeesh! A big hand for Lazlo, everyone!


Making believe that "Whistling Jack Smith Goes Disco" never happened,

m.ace
[e-mail]


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From: [e-mail] (ANITA SERWACKI)
Subject: (exotica) Lalo's New Score
Date: 25 Jul 1997 16:30:49 -0400


     Well...I've got some good news and I've got some bad news.

     Good news first:  Lalo Schifren completed his first score in
     only-Cleve-knows how many years for an upcoming New Line picture
     entitled "Money Talks"

     Now the bad news:  I held my breath till my face turned blue, but alas
     they cared not...New Line will only be releasing a soundtrack
     containing licensed tracks - no score.  Which means you'll have to sit
     through 1 1/2 hours of the cinematic stylings of Chris Tucker, Charlie
     Sheen and Heather Locklear if you wanna hear it...

     Anita


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From: Darrell Brogdon <[e-mail]>
Subject: (exotica) In Praise of Budget Labels
Date: 25 Jul 1997 15:42:59 -0500


Speaking of Three Suns imitators...I recently unearthed a TON of old EPs
distributed to radio stations by Lang-Worth Feature Programs back in the
1950s.  These were designed for use as filler between programs back in the
early and mid-1950s.

Most of the bands are unknowns, although there are numerous discs by Ray
Anthony, Frankie Carle and Henry ("Brazen Brass") Jerome...plus the Joe
Sodja Trio featuring Sir Julian Gould (all 13 fingers, I guess) on piano and
the Airlane Trio, blatant Three Suns imitators, who turn up on dozens of
discs in the series.

Haven't gone through them all yet, but there must be a couple of hundred
here, with 4 songs per EP.  One of the advantages of working at a radio
station that never throws ANYTHING away.

                          DARRELL BROGDON <[e-mail]>



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From: Hugh Petfield <[e-mail]>
Subject: (exotica) Hank Levine
Date: 25 Jul 1997 10:44:46 +0100



I am having a great deal of difficulty in finding
anything out about Hank Levine, who ran an orchestra
in the early 60's on the west coast of the USA.  He
had a reasonable hit with "Image" pts 1&2, then did
the string backings for some early Ventures albums,
and also cut a single or two himself for the Dolton
label.

So little is known of him that I wonder if he was
actually someone else doing some work under a false
name.

Any further information will be _most_ appreciated.

Thanks, Hugh.


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From: Hugh Petfield <[e-mail]>
Subject: (exotica) Interesting record liners
Date: 25 Jul 1997 10:44:44 +0100



Can a learned reader enlighten me on the subject of record liners
please?  They are a great source of information (e.g. Capitol or
Liberty liners of the 60's) but did the earliest LP's (10", 12")
start out with them or was this something perhaps demanded by
audiophiles?  US budget labels tend not to provide them - is this
purely a cost issue or were budget records not intended for
serious listening i.e. throw them away when they're scratchy.

Was there ever a label that provided liners for stereo issues but
not for mono?  Did any US label ever issue discs in polythene-lined
liners?  Did any US label use colour coded liners as UK Decca did
in the 70's (there was a hole cut in the sleeve and if the liner
colour you could see was pink, then the record was stereo, or mono
if it was blue).

Thanks, Hugh.


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From: [e-mail] (David Trezza)
Subject: (exotica) Mel Henke
Date: 25 Jul 1997 15:07:51 -0700 (PDT)



...So I finally got a chance to check out Jack Diamond's show
yesterday since I work close enough to pick it up.  Although
it wasn't in his standard "House of Games" format, his signature
is everywhere on the playlist.

First cut I hear is something by Mel Henke off La Dolce Henke(???).
It had a female throwing in some choice commentary over some real
upbeat tune-age.  I'm unfamiliar with Henke, what type of records
did he put out in his time?  Or is it still his time?

Thanks
Dago

On the turntable:  Baxter's "Teen Drums"





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From: [e-mail]
Subject: (exotica) In praise of Lazlo
Date: 25 Jul 1997 22:40:37 -0400 (EDT)


To Lazlo Shizfrin--- That Thing You Do?---Its good to me -- Mistakes? You've
made a few. But then again, too few to mention --  hope you plan to be Doin'
It To Death--thankyoufalettinmebemicelf....Jimmy


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From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) Mel Henke
Date: 26 Jul 1997 00:24:00 -0400


At 3:07 PM -0700 7/25/97, David Trezza wrote:

>First cut I hear is something by Mel Henke off La Dolce Henke(???).
>It had a female throwing in some choice commentary over some real
>upbeat tune-age.  I'm unfamiliar with Henke, what type of records
>did he put out in his time?  Or is it still his time?

He's gone, but his time has come again. Scamp's reissue of "La Dolce Henke"
(with bonus tracks from his other Warner Bros album "Dimensions In Sound")
will be out this coming Tuesday - July 29. The liner notes by yers trly
will fill you in on the complete Henke biography.

br cleve





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From: [e-mail] (John Jones)
Subject: (exotica) re: Budget Labels
Date: 26 Jul 1997 12:29:43 GMT


Thinking about Pickwick:

I am assuming that this is the one and same label that Lou Reed worked
for in the early sixties....popping off dance craze tunes.  Working
for Pickwick, he met John Cale and then they......oh, never
mind....;).


John
--
No one will ever know exactly why or how, but by the
year 2050, everyone born in Baltimore will look=20
exactly like Ernest Borgnine.

Drew Friedman


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From: [e-mail] (John Jones)
Subject: (exotica) Br. Cleve.....Stop Teasin'!
Date: 26 Jul 1997 12:35:21 GMT


Come on Br. Cleve....tell us about these plans for Esquivel.....don't
make me go out and buy an original LP for 35 bucks......If you don't
tell us, ...I'll....I'll....I'll...start a virus hoax here...! ;) !

Sorry for just bein' a postal worker!....:)

John
--
No one will ever know exactly why or how, but by the
year 2050, everyone born in Baltimore will look=20
exactly like Ernest Borgnine.

Drew Friedman


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From: [e-mail]
Subject: (exotica) Hello Out There
Date: 26 Jul 1997 10:17:04 -0400 (EDT)


Sorry to be so cryptic...but there was a gentleman on the list, an
optomoligst I believe, who sent me a private message regarding about Martin
Denny...I have the info you need, please e mail me directly (I have lost your
e mail address!)

BTW I just saw my optomist today and he told me everything's going to be
great.
Ashley


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From: [e-mail] (Ingemar Breithel)
Subject: (exotica) Recycled Sergio, deflated Wanda
Date: 26 Jul 1997 17:24:44 +0100


Some record companies used their budget labels to revamp
their own products and impose them on unsuspecting customers.
This is the case with Sergio Mendes' "In the Brazilian Bag", on
Capitol's budget label Tower. It is in fact, although it doesn't
say so of course, a straight re-release of a Capitol album by
Brazilian singer Wanda de Sah, accompanied by the Sergio Mendes
trio, called "Brasil '65". They just changed the title, credited it
to Sergio Mendes only, did a new cover without Wanda de Sah's
picture, and made some subtle changes to the liner notes. On
the original album it says about the singer: "Today her admiring
friends are numbered in the millions". On the re-release this has
been altered to "Today her admiring friends are numbered in
the THOUSANDS". Poor Wanda.

Ingemar






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From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Cheap Imitations (racing division)
Date: 26 Jul 1997 12:41:35 -0400


I don't know if this is exactly what you had in mind, but...

Years ago I had an album by a generic TJB type band whose name had "Baja" in it
(sorry for the vagueness, but we're going back to childhood here). The album
was called "The Sounds Of Baja" or something like that, and had a cover photo
of Baja 1000 desert racers (Hey! It's a "desert peninsula disc"!) The music was
mixed together with audio verite of the desert racers -- lots of unmuffled,
race-tuned vee-dub motors blatting away from speaker to speaker. Has anyone
ever run across this?

They were probably inspired by the early 60's release, "The Sounds Of Sebring",
which featured recordings of road racers at Sebring. It might have been on
Riverside. I think that one was a hard-core motorhead disc that didn't bother
with music, but I don't know, only having read references to it in the racing
mags. Yet another album crying out for CD reissue.

And supposedly, Peter Ustinov did a parody album of "Sounds Of Sebring", in
which he provided the car noises vocally. Title? Beats me. If anyone knows
about these albums, please illuminate further! Thanks.

m.ace
[e-mail]


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From: "Mark A. Rosati" <[e-mail]>
Subject: Re: (exotica) Cheap Imitations (racing division)
Date: 26 Jul 1997 13:14:03 -0400


m.ace wrote:

> I don't know if this is exactly what you had in mind, but...
>
> Years ago I had an album by a generic TJB type band whose name had
> "Baja" in it
> (sorry for the vagueness, but we're going back to childhood here). The
> album
> was called "The Sounds Of Baja" or something like that, and had a
> cover photo
> of Baja 1000 desert racers (Hey! It's a "desert peninsula disc"!) The
> music was
> mixed together with audio verite of the desert racers -- lots of
> unmuffled,
> race-tuned vee-dub motors blatting away from speaker to speaker. Has
> anyone
> ever run across this?

Could this be them?

I know I have some records by The Baja Marimba Band, somewhere. (I think
they were on A&M) Although, I don't recall that one in particular.
(...my chilhood also...) The album I remember they were dressed up as
banditos with fake moustaches all gathered around a marimba. Sounds like
it could be them though.... yes?.....no?

I think those are ones that I originally stole from my parents, along
with most of thier TJB's. Who said all parents are square?

Mark


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From: "David J. Strauss" <[e-mail]>
Subject: (exotica) Ethel Azama
Date: 26 Jul 1997 16:58:23 -0400 (EDT)



I lucked into a copy of Ethel Azama's Exotic Dreams, prod (and then
some) by Martin Denny, and I was wondering if anyone could fill me in on
her history. The LP certainly seems ripe for reissue and, as it's on
Liberty, I imagine it wouldn't be that difficult.

DS
[e-mail]



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From: "David J. Strauss" <[e-mail]>
Subject: (exotica) Ethel Azama
Date: 26 Jul 1997 16:58:23 -0400 (EDT)



I lucked into a copy of Ethel Azama's Exotic Dreams, prod (and then
some) by Martin Denny, and I was wondering if anyone could fill me in on
her history. The LP certainly seems ripe for reissue and, as it's on
Liberty, I imagine it wouldn't be that difficult.

DS
[e-mail]



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From: "Brad Yost" <[e-mail]>
Subject: (exotica) Recycled Sergio
Date: 26 Jul 1997 16:42:21 PDT


Ingemar Breithel recently wrote:

Some record companies used their budget labels to revamp
their own products and impose them on unsuspecting customers.
This is the case with Sergio Mendes' "In the Brazilian Bag", on
Capitol's budget label Tower. It is in fact, although it doesn't
say so of course, a straight re-release of a Capitol album by
Brazilian singer Wanda de Sah, accompanied by the Sergio Mendes
trio, called "Brasil '65". They just changed the title, credited it
to Sergio Mendes only, did a new cover without Wanda de Sah's
picture.
(snip)

I was interested to learn this, as I had always just thought the Sergio LP
on Tower was one of his better efforts, certainly better than any of his
A&M releases.  But adding yet another layer to the recycling geneology, I
recently saw the *Pickwick* reissue of the Sergio release from Tower
(making it at least the 3rd incarnation).  Pickwick trimmed it from 12
songs to 10, changed the name of one song, kept the cover from Tower but
added a psychedelic multicolored backdrop to it, and changed the title of
the LP to "So Nice."  By that time Wanda's admirers probably only numbered
in the hundreds (poor Wanda indeed).

