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exotica-digest          Monday, July 2 2001          Volume 02 : Number 1007



In This Digest:

(exotica) Playlist For Space Bop, July 1
(exotica) [obit] Chet Atkins
(exotica) [NYTimes obit] Chet Atkins
(exotica) [obit] Joe Henderson
Re: (exotica) denny vs. baxter in the bins
(exotica) Score!
(exotica) True Story: Desert Island Discs
Re: (exotica) Score!
(exotica) where's that Mimi?  Got your Sammy song
Re: Bad URL (Re: (exotica) where's that Mimi? )
(exotica) Re: by the numbers...?
(exotica) Oh...my!
Re: (exotica) Score!
Re: (exotica) Score!
(exotica) Transistors News! Kid Loco - Gak Sato - Masanori Ikeda in ...Mission on Venus!
Re: (exotica) True Story: Desert Island Discs
(exotica) taking the kitsch out of tiki
Re: (exotica) taking the kitsch out of tiki

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

Date: Sun, 1 Jul 2001 11:24:17 -0400
From: "cheryl" <[e-mail]>
Subject: (exotica) Playlist For Space Bop, July 1

Beyond kitsch, Space Bop is one hour of full galactical wonder, and can
be heard every Sunday from 4 to 5 pm Eastern time on CKUT 90.3 FM in
Montreal, Canada, and on RealAudio (real time only, for now) at:

http://www.ckut.ca

As usual, all comments, questions, and feedback welcome.

Space Bop #149   We're Space Bop - And We...Are...Canadian!!

Yes, it's Canada Day, and we're celebrating our rich culture and joyous
heritage in song, as the following hour of music will demonstrate.  And we
even have some non-Canadians celebrating the joys of Canada along with us!

 B.J. Snowden:  In Canada  "Songs In The Key Of Z"

Gilles Gauthier & Marcel Lefebvre:  Mustang  "Mustang o.s.t."
Eskimo Women's Music Of Povungnituk:  Song Of A Three Stringed Fiddle
"Inuit Throat & Harp Songs"
Sir Henry:  Cabin Fever Party Twist  "Ums Nackte Leben"
William Shatner:  Lucy In The Sky With Diamonds
Crash Course In Science:  Kitchen Motors  "Strange Pleasures"

Gitte Henning:  Winter In Kanada
Madame St- Onge:  Chez Moi  "Les 10 Plus Grands Succes De Mme. St-Onge"
Joe Burghardt Orchestra & Chorus:  Yodel Song  "Gemutlichkeit In Winnipeg"
(thanks, Allan - bet you wondered when we'd have the chance to play
something like this!)
Fuzzy Love:  I Like Beer  "Pagan Schmalz & Other Sacrifices"
Les Maledictus Sound:  The Whistler  "Attention"
Eskimo Women's Music Of Povungnituk:  Song Of A Little Girl  "Inuit Throat &
Harp Songs"

Paul Kuhn:  Ich hab' in Winni-Winni-Peg 'ne Braut
The Incredible Bongo Band:  Bongo Rock  "Bongo Rock"
Les Couche-Tard:  Les Couche-Twistard  "Twist Chez Les Couche-Tard"
Les Couche-Tard:  Viens Danser Le Twist  "Twist Chez Les Couche-Tard"
Les Maledictus Sound:  Inside My Brain  "Attention"

Kids Of P.S. 63, Queens, NY:  We're Good Friends With Canada  "Lou's #1"
(thanks, Lou!)


Thanks for reading, and thanks for listening

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

Date: Sun, 01 Jul 2001 11:26:01 -0400
From: Lou Smith <[e-mail]>
Subject: (exotica) [obit] Chet Atkins

NASHVILLE, Tenn. (AP) -- Chet Atkins, whose guitar style influenced a generation
of rock musicians even as he helped develop an easygoing country style to
compete with it, died Saturday. He was 77.

Atkins died at home, a funeral director said.

Atkins had battled cancer several years. He underwent surgery to remove a brain
tumor in June 1997, and had a bout with colon cancer in the 1970s.

Atkins recorded more than 75 albums of guitar instrumentals and sold more than
75 million albums. He played on hundreds of hit records, including those of
Elvis Presley (''Heartbreak Hotel''), Hank Williams Sr. (''Your Cheatin'
Heart,'' ''Jambalaya'') and The Everly Brothers (''Wake Up Little Susie'').

As an executive with RCA Records for nearly two decades beginning in 1957,
Atkins played a part in the careers of Roy Orbison, Jim Reeves, Charley Pride,
Dolly Parton, Jerry Reed, Waylon Jennings, Eddy Arnold and many others.