-- Brad Yost




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From: [e-mail]
Subject: (exotica) Lou Reed/Pickwick (Was: re: Budget Labels)
Date: 26 Jul 1997 19:31:32 -0400 (EDT)



[e-mail] (John Jones) wrote:

>Thinking about Pickwick:
>
>I am assuming that this is the one and same label that Lou Reed worked
>for in the early sixties....popping off dance craze tunes.  Working
>for Pickwick, he met John Cale and then they......oh, never
>mind....;).

WHAAAAAAt? You're telling me Lou Reed was cranking out Twist and Hully
Gully fodder for Pickwick in the early 60s? THAT is one juicy piece of
useless information! Oooh, do tell more! Any ideas what albums he worked
on?

(BTW, to anyone trying to reach me over e-mail over the next few days,
I'll be in somewhat of an e-mail blackout state until 7/30/97 or so as
I'm moving! ARGH! I'd guess most people on this list are collector types
like me with WAY too much junk and are equally horrified by the moving
concept, even if it is "local." Just moving to a bigger apartment...)



Michael David Toth
[e-mail]
[e-mail]




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From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Cheap Imitations (racing division)
Date: 26 Jul 1997 20:01:21 -0400


> From: Mark A. Rosati <[e-mail]>
> Subject: Re: (exotica) Cheap Imitations (racing division)
>
> I know I have some records by The Baja Marimba Band, somewhere. (I think
> they were on A&M) Although, I don't recall that one in particular.
> (...my chilhood also...) The album I remember they were dressed up as
> banditos with fake moustaches all gathered around a marimba. Sounds like
> it could be them though.... yes?.....no?

Hmmm. Maybe, maybe not. I thought of them too, but I'm just not sure. It also
could have been Baja Rhythm Band or something like that. Given the nature of
the project, it's possible that there was no "real" band. Maybe the music
wasn't even recorded especially for the project. With a scenario like -- the
producers paid for the rights to some previously recorded quasi-TJB music and
then mixed it up with the desert buggy recordings. And made up a name to slap
on the cover. Or not. Just theorizin'...

m.ace
[e-mail]


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From: [e-mail]
Subject: Re: (exotica) Lou Reed/Pickwick
Date: 26 Jul 1997 22:18:30 -0400 (EDT)


Lou did at the least write "I've Got a Tiger in My Tank" and "Cycle Annie
"for  a cheapo production called "Soundsville!" on Pickwick. The former tune
shows up on the incredible compilation "Only In America". I assume he also
played and sang on them, but the vocal sounds nothing like Lou. I'm sure
someone else can fill in the details.


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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Lou Reed/Pickwick
Date: 26 Jul 1997 22:43:33 -0400


> From: [e-mail]
> Subject: (exotica) Lou Reed/Pickwick (Was: re: Budget Labels)
>
> WHAAAAAAt? You're telling me Lou Reed was cranking out Twist and Hully
> Gully fodder for Pickwick in the early 60s? THAT is one juicy piece of
> useless information! Oooh, do tell more! Any ideas what albums he worked
> on?

Yup, in the early 60's that wacky ol' Honda motorscooter endorser ("You meet
the nicest people on a Honda" (even earlier ad slogan)) was a staff
songwriter/studio hack at Pickwick. The only track I've heard is The Intimates
- "I've Got A Tiger In My Tank" on Arf! Arf!'s "Only In America" cd comp. It's
pretty interesting to hear Lou doing a California Hot Rod kinda tune. At least
I THINK that's him singing. According to the cd notes, a different version of
this track and another called "You're Driving Me Insane" appear on
"Soundsville" (Pickwick 187). Other "bands" and songs mentioned are: The
All-Night Workers - "Why Don't You Smile" (Round 1) and The Primitives - "The
Ostrich" (Pickwick City 1001; also comped on Arf! Arf!'s "Mondo Frat Dance Bash
A Go Go" cd). As he was cranking them out on-staff, I'd imagine there are
numerous other songs as well. Efforts to put together a promo live band for
"The Ostrich" resulted in the afore-mentioned meeting with a certain Mr. Cale,
with whom he went on to found that legendary avant-pop exotica combo, The
Velvet Bongo-sound.

m.ace
[e-mail]


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

From: "Jim Gerwitz" <[e-mail]>
Subject: Re: (exotica)  Budget Labels & Decible Addicts
Date: 26 Jul 1997 20:54:15 -0700


> > Recently I saw an album of theirs which had an African big game hunting
theme
> >(can't remember the title). Anyone know if this is worth picking up?
>
> Ooh, I bet this was SAFARI, with the 101 Strings posing as "The Trans
World
> Symphony Orchestra." I like this one a lot, but it may be too stodgy for
> other list members. The cover is cool, though. It's basically a study of
a
> safari in stereo with jungle drums, chanting, and
> strings

Composer Edmund De Luca's Somerset  "Safari" LP was supposedly recorded by
"a group of the finest musicians in north Germany."  It's ok orchestral
impressionism, and the cover is worth the four bits I paid.

But check out these snooty liner notes: "In the world of descriptive music
and high fidelity recording, there is nothing as beautiful or exciting to
the listener as realism and honesty of Orchestral color and performances.
"Safari" was composed primarily for exciting high fidelity and a program of
musical taste, not just contrived sounds to stimulate the decible(sp)
addict.  Mr. DeLuca....has created a vivid program with contrasts and
beauty that will be accepted by even the musically untrained and yet has
not perjured his background as a serious Musician."

Play it Loud, I'm a Decible Addict and Proud !!!

[e-mail]


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From: [e-mail] (Ingemar Breithel)
Subject: (exotica) Naked City ST?
Date: 27 Jul 1997 09:56:18 +0100


Was there ever a soundtrack album to "The Naked City" TV show?
I can't seem to find any references to it, but I've heard one brilliant
track with deadpan narration by John McIntire (I guess) and sprightly
vocals by a male/female choir. Has this been reissued in any format?

Thanks, Ingemar








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From: Darrell Brogdon <[e-mail]>
Subject: Re: (exotica) Naked City ST?
Date: 27 Jul 1997 06:36:22 -0700


Ingemar Breithel wrote:
>
> Was there ever a soundtrack album to "The Naked City" TV show?


"The Naked City", Colpix SCP 505, with music by George Duning and vocal tracks by James
Darren and the Jud Conlon Singers.  John McIntire, who starred in the TV series ('til
the producers killed off his character at the end of the second season) narrates the
album, relating an entire case history from the set-up to the crime through the
investigation, chase and denouement.  His narrative is woven in between the individual
tracks.  It's great stuff!

Track listing:

This Is The Naked City
City Within a City
I've Seen All Sides/Somewhere, Wisconsin
He Plays It Cool
Five Minutes After Forever-Part 1
Small Town Boy/Mighty Pretty Territory There

From the Top of the Tower
Girl Makes Good/Live Dangerously
Jazz Chase
Five Minutes After Forever-Part 2
Solid Food, Solitude and You
This Is The Naked City


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

From: Brian Phillips <[e-mail]>
Subject: (exotica) Lou Reed/Pickwick
Date: 27 Jul 1997 09:00:14 -0400


You can hear "You're Driving Me Insane" by the Roughnecks at:

http://www.raremusic.com/archive/arcrock.html


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From: Brian Phillips <[e-mail]>
Subject: (exotica) Lou Reed/Pickwick
Date: 27 Jul 1997 08:59:58 -0400


You can hear "You're Driving Me Insane" by the Roughnecks at:

http://www.raremusic.com/archive/arcrock.html


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From: [e-mail]
Subject: Re: (exotica) Naked City ST?
Date: 27 Jul 1997 13:09:37 -0400 (EDT)


Yes, Naked City had a soundtrack album our in 1958. On the Colpix label. The
conductor was Morris Stoloff. Composer: George Dunning.
Gloria


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From: Ross Orr <[e-mail]>
Subject: (exotica) Tiki Tunes
Date: 27 Jul 1997 15:15:31 -0400


Well this weekend's Tiki party was a huge hit, though I am feeling a bit
overbaked today. . .

We had a 5 foot high paper-mache volcano, with a fan inside blowing paper
streamer "flames" out the top. The paper mache had big fissures in it,
filled with red and yellow tissue, and then we had a blinking light bulb
inside--VERY dramatic. Then a vertitable stockade of those citronella
torches. . . Moai patio lights. . .


Soundtrack:

_The Exotic Sound of Arthur Lyman_ (DCC Jazz Compact disc. A bargain find
    at $9 for 75+ minutes)

My _Punishing Percussion_ compilation tape (Not pure percussion-- this has
   everthing from Irv Cottler to Ethel Smith to Edmundo Ros doing "the Blue
   Danube Waltz")

Hugo Montenegro's "Man from U.N.C.L.E." music--Wild, man! (taped from a
   ?Rhino CD)

My _Twist Party_ compilation tape.

Finally (4 am dishwashing), Massive Attack/ Mad Professor remix  _No
   Protection_



I bring all this up because side one of the "Twist Party" tape came
*entirely* from Budget label (e.g. Sommerset, Parade, Diplomat),
"Twistploitation" LPs.

These are some *great* records, and I am now always on the lookout for any
anonymous-looking Twist or "Dance Party" albums--check em out if you come
across any!

Two of the artists we had were "Ray Gunn and His Blasters" and "Fats and
the Chessmen"--and I wonder whether there is ANY chance these are the
artists' real names. I just figured these were some long-suffering R&B act
who completely signed away all their rights, and the music got repackaged
to cash in on whatever the dance craze de jour would have been. . . Oh by
the way I notice there are always WHITE people dancing on the cover, it's
pretty interesting.

Shimmy shimmy shake,

 --Ross

|| Ross "Mambo Frenzy" Orr  <[e-mail]>
|| Ann Arbor, Michigan USA




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

From: [e-mail] (Subliminal Sounds)
Subject: Re: (exotica) Lou Reed/Pickwick
Date: 27 Jul 1997 21:42:04 +0200 (MET DST)


You can alos hear "The Ostrich" on the excellent Arf Arf CD comp. "Mondo
Frat Dance A Go-Go" .

Stefan/Subliminal Sounds



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

From: Jessica Cameron <[e-mail]>
Subject: (exotica) Here's what  I found this weekend...
Date: 27 Jul 1997 15:37:18 -0400



Ventures in Space--a beautiful copy I didn't mind paying five bucks for. ^_-

Deuces, T's, Roadsters, and Drums by Hal Blaine and the Young Cougars--Wow,
what a record! I almost blew the roof off my house playing this at  "five. "
Did anyone see the piece on Hal Blaine in the Washington Post a few weeks
ago? It was nice, even if they didn't mention "Psychedelic Percussion." :(

Hot Rod by Charlie Ryan--More country than I thought it would be, but still
pretty nice. Cool cover, too.

Fancy Meeting You Here by Bing Crosby and Rosemary Clooney--This album is
WONDERFUL! The arrangements are very cool (done by Billy May) and
percussive, and the lyrics are hilarious. "You'd look unsuburban while
wearing a turban." ^_^

Rosie Solves the Swingin Riddle (another Rosemary Clooney album. she's the
greatest)
Lovers' Luau by Les Paul and Mary Ford
Hawaii by Santo and Johnny
The Love Album by Lainie Kazan
Della Reese One More Time! (Live at the Playboy Club)
Astrud Gilberto--the Shadow of Your Smile
Morgana King (2 record set of her greatest hits--wasn't she mentioned on the
list a short time ago?)

Keem-o-sabe by the Electric Indian--This doesn't sound very electric to me.
Is it?

Still More Genius of  (Horst) Jankowski--I bought this after hearing
Jankowski's version of  "Nola" on one of those time/life CDs that Joseph
Lanza worked on. It's nice stuff--I like it a lot. I saw another Jankowski
album yesterday at a thrift shop (it was two bucks, so I passed on it) that
said  "Featuring Zabadek." What exactly is Zabadek? Is it a singer? A weirdo
instrument? Something you put in your washing machine to make your whites
brighter? Help!

Great Calyspos by the Mighty Sparrow--Who is this guy, and why does his name
sound familiar?

Thanks for the space and sorry for all the questions, Jessica ^_^

PS--This weeks'  Washington post  magazine has an article about that Ray
Coniff concert at the White House when one of the female singers held up a
banner that said "STOP THE KILLING" and gave a speech about getting out of
Vietnam. They interviewed her, too. It's pretty interesting.



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

From: Randall Rothenberg <[e-mail]>
Subject: (exotica) Lounge-a-Palooza
Date: 27 Jul 1997 16:38:11 -0400 (EDT)


     I can't remember if this has come up before, but I got an advance
copy of the anticipated/feared "Lounge-a-Palooza" CD from Hollywood
(Disney) Records, and, well, it's quite good -- and very enjoyable. I
think you know what it's about: a mixture of lounge "originals" and
contemporary acts doing either classic lounge tunes, or contemporary tunes
in a lounge style. I think there are a lot of plain fun tunes here,
including especially Br. Cleve and the Combustibles ganging with Esquivel
on "Miniskirt"; Steve & Eydie doing Soundgarden's "Black Hole Sun" (and
did you ever notice the riff in there kinda stolen from the Beatles' "In
My Life"?); Pizzicato Five's "Girl From Ipanema" (terrific!); and
Fastball's "This Guy's In Love With You." I'm interested in the reaction
of others.



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

From: [e-mail]
Subject: (exotica) Re: exotica Digest V2 #242
Date: 27 Jul 1997 17:56:33 -0400 (EDT)



>And supposedly, Peter Ustinov did a parody album of "Sounds Of Sebring", in
>which he provided the car noises vocally. Title? Beats me. If anyone knows
>about these albums, please illuminate further! Thanks.

>m.ace
>[e-mail]


I have an album by Peter Ustinov on Riverside called " The Grand Prix of
Gibraltar." The subtitle reads, "The brilliant humorist takes a devastating
look at sports car racing."

It's mostly a straight-forward, though decidedly droll, spoken-word comedy
album about an auto race (as covered by a sports announcer). I think there
are voice-created car effects, but it's not a whole record of them.

Thanks for reminding me of a record that I totally forgot that I owned!

And hello, fellow DM friend...

 Jay Schwartz

----------------------------
Secret Cinema website:
http://www.voicenet.com/~jschwart



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

From: Vik Trola <[e-mail]>
Subject: Re: (exotica) Lounge-a-Palooza
Date: 27 Jul 1997 18:03:01 -0500


>     I can't remember if this has come up before, but I got an advance
>copy of the anticipated/feared "Lounge-a-Palooza" CD from Hollywood

i am featuring this currently at Swank Times
(http://www.chaoskitty.com/t_chaos/news/palooza.html) plus five tracks are
featured on Radio Vik's album features (Pizz 5, Ben Folds 5, Steve & Eydie,
James Taylor Quartet, Comed & Esquivel)
(http://www.chaoskitty.com/t_chaos/radio/features.html).

this will be undoubtably the best "concept" album to come out this year.
about half is great with the other half passable. only exception for me is
the Jimmy Scott track (someone please explain his status as legend...) it's
now been delayed until October due to a possible major event to launch
involoving either Mike Myers or Don Rickles (honest, i swear!)



waking up in the city that never sleeps,
Vik

Vik's Lounge
http://www.chaoskitty.com/t_chaos/lounge.html

Space Age Bachelor Pad Music
http://www.chaoskitty.com/sabpm/





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

From: [e-mail] (Ingemar Breithel)
Subject: Re: (exotica) Zabadak
Date: 28 Jul 1997 00:49:12 +0100


At 15.37 970727, Jessica Cameron wrote:
>I saw another Jankowski
>album yesterday at a thrift shop (it was two bucks, so I passed on it) that
>said  "Featuring Zabadek." What exactly is Zabadek? Is it a singer? A weirdo
>instrument? Something you put in your washing machine to make your whites
>brighter? Help!

Most likely this refers to the song "Zabadak", originally a hit for British
group Dave Dee, Dozy, Beaky, Mick and Tich in 1967. They had a few quite
complex and pseudo-exotic pop songs to their name -- "The Legend of
Xanadu" was another. The meaning of the word? you ask. As far as I can
recollect, the lyrics consisted solely of gibberish and nonsense words.
If Jankowski's is a vocal version, run back and pick it up!

Ingemar






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

From: [e-mail] (Susan Pascal)
Subject: (exotica) Baja Marimba Band to Vibraphonics
Date: 27 Jul 1997 21:15:44 -0700 (PDT)


The recent posting re the Baja Marimba Band LP cover (band wearing
sombreros and fake mustaches) prompts me to write.

When I was a kid we had TJB and BMB lps; one cover featured a leggy female
model, complete with sombrero and fake mustache, tokin' on a cigar.  I
blissfully imagined she must be in the band and I became utterly serious
about playing the marimba.  (the amazing power of role models)  Got into
"legit" classical percussion, found a calling in jazz vibes, and have been
at it ever since.  Now I'm working on The Vibraphonics, a new quartet
covering, among other things, exotica standards, Cal Tjader mambos, and
Lalo Schifrin (thanks for posting that great interview!), plus music never
before heard by human ears.  Playing the music of my childhood...it gives
me a warm, fuzzy feeling.

This mailing list is fabu!

Susan Pascal
[e-mail]
http://www.accesssone.com/~supascal

** THE VIBRAPHONICS -- World Premier! **
Friday, August 1st, 1997 @ 10:30 pm
The Appointment Restaurant's Back Door Lounge
503 Third Avenue (on Yesler between First & Second)
Seattle, WA  98104     USA
[phone]

MALLET PERCUSSION INSTRUMENTS
"What's the difference between a xylophone and a vibraphone?"
(I'm asked this question about ten times at every gig!)
http://www.accessone.com/~supascal/aboutvibes.html

THE VIBRAPHONICS
http://www.accessone.com/~supascal/vibraphonics.html





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

From: "Lazlo Nibble" <[e-mail]>
Subject: Re: (exotica) Lounge-a-Palooza
Date: 27 Jul 1997 21:19:19 -0600 (MDT)


> this will be undoubtably the best "concept" album to come out this year.
> about half is great with the other half passable. only exception for me is
> the Jimmy Scott track (someone please explain his status as legend...)

I can't explain his status as legend because the earliest track I heard him
work on was the one from towards the end of the run on Twin Peaks.  But I do
think his vocal style is mesmerizing, and I've picked up everything I've seen
him on, from the "Twin Peaks: Fire Walk With Me" soundtrack album forward...

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


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

From: [e-mail]
Subject: (exotica) Lounge Thesis, What's Next?!
Date: 28 Jul 1997 01:27:12 -0400 (EDT)


In a message dated 97-07-25 01:19:52 EDT, [e-mail] writes:

<< Finally, for those who think some people take this whole
EZ/lounge/cocktail
 music to seriously...Vik was recently contacted by Rob Sloane,a graduate
 student at Bowling Green State
 University, who is currently writing his master's thesis on lounge music.
 Anyone interested in giving a helping hand with research and such can email
 him at [e-mail] and tell'em Vik sent ya! >>

Now this takes the cake!!!!  Must be a sociology student?  Man, I can't
believe that someone can actually get a masters degree in this!  This reminds
me of a paper I saw presented at the American Association of Geographers
Conference (April 1997, in Ft. Worth) who is doing his PhD on "Male Hysteria
and Geographies of the Road", which turned out to be basically a movie
critique of 3 modern-day road films (the "geography" component being the fact
that people are spending a great deal of time on the run or driving across
country - i.e., that's what a road movie is, but I fail to see how this makes
it a subject for study by geographers) and the main characters where men
having personal crises of various sorts.  Hardly geography and more like the
fundamental of how to become the next Siskel and Ebert!   Academia sinks to a
new low!

On the other hand, if he is interested in the psycho-social underpinnings of
the resurgeance of lounge, i.e., the mating ritual and other theories that we
talked about a great deal during the "Lounge Attack" debate here on the list,
I have about 20 pages of all the list members letters, which I'm sure he'd
like to read!

- Michele


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From: [e-mail] (Subliminal Sounds)
Subject: Re: (exotica) Lounge-a-Palooza
Date: 28 Jul 1997 13:06:05 +0200 (MET DST)


>
>> this will be undoubtably the best "concept" album to come out this year.
>> about half is great with the other half passable. only exception for me is
>> the Jimmy Scott track (someone please explain his status as legend...)

Well, I might not be the best person to do this but here goes:

His piercing vocal style has influenced singers like Frankie Lymon, Nancy
Wilson, Marvin Gaye, Stevie Wonder and Frankie Valli. His admirers include
Quincy Jones, Bill Cosby, Liza Minelli, Ruth Brown, Loue Reed...

Ray Charles say: "Jimmy had soul way back when people wernt usin the word".

From the linear notes to the CD "All the Way".

Stefan/Subliminal Sounds



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

From: Magnus Sandberg <[e-mail]>
Subject: (exotica) Tak Shindo in California?
Date: 28 Jul 1997 16:08:22 +0200


Look at this:
http://www.japanpub.com/090750LA.HTM

...

Telephone GuideTM English Classified Index
 Greater Los Angeles Area [Music Bands]

Tak Shindo Dance Music 1322 W Camino Del Sur San Dimas CA 818 331 7105
FAX [phone]





Tak Shindo Dance Music? -Is it him? Somebody should phone him.

--------
Magnus



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

From: Tony Wilds <[e-mail]>
Subject: (exotica) Spciy Sparrow
Date: 28 Jul 1997 11:11:26 -0400


>Great Calyspos by the Mighty Sparrow--Who is this guy, and why does his
name sound familiar?

West Indian Sparrow was the Duke of Iron of the next calypso generation,
hugely popular in the West Indies and beyond. He won the Trinidadian crown
for something like two decades in a row. There is great early material (one
on RCA Victor shows up a bit), many records for hotels and with his own
record company, and plenty of more modern stuff. One of his songs was the
highlight of a 1980s compilation (Music and Rhythm?) featuring people such
as David Byrne and Peter Gabriel.

Sparrow is most identified with "spicy" calypso, or long, 1970s-era songs
with electrified instruments and raunchy themes. Gone is the subtlety even
of "The Big Bamboo." Fortunately, Sparrow delivers where hoarse folk-singer
Belafonte bastardizes. Unfortunately, most people mistake Belafonte for
calypso and never hear Sparrow and other West Indians.

Some liner notes:

"Congo Man. A new version. In which Sparrow comes up with some decidedly
Arthur Lymannish sound effects."

"'Shango Man' -- At this Shango session in Parryland, Sparrow achieves a
kind of LSD ecstasy as he is well truly turned on by drums -- and deep
draughts of 'Goat blood mix up with olive oil.'"