Atkins helped craft the lush Nashville Sound, using string sections and lots of
echo to make records that appealed to older listeners not interested in rock
music. Among his notable productions are ''The End of the World'' by Skeeter
Davis and ''He'll Have to Go'' by Reeves.

''I realized that what I liked, the public would like, too,'' Atkins said in a
1996 interview with The Associated Press. '''Cause I'm kind of square.''

Chester Burton Atkins was born June 20, 1924, on a farm near Luttrell, Tenn.,
about 20 miles northeast of Knoxville. His elder brother Jim Atkins also played
guitar, and went on to perform with Les Paul. Chet Atkins' first professional
job was as a fiddler on WNOX in Knoxville, where his boss was singer Bill
Carlisle.

''He was horrible,'' Carlisle said at a tribute concert to Atkins in 1997. ''But
I heard him during a break playing guitar and decided to feature him on that.''

Atkins' unusual fingerpicking style, a pseudoclassical variation influenced by
such diverse talents as Merle Travis and Django Reinhardt, got him hired and
fired from jobs at radio stations all over the country. Atkins sometimes joked
that early on his playing sounded ''like two guitarists playing badly.''

During the 1940s he toured with many acts, including Red Foley, The Carter
Family and Kitty Wells. RCA executive Steve Sholes took Atkins on as a protege
in the 1950s, using him as the house guitarist on recording sessions.

RCA began issuing instrumental albums by Atkins in 1953. George Harrison, whose
guitar work on early Beatles records is heavily influenced by Atkins, wrote the
liner notes for ''Chet Atkins Picks on the Beatles.''

Sholes put Atkins in charge of RCA Nashville when he was promoted in 1957.
There, he helped Nashville survive the challenge of rock 'n' roll with the
Nashville Sound. The lavish sound has been criticized by purists who prefer
their country music raw and unadorned.

Atkins was unrepentant, saying that at the time his goal was simply ''to keep my
job.''

''And the way you do that is you make a hit record once in a while,'' he said in
1993. ''And the way you do that is you give the audience something different.''

Atkins quit his job as an executive in the 1970s and concentrated on playing his
guitar. He's collaborated with a wide range of artists on solo albums, including
Mark Knopfler, Paul McCartney, Eric Johnson, George Benson, Susie Bogguss and
Earl Klugh.

At the time he became ill, Atkins had just released a CD, ''The Day Finger
Pickers took over the World.'' He also had begun regular Monday night
performances at a Nashville club.

''If I know I've got to go do a show, I practice quite a bit, because you can't
get out there and embarrass yourself.'' Atkins said in 1996.

''So I thought, if I play every week I won't be so rusty and I'll play a lot
better.''

Survivors include his wife of more than 50 years, Leona Johnson Atkins, and a
daughter, Merle Atkins.

The funeral is Tuesday morning at Nashville's Ryman Auditorium, the former home
of the Grand Ole Opry.

    AP-NY-06-30-01 1737EDT
==========
a sidenote: when Homer & Jethro auditioned for the
Grand Ole Opry in 1949 they were denied membership because Jim Denny told
Kenneth C. "Jethro" Burns to fire the guitarist.  Jethro refused because the
guitarist was his
brother-in-law.  Denny told Jethro they were making a mistake because Chet
would never amount to anything as a guitarist!

http://www.google.com/search?q=%22chet+atkins%22
http://allmusic.com/cg/amg.dll?p=amg&sql=1CHET|ATKINS




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

Date: Sun, 01 Jul 2001 11:26:39 -0400
From: Lou Smith <[e-mail]>
Subject: (exotica) [NYTimes obit] Chet Atkins

July 1, 2001=20
Chet Atkins, Country Guitarist and Producer, Is Dead at 77
By BEN RATLIFF,NYTimes
Chet Atkins, the versatile guitarist and record producer who was a leader in
the growth of Nashville as a music center in the 1950's and part of the
elite force that transformed country music and affected popular musical
taste in America, died on Saturday at his home in Nashville. He was 77.

Mr. Atkins had battled cancer for several years, undergoing surgery to
remove a brain tumor in June 1997, and had a bout with colon cancer in
1970's, The Associated Press reported.

Nicknamed "The Country Gentleman," Chet Atkins accepted his position in the
music industry with a remarkable lack of arrogance, spending his last years
in his office on Nashville's "Music Row" singing and playing the old songs
with visiting performers whose recording careers he had a hand in shaping
and whose music he influenced.