Mmmm, time for some curried goat.

tony

The Wilds Scene ->  http://www.charm.net/~wilds/

"I'm just a wild man. You know I'm not a follow-style man." -- Mose Allison



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From: Jessica Cameron <[e-mail]>
Subject: (exotica) Oops, I forgot!
Date: 28 Jul 1997 11:08:26 -0400


Just in case anyone thinks my luck NEVER runs out....

The big letdown yesterday was finding a copy of Freakout, U.S.A missing the
record...I looked and looked, but it  wasn't there. :(  I'm still kind of
depressed about it.

Thanks for the space (to whine), Jessica ^_^



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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Baja Marimba Band to Vibraphonics
Date: 28 Jul 1997 12:06:52 -0400


> From: Susan Pascal <[e-mail]>
> Subject: (exotica) Baja Marimba Band to Vibraphonics
>
> MALLET PERCUSSION INSTRUMENTS
> "What's the difference between a xylophone and a vibraphone?"

As one who had childhood lessons on the xylophone (unfortunately, it turned me
off on playing music for several years and forever soured me on "lessons" --
not the xylophone's fault, it was the lesson plan (still have the xylophone and
play it occasionally)), I would say the difference is:
The xylophone goes "doink!"
The vibes go "doooong..."

Thanks for telling your story -- that's terrific.

Unfortunately, your links don't work -- and it's not just because you have an
extra "s" in one of them. I manually entered www.accessone.com and that
wouldn't work either. Maybe it's a temporary thing?

Good luck on the premier Friday!

m.ace
[e-mail]


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

From: [e-mail] (Peter Principle)
Subject: (exotica) In Praise of Budget Label/Psuedo 3 Suns
Date: 28 Jul 1997 12:49:54 -0400 (EDT)


DARRELL BROGDON wrote:

>I recently unearthed a TON of old EPs
>distributed to radio stations by Lang-Worth Feature Programs back in the
>1950s.  These were designed for use as filler between programs back in the
>early and mid-1950s.

Not exactly a budget label..., but certainly of interest.  I have one of
these, and I always wondered what else was in the catalog... please keep us
posted.  Mine is an 8 (!) inch 33.3 EP (has anyone seen any other 8 inch
records?) on transparent blue vinyl cut with the NAB curve (for those of
you too young to remember, before there was an RIAA standard 500hz rolloff,
different record companies experimented with a variety of standards for
cutting disks, and the true audio-file ((which my father was)) would have
an amplifier that had settings for all the different EQs  I can remember
London had their own curve as well as NAB and RIAA... I think there were
also RCA and Warner Bros settings... does anybody remember any others or
have any of those old amps?  Oh yeah the record is of Ray Anthony doing
Sleepy Lagoon, Mister Ghost Goes To Town and 2 others... it's #DLx 38

speaking of those radio only records  I have a number of 7inch 45's which
were part of a huge set (I have sides 6 &25, 7 & 24, 10 & 21 on 3
records... all I could find) of a special radio only Stan Kenton
retrospective on Capitol maybe Jack knows more about this... and there are
all of those Armed Forces Radio disks with everyone from the Betty Grable
to Paul Revere and the Raiders...

back to actual budget labels....

Kapu is definitely great... one of my favorite exotica records period,
wonderful sound design, sublime orchestration (in the same sphere of
subtlety as the Versatile Mancini) and ALL original music too... it has
also been released in a a different cover as Exotic Percussion   the exotic
sounds of Milt Raskin (who was connected to the Stan Kenton band) on Crown
CST212 stereo and CLP 5189 mono

another really great one is Exotica  Ted Auletta and his Orchestra (with
Phil Bodner produced by Marty Wilson of Jung'la fame) on Cameo SC4008 made
to look like a cross between Mercury's 35mm series and London's Phase 4 so
the cover has a great photo of some Tiki chachkas in a still life with huge
graphics that proclaim 4channels on 35 mm film at no premium cost Cameo
Parkways 1962 the back cover has the usual photographs of wall size tape
recorders with windshield view VU meters and those washing machine knobs
that we all love to see... plenty of technical data too mmmm.  Great takes
of Quiet Village, Taboo, Baia, Pool of Love, Jungle Drums as well as
originals like Makaha and the Sound of Exotica.

also quite good is Calcutta by Larry Walker and his Orchestra on Pirouette
records FM83  a bunch of immitations of the 3 Suns (organ, accordian,
drums) and some small orchestra stuff... great takes of the standards like
Caravan, Calcutta, Algiers, Blue Tango etc

another funny 3 Suns take off is the 2 sides of the 3 Twins on Aircap
ASP1000 STA records Witchita Kansas, one side of which has great immitation
3 Suns arrangements, songs include Mr Lucky, More, King of the Road etc.
and side 2 is a live recording of their restaurant act which is half
standup and half music kind of like the Smothers Brothers meet a loungier 3
Suns instead of that hoaky hootenany folk stance that didn't really work on
record... very entertaining <G>

and of course one of the great exploitation rex: Rajput and the Sepoy
Mutiny  Flower Power Sitar on Design records  plenty of originals with
titles like Ragadelic and I String Beads... SDLP280

nuff said  I have lots more of course but this is all I could find in a
flash, and hey Jessica  I like the use of the word "stacks" in your last
post keep telling us of your finds as you sound like you've got quite a
green thumb

cheers
peter




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

From: [e-mail] (Ingemar Breithel)
Subject: (exotica) 8 inch records
Date: 28 Jul 1997 20:21:43 +0100


At 12.49 970728, Peter Principle wrote:
>  Mine is an 8 (!) inch 33.3 EP (has anyone seen any other 8 inch
>records?)

Japanese label Kitchen Records released some in the early eighties,
among them a couple of EPs by the group Metrofarce, who are one
of the more popular groups in Japan today, I'm led to believe. And
there's even an exotica connection here: Metrofarce's bass player
Vagabond Suzuki also appeared on Water Melon's 1984 album "Cool
Music", which includes covers of "Quiet Village", "Jungle Flower",
"Tiare", "Hong Kong Blues" etc. By that period, the exotica revival
was well under way in Japan, mind you...

Ingemar






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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Baja Marimba Band to Vibraphonics
Date: 28 Jul 1997 16:33:00 -0400


> From: m.ace <[e-mail]>
> Subject: Re: (exotica) Baja Marimba Band to Vibraphonics
>
>> THE VIBRAPHONICS
http://www.accessone.com/~supascal/vibraphonics.html
>
>
> Unfortunately, your links don't work -- and it's not just because you have an
> extra "s" in one of them. I manually entered www.accessone.com and that
> wouldn't work either. Maybe it's a temporary thing?

Yes, it's just a temporary thing. No problem now.

m.ace
[e-mail]



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

From: misanthropy <[e-mail]>
Subject: (exotica) misanthropy 511 playlist
Date: 28 Jul 1997 16:53:27 +0000


MISANTHROPY 511--p.o.box 23093--detroit, mi 48223
e-mail: [e-mail]

Misanthropy and Time Stereo are pleased to present The American Noise
Tour/Misanthropy Pop Festival on Wed. August 13th featuring THE HATERS
(san francisco), EMIL BEAULIEAU (lowell, ma), SKIN CRIME (concord,nh), &
CRANK STURGEON (minneapolis) at The Gold Dollar, 3129 Cass Ave, Detroit,
MI. For info [phone]. This is a #summer of misanthropy# event.

Misanthropy is also pleased to announce the release of a split 7 inch
featuring The Hearing Trumpet and Knurl. Write for info.
PLAYLIST

ARTIST--TITLE--CD/CASS/LP--LABEL

JULY 14, 1997

THOMAS DIMUZIO--unearth--sonicism--RRR
CLUSTER--osaka musehall--japan 1996 live--SOUL STATIC
ULTRASOUND--gold leaf angel skin--v.a. no structure 3--INSTAGON FOUND
PORTER RICKS--port of call--chain reaction--CRD/BCP
WIELAND SAMOLAK--6:45 min--steady state music--IMBALANCE
H.MCGEE/A.MARGOLIS--binder--receding hair lines--HAL TAPES
RAYMOND SCOTT--lullaby--soothing sounds for baby 1--BASTA
REXELLA VAN IMPE--i wonder how it felt--sings childrens songs--VAN IMPE
THE NODDING FOLK--love dance--the nodding folk--OUROUBOUROS
THE RESIDENTS--hallowed be thy ween--our tired,our poor..--EURORALPH
ENRICO CARUSO--verdi aida!--unforgetable voices--RCA
THE HAFLER TRIO--track 1--redintegrate--STAALTAPE
OSKAR SALA--5 improv on magnetic tape--5 improvisations..--WESTMINSTER
NURSE W/WOUND--strange play of mouth--v.a. rising red sand--TONE DEATH
LUSTMORD--thee mountains of madness--v.a. rising red sand--TONE DEATH

JULY 21, 1997

OÆROURKE/MERZBOW--house of kaya--scumtron--BLAST FIRST
MERZBOW--eat beat eat #2--scumtron--BLAST FIRST
DEATH SQUAD--electro-static sphere--enjoy happiness--HEBI LIKE SNAKE
SPECULUM FIGHT--parade--highball--WIN RECS
BOB MARINELLI--noise performance--dread naught--B.MARINELLI
ART DECO&TOE TAPS--ku-ku/way out west--laurel & hardy vol.2--L&H
SATELLITE SINGERS--great noise thunder--childs intro space--GOLDEN REC
THE RESIDENTS--earth vs. flying saucers--our tired, our poor--EURORALPH
FLYING SAUCER ATTACK--in search of spaces--in search of spaces--HERMES
SATELLITE SINGERS--space pilot jones--childs intro space--GOLDEN RECORD
R. RICH/ALIO DIE--turning to stone--fissures--FATHOM
RAYMOND SCOTT--little miss echo--soothing sounds for baby 3--BASTA
BOWERY ELECTRIC--looped--beat--KRANKY
THE RESIDENTS--flying--our tired, our poor,...--EURORALPH
RAYMOND SCOTT--toy typewriter--soothing sounds 2--BASTA
H. WESTERKAMP--turender wahrnehmung--v.a. radius 4--WHAT NEXT
CHRISTOF MIGONE--muscle soleaire--hole in the head--OHM EDITIONS
D.LANDRY/F.MONTAL--3:54--v.a. radio folie/culture--OHM EDITIONS
ASMUS TIETCHENS--138+831--138+831--RAUM
THOMAS DIMUZIO--resound--sonicism--RRR
DAN BARKER--i am all fed up--no more feeling yucky--PETER PAN
KAPOTTE MUZIEK--side a--interaction--S.O.C.R.
WIELAND SAMOLAK--11:52 min--steady state music--IMBALANCE
ROBERT MAXWELL--zing went strings of my heart--zing...--MGM

JULY 28, 1997

THE HATERS--rubbish often tears--rot--APRAXIA
THE HATERS--drop ascending 2--drop ascending--VINYL COMM
EMIL BEAULIEAU--track 5--kill all-noise japanese artists--PURE
KNURL--side a--paraphasm--PANTARHEI
RAYMOND SCOTT--tin soldier--soothing sounds for baby 3--BASTA
DIAGRAM:A--side 1--compression & process turning red--SOUND PROBE
J.BROWN/D.GREENWOOD--4/3/97--proof of the shooting..--SOUND PROBE
COCK ESP--scars on esp--menasha red light district--BLACKBEAN
PANASONIC/MERZBOW--elephants memory remix--scumtron--BLAST FIRS
INSTAGON--last scream ov target--v.a. no structure 3--INSTAGON
DICK HYMAN--topless dancers of corfu--moog--VARESE
H.MCGEE/B.C.O.--...sour taste in ears--h.mcgee/bog coty o--HAL TAPES
DAVE FUGLEWICZ--high drone drifter--the portal--D.FUGLEWICZ
JOCELYN ROBERT--ramus communiccuns--theorie nerfs creux--OHM ED
THE HEARING TRUMPET-----live at the green room 7/19/97

AUGUST RADIO MARABU

RAYMOND SCOTT--little miss echo--soothing sounds baby vol.3--BASTA
PORTER RICKS--port gentil--chain reaction--CRD/BCP
BRUME--segment b--drafts of collusions--CROWD CONTROL
RAYMOND SCOTT--happy whistler--soothing sounds baby vol.2--BASTA
KNURL--torticollis--split 7 inch--MISANTHROPY
THOMAS DIMUZIO--contrition--sonicism--RRR
ROBERT NORMANDEAU--la chambre blanche--v.a. radius 4--WHAT NEXT
RAYMOND SCOTT--lullaby--soothing sounds for baby vol.1--BASTA
THE RESIDENTS    --anganok--our tired, our poor..--EURORALPH
THE RESIDENTS    --love leaks out--our tired, our poor..--EURORALPH
THE RESIDENTS--the simple song--our tired, our poor..    --EURORALPH
THE RESIDENTS--moisture--our tired, our poor..--EURORALPH
THE HAFLER TRIO--side b--sndk to alternation,perception..--LAYLAH
BRIAN ENO--tal coat--on land--EDITIONS EG
BRIAN ENO--babys on fire--here come the warm jets--POLYDOR
ROBERTO PREGADIO--iena sequence--beat at cinecitta--CRIPPLED DICK
SPECULUM FIGHT--parade--highball--WIN RECS
BOWERY ELECTRIC--postscript--beat--KRANKY
WIELAND SAMOLAK--11:04 min--steady state music--IMBALANCE
RAYMOND SCOTT--nursery rhyme--soothing sounds 1--BASTA

This is the #Summer of Misanthropy#

Misanthropy 511 is broadcast on Sunday nights from mid-2am on CJAM 91.5
fm Windsor, Ontario  Canada. CJAM can be heard throughout the Windsor/
Detroit Michigan area.  Misanthropy 511 features from easy listening to
moments of mayhem. Noises of the modern world in spectra-sonic sound.

We would like to thank all who have sent us promos. It is greatly
appreciated.

Misanthropy 511 is also broadcasted monthly on Radio Marabu. Radio
Marabu is based in Belm Germany and broadcast at various times on 13
different stations throughout Europe. It is also on shortwave throughout
Europe. Write to Radio Marabu for more info and tell them Misanthropy
sent you. Radio Marabu p.o.box 1166,  49187, Belm  Germany .  e-mail:
[e-mail]
web site: http://www.dma.be/p/amphion/sztuka/Marabu.htm

The performance side of Misanthropy, The Hearing Trumpet, have a new
release on Cling-Film Records (Belgium) called #llallopp#. It is
released in very special packaging and is limited edition of 100.
Cling-Film Records can be reached e-mail: [e-mail].
Also available is a cassette release on Destroy All Music called #Heart
of a Leaf#. Destroy All Music can be reached at e-mail:
[e-mail] for ordering info and catalog. The Hearing Trumpet
has been described by others as #hallucinogenic soundscapes#, #ambient
noise#, & #distant rumblings#. The Hearing Trumpet has 2 additional
cassettes available. #Songs of Mystery and Magnetics# is a 45 min. cass
featuring 2-20 min. pieces recorded live in the CJAM studio. #Collected
Stories# is a 60 min cass featuring several shorter pieces all recorded
live for our radio show. Write for more info or ordering.

David Warmbier & Greg Hallock


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

From: [e-mail]
Subject: (exotica) Jimmy Scott Explained
Date: 28 Jul 1997 01:18:08 -0400 (EDT)



In a message dated 7/27/97 10:11:26 PM, you wrote:

<<only exception for me is
the Jimmy Scott track (someone please explain his status as legend...) >>

As I understand it, an illness left Mr. Scott with undeveloped vocal cords
which left him sounding like a woman singer. Rather than becoming a sideshow
attraction,however, he is an achingly beautiful ballad singer. I've never
heard anyone sing like him. I admit that one of my favorite things to do is
put on  one of his cd's ("All The Way " is wonderful) and have people try to
guess who it is and listen to them name various women. Once they get the joke
they usually find him
totally enchanting on his own , without the novelty value. He is supposed to
be wonderful live. I can see how he would not fit in to the lounge - a -
palooza thing, though, as he's fairly intense.
Bob


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

From: [e-mail] (Doug Frisby)
Subject: (exotica) 5  Random Things
Date: 28 Jul 1997 16:55:47 -0700



     5 random comments in no particular order:

     1. Does anyone have or know where I can find a copy of the Japanese
     import CD, "Mondo Music 2" It is the sequel to "Mondo For Space Age"
     which is the Japanese answer to "Ultra Lounge". I will, trade, buy,
     whatever... I've exhausted my resources.

     2. If you haven't checked out King Kini's "Separated At Birth" album
     covers, then what are you waiting for?  Go to:
     (http://www.tamboo.com/SelectionsIndex.html) towards the bottom of the
     page. Guarantee it'll make you think of more. 5 stars on the
     Fun-O-Meter! ...


     3. If you go to this URL (http://www.footlight.com) you will notice a
     pile of new "Loungey" CD's that have arrived. If you look under the
     vocals section, you can find Nelson Riddle, Billy May and George
     Shearing two-fers that got released without anyone's notice (as well
     as a Mamie Van Doren reissue). For a genre that's supposedly dying,
     there sure are alot of quality reissues coming out. Speaking of
     quality reissues..

     4. Two words. Mel Henke! He is everything that Bob Thompson wants to
     be. This CD reissue is THE reissue of the year, hands down! Before you
     throw your money at Ultra Lounge's over-tired series, plop down those
     dollars on "La Dolce Henke". I GUARANTEE, you will not be
     disappointed. Try and make heads or tails of the "Richard" song, I
     dare you.

     5. Lastly, after reading alot of magazine fodder and Dylan Jones
     recent waste of paper, I've realized that Lounge is actually a bigger
     genre than Rock. What other genre can have Frank Sinatra, The B-52's,
     Sergio Mendez, Les Paul, Perez Prado, Ken Nordine, Rusty Warren, The
     Carpenters, Alfred Apeka and the Louvin Brothers in it. (All of these
     titles were recently spotted at a record store "Lounge section". Now
     THAT'S a genre!



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

From: [e-mail]
Subject: (exotica) Re: exotica Digest V2 #242
Date: 28 Jul 1997 20:35:12 -0400 (EDT)



>And supposedly, Peter Ustinov did a parody album of "Sounds Of Sebring", in
>which he provided the car noises vocally. Title? Beats me. If anyone knows
>about these albums, please illuminate further! Thanks.

>m.ace
>[e-mail]


Just read the lengthy liner notes on "The Grand Prix of Gibraltar." And I quote:

"In form, this album follows with almost embrassing exactness the pattern of
Riverside's own famed recordings of the Sebring sports car race classics.
Two narrators -- one British, the other American -- set the scene, which
happens to be the Rock of Gibraltar. They take us through the pre-race
activity, including interviews with drivers and experts from many lands. We
are privileged to hear the unique and dramatic start and to be ear-witnesses
to all the excitement that follows duing the most unsual of all sports car
classics...

"...All the voices of the large cast of characters to be heard here (from
the stirring tones of the Governor of Gibraltar to the first interview ever
with Jose Julio Fandango) and the sounds of all the many remarkable cars
(Schnorcedes, Fanfani, Wildfowl, etc.) -- all these are the creations of the
mind and the vocal chords of Ustinov!"

So...you're right!

- Jay Schwartz
 Jay Schwartz

----------------------------
Secret Cinema website:
http://www.voicenet.com/~jschwart



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

From: Vik Trola <[e-mail]>
Subject: (exotica) Vik & Amy's 10th Anniversary
Date: 28 Jul 1997 20:42:52 -0500


The Steve and Eydie of the NYC lounge set, Vik and Amy, are once again
approaching their anniversary day. This time it's the big 10 years and, to
celebrate, we're jetting out of the Big Apple and hitting Sin City...Las
Vegas! We'll be in Vegas from Aug. 7 through Aug. 11. August 8 will find us
renewing our vows with an Elvis impersonator. All those who might be able
to attend are warmly welcome. Send a note to [e-mail] for
details. (If you want to check out the supremely unglamorous alter egos of
Vik and Amy, drop by the Regis and Kathie Lee of West Side NYC lounge's
site at http://www.inhi-fi.com/rad-anni.htm. Tell'em Frank sent ya!)

waking up in the city that never sleeps,
Vik

Vik's Lounge
http://www.chaoskitty.com/t_chaos/lounge.html

Space Age Bachelor Pad Music
http://www.chaoskitty.com/sabpm/





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

From: "m.ace" <[e-mail]>
Subject: Re: (exotica) 5  Random Things
Date: 28 Jul 1997 21:57:34 -0400


> From: Doug Frisby <[e-mail]>
> Subject: (exotica) 5  Random Things
>
>      5. Lastly, after reading alot of magazine fodder and Dylan Jones
>      recent waste of paper, I've realized that Lounge is actually a bigger
>      genre than Rock. What other genre can have Frank Sinatra, The B-52's,
>      Sergio Mendez, Les Paul, Perez Prado, Ken Nordine, Rusty Warren, The
>      Carpenters, Alfred Apeka and the Louvin Brothers in it. (All of these
>      titles were recently spotted at a record store "Lounge section". Now
>      THAT'S a genre!

Sounds like "lounge" has developed into the record stores' latest catch-all
section. Back in the mid-70s the newly-created disco sections had almost ALL R
& B, soul and funk deposited in them. Even stuff like Parliament and Funkadelic
-- never mind that George Clinton was openly anti-disco in his liner notes.

A few years later, new wave or punk sections (usually new wave -- punk was
still a pretty dirty word) included such diverse (and long-established) artists
as Captain Beefheart, Alex Chilton, Brian Eno and The Ventures. It was like
they were glad to have a repository in which to dump all of the weird stuff, so
it wouldn't contaminate the corporate-approved rock.

Now it seems like "lounge" has joined the tradition. Let's see, disco was
already a mainstream hit by the time the store sections appeared -- so I don't
think we'll be subjected to lounge becoming a blockbuster that bursts within a
few years. If it follows the punk/new wave model, we have until the 2000-teens
before it hits big and becomes a drag. Don't take this too seriously -- I know
I'm not. I guess what I really mean is that in this usage, "lounge" isn't an
actual genre, but a marketing tool. If we want real genre definitions, Tony
Wilds is the guy who has that covered (on the list's FAQ webpage, I think).

I've often wished record (ha! CD) stores would ditch all of the categories and
just file everything in one big alphabetical order (especially after playing
guessing games over which category they've filed my "want" under, or even what
categories the store has and where). But I guess that could be too overwhelming
and make serendipitous browsing more difficult.

Happy 10th to Vik & Amy!

m.ace
[e-mail]


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

From: Brian Phillips <[e-mail]>
Subject: Re: (exotica) Jimmy Scott Explained
Date: 28 Jul 1997 22:15:10 -0400


In Atlanta, Mr. Scott is quite the name.  When he comes to Clark
University, he packs the house.  I first heard of him when the Cosby Show
(who was instrumental in seeing Big Maybelle's "Candy" see print again),
played "Evening in Paradise" on the show, which probably jump started his
career.  Clair and Cliff argued over the song's release date (1960 or 1962;
it was 1960).

Still laughing after VH1's Cop Rock Marathon,
Brian Phillips

Brian Phillips
http://www.mindspring.com/~hagar
"Her JAW hung down by her KNEEheehehehees!" - from "Hot Skillet Mama" by
Yochanon and Sun Ra




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

From: Brian Phillips <[e-mail]>
Subject: (exotica) Mad Daddy Meyers!
Date: 28 Jul 1997 22:14:49 -0400


A great radio personality of the 50's, which you can hear at this address
http://earthstation1.simplenet.com/Mad_Daddy_Meyers.html if you have not
heard him before,
apparently, he seems to have released a record, "What is a Fisteris?"/"I
Love a Good Practical Joke" on G & F Records under the name of The Joker.

Has anyone heard this?  Meyers was a true original, spinning mad rhymes
about Wavy Gravy.  If folks think this is stretching Exotica a bit far, I
apologize in advance.

Time to Zoomerate,
Brian Phillips

Brian Phillips
http://www.mindspring.com/~hagar
"Her JAW hung down by her KNEEheehehehees!" - from "Hot Skillet Mama" by
Yochanon and Sun Ra




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

From: [e-mail]
Subject: Re: (exotica) 5  Random Things
Date: 28 Jul 1997 20:57:44 -0600


>     2. If you haven't checked out King Kini's "Separated At Birth" album
>     covers, then what are you waiting for?  Go to:
>     (http://www.tamboo.com/SelectionsIndex.html) towards the bottom of the
>     page. Guarantee it'll make you think of more. 5 stars on the
>     Fun-O-Meter! ...




...and when you DO think of more....  LEMME KNOW!!

(thanks for the compliments Mr. Frisby!)

 - King Kini





visit...

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
          King Kini's  C L U B  V E L V E T
             http://www.tamboo.com
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


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

From: [e-mail]
Subject: (exotica) Lou Reed
Date: 28 Jul 1997 23:46:35 -0400 (EDT)


All of the known Lou Reed Pickwick sides have been booted, most notably on
the Australian (?) LP "The Velvet Underground etc." on Plastic Inevitable
Records, and also on the triple boxed set "Everything You've Ever Heard
About The Velvet Underground" (VU Records).

The "Etc." LP is periodically repressed and well worth having. I wouldn't be
surprised if there was a CD version of this by now.

"Cycle Annie," "The Ostrich" and others clearly feature Lou's vocals as well
as other Lou trademark touches that show where he was headed. This story has
been well documented in places like the UP TIGHT book or issues of What Goes On.

 Jay Schwartz

----------------------------
Secret Cinema website:
http://www.voicenet.com/~jschwart



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

From: Randall Rothenberg <[e-mail]>
Subject: Re: (exotica) Lounge Thesis, What's Next?!
Date: 28 Jul 1997 23:45:52 -0400 (EDT)


     I'm sorry, but as a lifelong journalist I, too, used to have the same
reaction as Michelle does to scholarly inquiries into popular cultural.
But after years of reading and benefitting from cultural anthropology and
cultural studies, I've seen the light. As branches of sociology, history,
economics, anthropology and allied fields, they can be invaluable aids in
understanding why and how things happen. And "lounge culture" is as valid
a subject for a master's or Ph.D. thesis as anything else. As in any other
field, the scholarship (and writing) can be wonderful or execrable. But to
damn the entire field of inquiry upfront is -- I'm sorry, Michelle --
narrowminded. (Conference member Will Straw, a cultural anthropologist,
can do a better explanation that I can. Meanwhile, I again urge members to
read the wonderful Dick Hebdige exploration of punk, "Subcultures," and
James Carey's magnificent exegesis on media, "Communications as Culture,"
to better understand the field[s].)




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

From: [e-mail]
Subject: (exotica) Lou Reed
Date: 29 Jul 1997 10:02:56 -0400 (EDT)


just saw this on alt.music.lou-reed


>Now, does anyone know where I can find other tracks by Lou's Pickwick
band
>The Primitives?  (Sneaky Pete, I've Got a Tiger in My Tank, etc.)
>
>
Most of Lou's Pickwick output can be found on the lp's 'Out Of Sight' and
'Soundsville' both Design label (Pickwick subsidiary if you can believe
that). These are pretty tough but not impossible to find. In the bootleg
world, one of the best renderings of 'The Ostrich, Sneaky Pete, You're
Driving Me Insane, and Cycle Annie is on a 7" ep calle Primitives
Pre-Velvets. Most of these tracks can also be found on the great 3 lp boot
box 'Everything You've Ever Heard About the VU'. A few cd boots include
Pickwick stuff most notibly the new 5cd boot box 'A Walk with the Velvet
Underground'.
The Pickwick stuff is interesting (and a little embarassing in some cases)
because you really can hear Lou's distinctive guitar playing even this
early, especially on 'Cycle Annie' where he does that great buzzsaw thing
later heard on 'What Goes On' from 69 Live.
For  all the details on these issues including catalog, label info and
covers (which I'm just too lazy to include here, sorry) check out THE
Velvet Underground Web site at http://members.aol.com/olandem/vu.html.
bye for now,
sal
 Jay Schwartz

----------------------------
Secret Cinema website:
http://www.voicenet.com/~jschwart



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From: Jessica Cameron <[e-mail]>
Subject: Re: (exotica) In Praise of Budget Labels (the SPY edition)
Date: 29 Jul 1997 12:06:23 -0400


Part Three of the Cameron Collection series of Budget Label classics: BUDGET
BOND

wait! Before I start the super cheap super spy portion, here's two more
exotic greats:

Cleopatra and Mystic Melodies of the Nile by Bill Ewing and Helen Alexandria
(Palace): This a very strange li'l record. Bill Ewing at the organ does
extended versions of  themes from the Cleopatra movie and Helen Alexandria
sings along (abstractly), making like a regular Mrs. Florence Foster Sumac.
^_- Bill has another album of  "Theme from Lawrence of Arabia," but it's not
as good. The flip side is just another generic orchresta doing themes from
"Scheherazade."

The International Pop Orchestra (Cameo): Wild, Baxter-esque covers of
"Ritual Fire Dance" and "Misirlou" take up space with typical easy
listening. Worth it just for the three or four great  tracks.

OK, here's the Spy Section...^_^

Thunderball, the Man from U.N.C.L.E, and othe Secret Agent Themes by the
Secret Agents/Jazz All-Stars (Design):
I think Mundell Lowe is the mastermind behind these recordings. He's Agent
002, for those of you keeping track. ^_- This album has six spy standards
(Thunderball, I Spy, etc) and four originals that are typical (but great!)
Design pop-ified classical pieces.

MISSION: IMPOSSIBLE and othe Action Themes by the Secret Agents (Design):
This is a reissue of the previous record with some tracks taken away (the
whole album only has eight tracks) and some added (Mission: Impossible, Star
Trek (wow!), and Mannix.). The pictures of "actual spies in action" on the
cover are hilarious. They were probably taken outside the Pickwick building
(at least that's what I'd like to think).

James Bond Thrillers!!! by the Zero Zero Seven Band (Somerset): Another mix
of Bond standards and cool originals. The originals are credited to R.
Lowden and J. Kuhn. Like most good Somerset albums, I imagine this album has
lots of famous studio men on it. Anyone know for sure?

Theme from the Silencers, Theme from Our Man Flint, Song from the Oscar by
the Wilson Lewes Trio (Diplomat): One of those "long, free-form jazz
versions of hit movie themes" records that budget labels seemed to
specialize in. Nice spy gals cover. (btw, ever notice how long some of these
budget movie titles are?  ^_- )

New Original TV Themes (Wyncote): Three actual TV themes (the Green Hornet,
Tarzan, and Man from U.N.C.L.E), and the rest of the tracks are original
tunes. The Green Hornet tunes are a little too ragtimey for me, but the
Tarzan and UNCLE cuts are great, esp. "Jungle Bongo" (Tony Wilds has
mentioned this one before--sorry to mention it again).

Great Themes from James Bond by the Cheltenham Orchestra (Wyncote): Bizarre
choral version of goldfinger, nameless woman belting out "Thunderball," and
originals like "Laser Shot" and "Sea Chase" that sound like they were
scooped up from a jazz album and retitled to fit in with JB's original music.

The Superrecord of Superheroes by the Super-Dupers (Happy Time): Weird mix
of garage-y vocals and cocktail organ tunes on Pickwick's kiddie subsidiary.
"Green Hornet" is great. Scary cover of child crimefighter in long underwear
and halloween mask punching out villian. BANG! POW!

Once again, thanks for the space, Jessica ^_^



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From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Sounds Of Sebring/Grand Prix of Gibraltar
Date: 29 Jul 1997 13:29:08 -0400


> From: [e-mail]
> Subject: (exotica) Re: exotica Digest V2 #242
>
> >And supposedly, Peter Ustinov did a parody album of "Sounds Of Sebring", in
> >which he provided the car noises vocally. Title? Beats me. If anyone knows
>
> Just read the lengthy liner notes on "The Grand Prix of Gibraltar." And I
quote:
>
> "In form, this album follows with almost embrassing exactness the pattern of
> Riverside's own famed recordings of the Sebring sports car race classics.

So the original and the parody are on the same label! I wonder who has the
rights to them now. That would make a great two-on-one CD reissue.

m.ace
[e-mail]


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From: [e-mail]
Subject: (exotica) Vixen & Cherry Question
Date: 29 Jul 1997 14:16:56 -0400 (EDT)


Are these two Russ Meyer Soundtracks worth getting? I know they are only 6
bucks, but what do they sound like? I saw both movies quite a while ago and
what sticks in my head is not the music.


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From: Johan Dada Vis <[e-mail]>
Subject: (exotica) EPULSE on THE TRIAL OF OH JESUS
Date: 29 Jul 1997 14:24:09 +0200


>From: [e-mail]
>Date: Fri, 25 Jul 1997 16:23:53 -0700 (PDT)
>
>---  THE7
>>>>  A peek at the notebooks of your favorite editors
>
>1. better get hit in your soul:
>     "The O.J. trial of the 1990s was nothing compared to the life-altering
>story of the O.J. trial of Biblical times," begins the one-sheet pitch that
>accompanied a promo copy of '' (Malaco, out now) by
>REV. BENJAMIN CONE JR. This fine album contains a selection of sermonettes
>that recontextualize the life, death and resurrection of a certain
>Middle-East religious figure using a contemporary metaphor: the trial of a
>certain ex-NFL running back/unconvicted wife slasher. Subgenius enthusiasts
>and pinks alike will find the preachifying contained on this disc highly
>entertaining. Every cut contains pretty much the same instrumental bed, and
>each one is structured the same way. Take "Water to Wine": The piano, a
>cheesy synth wash and the voices of the Mississippi Mass Choir swell, and
>Cone whispers over the top: "There's the man from the Alcoholic Beverage
>Department. Let's see what he has to say." Then he switches voices to a
>booming basso profundo that sounds like a Warner Bros. cartoon version of
>Prophet Omega: "Uh, scripture reference and background, John 2:1 through
>11, First Timothy 5:23, Proverbs 23:29 through 35, and Isaiah 1:18. Let's
>listen to the next witness:" What follows is Cone testifying (as an ATF
>agent) at the trial of O.J. (i.e., Oh Jesus), accusing the Messiah of
>bootlegging, drug pushing, etc. Other choice cuts are "Deviled Ham" (about
>some demon-possessed barbeque), "Escort Service," "Seafood Chain," "Funeral
>Home" and the series: "O.J.'s Verdict & Sentence," "O.J.'s Execution,"
>"O.J.'s Son-Rise Service" and "O.J.'s Comeback." And if his "America"
>doesn't get you whipped up into a patriotic frenzy, you're probably a
>commie rat. "Let's give it up," sez the Reverend. Uh-huh.


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From: "allanc" <[e-mail]>
Subject: (exotica) Lou Reed/Pickwick recordings
Date: 29 Jul 1997 15:20:04 -0400


Instead of buying all those compilations to get Mr. Reed's early
hack-work,may I suggest tracking down a copy of The Velvet Underground:
Everything You've Ever Hear About...(3 lps VU records VU333). The first
disk in the set includes these recordings, including a lounge piano trio
track called "After Hours" credited to The Lou Carol Trio, in addition to
tracks by The Shades, The All Night Workers, The Beachnuts, & The
Roughnecks. As far as I know, this is a complete collection of Lou Reed's
early budget label tunes. If there are any others, I would like to hear
about it! Oh, & by the way, this disk is filled by including some VU
rarities ("Loop", "Index" & "VU Noise"). Since I'm here, I wonder is anyone
has any information regarding two of my favorite 60's bizarro/electronic
recordings: Cromagnon: "Orgasm" (ESP- Disk) & Tom Dissevelt/Kid Baltan:
"Song of the Second Moon; the sonic vibrations of..." (Limelight Records)?
Who were these guys & did they record anything else? Enquiring minds need
to know...



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From: [e-mail]
Subject: (exotica) Mancini Reissues
Date: 29 Jul 1997 23:17:51 -0400 (EDT)


Great news for Mancini fanatics, both EXPERIMENT IN TERROR and COMBO have
been reissued by the Spanish arm of RCA on CD.  I didn't notice any bonus
cuts on these as on previous Mancini reissues, but these two records are well
worth the piddling $16 (if you don't already own them on vinyl).  They're
available by phone order at Medium Rare Records in SF (if you don't have a
local store carrying them).

--David


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From: [e-mail]
Subject: Re: (exotica) In Praise of Budget Labels (the SPY edition)
Date: 29 Jul 1997 23:18:49 -0400 (EDT)


In a message dated 97-07-29 13:11:51 EDT, you write:

>
James Bond Thrillers!!! by the Zero Zero Seven Band (Somerset): Another mix
of Bond standards and cool originals. The originals are credited to R.
Lowden and J. Kuhn. Like most good Somerset albums, I imagine this album has
lots of famous studio men on it. Anyone know for sure?
*************
I've got this record ($2).  As I recall, (Jack Diamond, being the source)
this was done by British session musicians, instead of the usual cast of
Mancini masters.  The originals are cool.

--David




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From: [e-mail]
Subject: Re: (exotica) 5 Random Things
Date: 29 Jul 1997 23:23:11 -0400 (EDT)


<<      3. If you go to this URL (http://www.footlight.com) you will notice a

      pile of new "Loungey" CD's that have arrived... >>

This does not fall under the category of "lounge" but i just scored "Sparky's
Magic Piano" from them.  A kiddie klassic.  Oooooo - that piano's voice is
spooky.  Hopefully, "Rusty In Orchestraville" will soon follow.







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From: [e-mail]
Subject: Re: (exotica) Vixen & Cherry Question
Date: 30 Jul 1997 00:08:22 -0400 (EDT)


You may be confusing these titles, which are put out by laserlight, with the
other more expensive ones that are available.  I was wondering if these have
dialogue on them.  They are available at Tower records.


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From: "Brian Karasick" <[e-mail]>
Subject: (exotica) Is "Schlager" Exotica?
Date: 30 Jul 1997 01:02:09 EST5EDT


Hi:

A topic I don't see discussed  much but I think of interest to the
group. Hopefully some enlightened German or Germanophile member(s) can
shed a bit of light on this music "genre", what it includes, and its
relative merits (or lack thereof)...

Of course Heino comes first to mind being what I can only describe as
Germany's answer to Elvis if there could ever be such a thing! But
really now, is any of this stuff worth listening to and if so any
suggestions would be appreciated.

tschuss,

Brian


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From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) Vixen & Cherry Question
Date: 30 Jul 1997 02:15:15 -0400


At 12:08 AM -0400 7/30/97, [e-mail] wrote:
>You may be confusing these titles, which are put out by laserlight, with the
>other more expensive ones that are available.  I was wondering if these have
>dialogue on them.  They are available at Tower records.

They have no dialogue (well, one track on Vixen does). They are just the
music from the films, as originally released on vinyl by Beverly Hills
Records back in the late 60's. And they're pretty damn good, imho.
(especially for 6 bucks).

br cleve





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From: Jonathan Perl <[e-mail]>
Subject: (exotica) LPs must go
Date: 30 Jul 1997 13:46:00 +0100



I have now done my list of E/L etc Lps on vinyl.  There are also many more
lists available on the site.
Take a look at
http://www.angelfire.com/ut/erus/VINYL.html if you like.

This is all to fund my imminent emigration.

Please email me for a list if you don't have web access

thanks

Jonny


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From: "J. Diamond" <[e-mail]>
Subject: (exotica) Boston stores
Date: 30 Jul 1997 12:58:21 -0700


Hey!

I'm going to Boston tomorrow.  Can anyone help me out with REKKID stores
and VINTAGE clothing stores in and around the area ?

Money's burnin' a hole in my pocket

Thanx,
Jack


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From: "Jim Gerwitz" <[e-mail]>
Subject: Re: (exotica) Jimmy Scott Explained
Date: 30 Jul 1997 18:34:42 -0700


I just found a Savoy Jazz CD of two Jimmy Scott LPs (from 55 and 60) called
"All Over Again", which includes "Evening in Paradise."  Only $9 on sale at
Tower for 24 songs !  His voice here (admittedly an acquired taste) is
somewhat stronger that on his recent recordings, as he was in his early
30's when these were recorded. Mingus (who he met while with Lionel
Hampton's band) and guitarist Mundell Lowe appear on 4 tracks. Other songs
with strings remind me of Jackie Wilson arrangements. At one point I
thought I was listening to Eartha Kitt before diction lessons. Liner notes
mention his high voice as influencing doo-wop groups like the Students and
Frankie Lymon. (The high tenor as THE doo-wop trademark has been discussed
endlessly in the oldies newsgroups).
For what its worth, he's from Cleveland.
And it was a good day at Tower, $9 for the Hefti Batman (KAPOW) and only $6
for Mose Allison's 20 Greatest Hits on Atlantic (I didnt argue with their
computer). The 20 dont include my personal favorites Smashed, Monsters of
the Id, and Wild Man On The Loose, but I have those on LP.

[e-mail]






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

From: [e-mail]
Subject: (exotica) Liberace Museum in Las Vegas
Date: 30 Jul 1997 23:21:11 -0400 (EDT)


<Re: (exotica) Vik & Amy's 10th Anniversary in Vegas>

DON"T MISS  the Liberace Museum in a strip mall a couple miles east on
Tropicana. His infamous Bicentennial red, white, and blue sequined hot pants
outfit (with matching Rolls-Royce I think) should spice up any second
honeymoon.  I am still kicking myself for not taking my videocamera when I
visited last week. A sign says no flash photos, but someone else was
videotaping, and the bluehairs at the desk appeared to pose little threat to
anyone.

Since Vegas is now the latest "family" vacation destination and I had to drag
my kid along, I was unable to visit lounges (missed the Treniers) or thrifts,
but found Tony Bennet's "The Beat of My Heart" for a sawbuck in one of the
Record City stores on the south side of Sahara Blvd. Despite Candido, Sabu,
Blakey, Chico Hamilton, & Jo Jo Jones its still a Tony Bennett record, not my
favorite singer. I might have been happier with the scuffed Louis/Keely/Sam
LP with the band cover photo autographed by what appeared to be each member.

Wear very comfortable shoes and beware of neck whiplash and eyestrain if you
spend much time by your pool.  Vegas is a gas (especially the buffets).  And
be sure to check out newsgroup alt.vacation.las-vegas if you havent done so
already.

JB  - re-energized by the Luxor Hotel's ancient pyramid power and the pool's
bikini power


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

From: [e-mail]
Subject: (exotica) They All Played...
Date: 30 Jul 1997 21:52:17 -0700 (PDT)


Fellow exoticats, I need your help.

Many moons ago there was a discussion about those tunes that everyone seems
to do if only because almost anyone can sound good doing them.  I think one
person called them "bullet proof" with the idea that no matter how bad the
rest of the album, if one of these tunes was featured, the album would be
valued.

So now,  The Mister Smooth Hour is going to try and produce complete
programs, each one devoted to only one song.  I know this concept has been
done before, but I have not accomplished it.  With your help I may.

Here are some programs I have started to put together.  Any thoughts about
additions from EASILY available recordings.  I'm sorry, but I can't use
cassettes: only LPs or CDs.

I realize some of the performances may not be super great, but the only way
I can push the dogs off the list is to find better ones.

As long as I have four selections for each program, I can fill with other
stuff, but my ultimate goal is to fill an entire hour with some killer
versions of the same music...but each performance done so differently as to
never sound repetitive.

Also, if you have any ideas for other "They All Played..." programs, let me
know.

Here is my list so far:

They all played The Third Man Theme

Leo Addeo    More Hawaii in Hi-Fi  RCA CAMDEN CAS 594
Leo Diamond   Themes from the Great Foriegn Films  Reprise R9 6009
Enoch Light  Command Performances   Command  RS 868 SD    2:30
Ray Martin (Living Brass)  A Taste of Honey  RCA Camden 949  3:00
Ruth Welcom  Hi-Fi Zither  Capitol T 942
Marty Gold  Stereo Action Unlimited  RCA LSA 2489
Victor Young  (45)  Decca 76286


They all played El Choclo

Maxwell Davis   Persistant Percussion   Kent 500
Tommy Garrett  Maria Elena   Liberty LSS 14030
Richard Lawrence  Romantic Moods  FDR  MHK 33-1228
The Cinema Sound Stage Orchestra  Award Hits  Somerset SF-34200
The Castilians w/ Victor Young  (45 album)  Decca 3-253


They all played Caravan

David Rose  21 Cnannel Sound MGM SE 4004
Dick Schory's New Percussion Ensemble  Percussion!   RCA LSP 2125
Stanley Black  Exotic Percussion London  SP 44004
Irv Cottler  Around the World in Percussion  Somerset SF-13900
Belmonte  Mambo at Midnight   Columbia CL 598
Art Mooney  Cha Cha Cha  Coronet CXS 138


They all played Harlem Nocturne

David Rose   The Stripper   MGM 4062
(I have at least one more version on LP anyway)



They all played Tico Tico

Ethel Smith   The Many Moods   Decca DL 74145
Les Baxter    The Fabulous Sounds   Pickwick  PC 3011
Xavier Cugat  Cugat Cavalcade   Columbia CL 1094
Lenny Dee   Golden Organ Favorites  MCA 182


They all played Hernando's Hideaway

Sid Ramin  New Thesholds in Sound RCA LSP 2658
Jim Tyler Orch.  Music with Sound Series 2000 Time TSD-3
Dick Schory's Percussion and Brass Ensemble  SA Unlimited RCA LSA 2489
Enoch Light Provocative Percussion  Command RS 810 SD
Billy May's Rico Mambo Orchestra  Dance Set  Capitol T281


They all played Istanbul

Enoch Light  Persuasive Percussion 1966  Command  RS 895 SD
Bob Thompson's Battery  Highlights Staged for Stereo  Capitol STAC 1638
Leo Addeo Far Away Places  RCA Camden CAS-901


They all played Brazil

Tommy Garrett (the 50 guitars of)  Maria Elena  Liberty LSS 14030
Edmondo Ros  The Latin King   London 44169
Ethel Smith   The Many Moods   Decca DL 74145
Enric Madriguera  Dance Set   Capitol T281

Byron Caloz




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

From: "Br. Cleve" <[e-mail]>
Subject: (exotica) new Esquivel CD's
Date: 31 Jul 1997 02:09:43 -0400


OK, I got the go-ahead to give everybody the announcement.

BarNone Records will  reissue the Esquivel catalog on CD, as 2fers. The
first three CD's, containing 6 complete LP's, will be out on the last
Tuesday in September.

We're doing them in chronological order-
Other Worlds, Other Sounds/Four Corners of the World
Exploring New Sounds in Stereo/Strings Aflame
Infinity In Sound/Infinity In Sound Vol.2

There should be info up very soon at the BarNone website:

http://www.bar-none.com

The rest of the series is due after the first of the year, and will include
some surprises. More on that later.

Esquivel is in great health these days, and is continuing to write new
material. It's just taking him longer than he had hoped (he is 79, after
all).

br cleve





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

From: [e-mail]
Subject: (exotica) Sources
Date: 31 Jul 1997 10:45:16 -0400


     Tony Wilds wrote:

           Fortunately, Sparrow delivers where hoarse folk-singer
          Belafonte bastardizes. Unfortunately, most people mistake
          Belafonte for calypso and never hear Sparrow and other West
          Indians.

     But it's even money that many who *do* hear Sparrow, The Duke et
     al may have gotten there through Belafonte or even The Kingston
     Trio (my introduction many, many years ago). And the Trio even
     gave extensive credit, not just in the liner notes, but vocally
     in the intro to their cover of "Zombie Jamboree" as well, so I
     knew who Lord Invader was when I stumbled across the LP in the
     local flea market. Really, how many kids from New Haven (or maybe
     even Baltimore?) would ever have heard real calypso (or blues, or
     tejano, or ska etc...) without a pop-guide to help them along? So
     from this camp, a big THANK YOU to Harry, and Dave Guard, and
     Mick and Keith and The Specials and on and on...

     Here's to the man who drinks dark ale
     And goes to bed quite mellow

     Craig


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From: "J. Diamond" <[e-mail]>
Subject: Re: (exotica) new Esquivel CD's
Date: 31 Jul 1997 08:14:57 -0700



>Exploring New Sounds in Stereo/Strings Aflame
>br cleve

What about Exploring new Sounds in HiFi ?
It's NOT JUST its MONO counterpart dude

Jack


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From: "David J. Strauss" <[e-mail]>
Subject: (exotica) Cromagnon
Date: 31 Jul 1997 11:32:58 -0400 (EDT)



ZYX, in it's pathological wisdom has reissued EVERYTHING on ESP, including
Cromagnon's _Orgasm_. The liner notes give a brief subjective history of
the band. Evidently they were based around a commune (like all great
music), and one of the leaders is dead.

DS
[e-mail]



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

From: "J. Diamond" <[e-mail]>
Subject: (exotica) Song Of The 2nd Moon
Date: 31 Jul 1997 08:33:13 -0700


Since I'm here, I wonder is anyone
>has any information regarding two of my favorite 60's bizarro/electronic
>recordings: Cromagnon: "Orgasm" (ESP- Disk) & Tom Dissevelt/Kid Baltan:
>"Song of the Second Moon; the sonic vibrations of..." (Limelight Records)?
>Who were these guys & did they record anything else? Enquiring minds need
>to know...

Hello,

Tom Dissvelt also made another record on Philips called "Fantasy In Orbit"
though it's all him, no Kid Balt
It is NOTHING like his masterpiece "Song of The 2nd Moon" though

I donated a copy of this (2nd Moon) to KFJC about a year ago and they
played the shit out of it!  Surprised ?  I think not

Search for it through the KFJC Music Database

Are you listening to this Stefan ?

Jack Diamond
http://www.KFJC.org


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From: "David J. Strauss" <[e-mail]>
Subject: (exotica) Cromagnon
Date: 31 Jul 1997 11:32:58 -0400 (EDT)



ZYX, in it's pathological wisdom has reissued EVERYTHING on ESP, including
Cromagnon's _Orgasm_. The liner notes give a brief subjective history of
the band. Evidently they were based around a commune (like all great
music), and one of the leaders is dead.

DS
[e-mail]



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From: Tony Wilds <[e-mail]>
Subject: (exotica) sacred cows or lionizing pop lions
Date: 31 Jul 1997 12:39:21 -0400


>how many kids from New Haven (or maybe even Baltimore?) would ever have
heard real calypso (or blues, or tejano, or ska etc...) without a pop-guide
to help them along?

Not nearly as many as routinely dismiss the music of entire cultures
because of mass-marketed mediocrity. Did Don Ho lead you to Genoa Keawe?
Did Elvis lead you to Wanda Jackson? Did Santana's cover of "Oye Como Va"
turn you on to Tito Puente and Latin jazz? If so, that's great -- you
persevered and looked beyond the lowest common denominator (although these
are all top interpretors). Too bad everyone doesn't so look.

If there were more like you, the lost Esquivel would come out and BTO's
Greatest Hits could take a siesta. But given the vastness of music, and not
just good or bad pop, it's understandable that biases against ubiquitous
icons develop and need surpassing. I'm glad Belafonte helped as a source;
it worked for me too, once I got passed "Day-O." And there are plenty of
other guides to good records, too; many are free and let you actually hear
the real thing.

Now back to the 101 Strings cover of "Theme from Shaft."

tony

The Wilds Scene ->  http://www.charm.net/~wilds/

"I'm just a wild man. You know I'm not a follow-style man." -- Mose Allison



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From: [e-mail]
Subject: (exotica) Afterparty Aug 2
Date: 31 Jul 1997 03:12:10 -0400 (EDT)


Yes, Barbara there is a
cocktial party!

This Saturday after the Ballet Noir (call 213/343-6600 for info on that)
there will be a no host bar cocktail party held by Otto von Stroheim of Tiki
News and Sam & Bradley of Lounge mag. at
Grand Star restaurant and bar
943 N. Broadway @ College
Chinatown (Los Angeles)
213/626-2285

If there is any confusion at the door ask for Wally or Frank


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From: "Boris Schulz" <[e-mail]>
Subject: Re: (exotica) Is "Schlager" Exotica?
Date: 31 Jul 1997 15:33:39 +0000


> A topic I don't see discussed  much but I think of interest to the
> group. Hopefully some enlightened German or Germanophile member(s) can
> shed a bit of light on this music "genre", what it includes, and its
> relative merits (or lack thereof)...
>
> Of course Heino comes first to mind being what I can only describe as
> Germany's answer to Elvis if there could ever be such a thing!

I wouldn't say that Heino is the teutonic answer answer to Elvis.
Though I don't know the complete works of Heino I don't know any
Elvis or rock'n roll cover by him. An artist who was actually called
"The German Elvis" is Peter Krauss. The whole performing by him was
rather upsetting back in the 5o's. I think he is still doing the same old
stuff probably  being over 60 years now.

> really now, is any of this stuff worth listening to and if so any
> suggestions would be appreciated.
I'm living in Germany and I can't think of any stuff which is worth listening to.
95 % of these "Schlager" are simply crap and not exotic in any way. Though there
is a Schlager-revival movement for some time now which is quite popular especially
in the gay scene. (where they like to dance and sing along with Marianne
Rosenberg's "Er gehoert zu mir = He belongs to me :-))
Just one song comes into my mind which is exotic in some sort... It's "Komm mit
mir nach Afrika" (= Come with me to Africa) with an hilarious text
sung by a female singer whose name I can't remember now. I will sort it out and
let you know.
> tschuss,
>
> Brian
>
tschuess auch

Boris
------------------------

Boris Schulz
e-mail: [e-mail]


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From: "KEVIN D. ENGLAND" <[e-mail]>
Subject: (exotica) Re: under the covers
Date: 31 Jul 1997 13:10:11 -0400 (EDT)



Sergio Mendes and Brasil 66 doing "Norwegian Wood" and "The Look of Love"

k


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From: "m.ace" <[e-mail]>
Subject: Re: (exotica) They All Played...
Date: 31 Jul 1997 14:16:46 -0400


> From: [e-mail]
> Subject: (exotica) They All Played...
>
> Here are some programs I have started to put together.  Any thoughts about
> additions from EASILY available recordings.  I'm sorry, but I can't use
> cassettes: only LPs or CDs.
>
> They all played Caravan
> They all played Harlem Nocturne

I don't know if you want to get into the rock instro area, but The Ventures -
"Live In Japan '65" (EMI cd) has their epic rendition of "Caravan". Has an
extended drum solo which includes the drummer playing the bass guitar's bottom
string with his sticks (while the bassist handles the frets). Super-dazzling
guitar work also.

The Viscounts' 1959 cover of "Harlem Nocturne" appears on Rhino's "Rock
Instrumental Classics, Vol. 1: The Fifties" cd. Nothing special, but maybe it
would gel with your other selections.

And of course there's Esquivel's fine version of "Harlem Nocturne". Current
cd-wise, that's on "SABPM" and "Cabaret Manana".

How about a program of "Perfidia"?

m.ace
[e-mail]


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From: david kasdorf <[e-mail]>
Subject: (exotica) Larry Ferrari
Date: 07 Jul 1997 14:27:39 -0400


I have at least two records by Larry Ferrari, "Reminisce with Larry
Ferrari" in Living Stereo and "Relax with Larry Ferrari" which boasts quite
a nice cover of an beautifully begowned and adoring red-head sitting at the
feet of a handsome man smoking a cigarette.  "Relax with..." offers up old
favorites with "a brand new percussion  instrument, the Schulmerich
Harp-Celesta, offering twp distinctly different tone colors and up to
sixty-one notes of both harp and celesta tones."  The liner notes go on to
say:

The Schulmerich "Harp" features an entirely new system of quadruple
harmonic tuning providing unique musical color and exotic beauty.It is the
first percussion harp to combine the tones of a stringed harp in a struck
tone, and may be played in all kinds of intricate arpeggios, chords, runs
and trills without restriction in acheiving traditional harp music.
     The Schulmerich "Celesta" provides an entirely new concept of celesta
tone, augmenting the piquant vivacity (you have to love that) of the
traditional true celesta by the same quadruple harmonic tuning used in the
"Harp."  The combined instrument is fast becoming the most wanted adjunct
to all types of organs.

Unfortunately Larry's virtuosity on the "Schulmerich Harp-Celesta" doesn't
quite live up to the hyped notes.  M.Ace's critique of Mr. Ferrari as
schmaltzy is on the money.  I had never heard of such an instrument or
'attachment' though, and find the whole thing interesting.  Who knows about
this?


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