Though he was directly involved in turning Nashville into a distinct country
music hit-making empire, he played down his own ingenuity as a prime mover.
"All I was trying to do was to keep my job," he recalled in 1988 of the days
when Nashville was becoming the center of country music in the mid-1950's.
"And the way you keep your job is to surprise the friends and neighbors with
each new record."

Chester Burton Atkins was born on June 20, 1924, on his grandfather's 50-
acre farm in the Clinch Mountains near Luttrell, Tenn. He spent his
childhood in poverty, and he said that left him with a sense of insecurity.
"We were so poor and everybody around us was so poor that it was the 40's
before any of us knew there had been a Depression," he wrote in his 1975
autobiography, "Country Gentleman."

Music was central to his upbringing. His grandfather was a champion fiddler,
and his father, James Arley Atkins, was a music teacher, piano tuner and
sometime evangelistic singer. His half-brother, Jim, would become the rhythm
guitarist in the Les Paul Trio in the 1930's, and his other brother, Lowell,
also played guitar.

Asthmatic as a child, Mr. Atkins learned how to play the banjo on days when
he had to stay home from school. "I'd play it until the strings broke," he
recalled. "When that happened, I'd just rip a wire out of the screen porch
and tune 'er up again. It took me 20 years to learn I couldn't tune too
well. And by that time I was too rich to care."

According to stories, he traded either a pistol or a farm wagon for his
first guitar, which was owned by his stepfather, Willie Strevel. He took up
the instrument at age 9, having already learned to play the ukulele and the
fiddle, and he played at local parties and roadhouses. Meanwhile, he was
learning guitar styles by listening to groups like the Sons of the Pioneers
and the Corn Cobblers on radio.

At 11, he moved to Columbus, Ga., where it was hoped that the drier climate
would ease his asthma. He lived with his natural father and his stepmother.
Listening to a Cincinnati radio station, the young Chet Atkins became
enthralled by the playing style of guitarist Merle Travis, and in 1941,
while working for the National Youth Administration in Mountain Hill, Ga.,
he spent his salary on equipment to make his acoustic guitar electric. To
get even closer to the Travis style, he devised a method of picking with a
thumb and three fingers that would later influence other guitarists. He did
not know that Merle Travis got his own sound with a thumb and one finger.

Mr. Atkins was a professional musician by age 17. The outbreak of World War
II spread Southern rural music as Southerners left home for military bases
and defense plants all over the country. Mr. Atkins quit high school and
took advantage of the wider demand for country music, getting a job as a
fiddler with the Jumpin' Bill Carlisle-Archie Campbell program, which was
broadcast once a week from WNOX in Knoxville, Tenn.

Lowell Blanchard, the director of the radio station, heard him idly
practicing guitar and was impressed enough to put Mr. Atkins on the
station's "Midday Merry-Go-Round" program. After the Carlisle-Campbell show
was canceled, Mr. Blanchard made Mr. Atkins the rhythm guitarist in the
radio station's staff band, at $30 a week.

Mr. Atkins was a solitary young man whose shyness was often misinterpreted
as hostility. As a result, he was often fired. He found and lost short-term
jobs at radio stations in Cincinnati; Raleigh, N.C.; Richmond, Va.; and
Springfield, Mo. But the guitarist's luck changed when the Carter Sisters
and Mother Maybelle, among the most popular performers on WNOX, added him to
their touring band.

The troupe traveled extensively and appeared every Saturday night on the
radio program "Tennessee Barn Dance" in Knoxville. They moved to
Springfield, Mo., where "The Carter Family and Chet Atkins Show" on KWTO
proved so successful that it was nationally syndicated.

Chet Atkins was becoming known throughout the country and his reputation
grew even more when he and the Carter sisters began to appear as stars of
the "Grand Ole Opry."

Mr. Atkins capitalized on his radio success with LPs, which he began
recording for RCA Victor in 1946. He had his first hit, "The Galloping
Guitars," in 1949. He moved to Nashville, where he found steady work as a
studio musician and as an artists- and-repertory man for Steve Sholes, the
chief producer of country and western records for RCA Victor.

Mr. Atkins settled into a group of young musicians who played on most RCA
country sessions, a group that included the pianist Floyd Cramer, the
drummer Buddy Harman, the bassist Bob Moore, and the guitarists Ray Edenton
and Grady Martin. Harmonies were provided by the Jordanaires and the Anita
Kerr Singers. The sound of that strong team at work enlivened hit after hit.

In 1957, Mr. Sholes, who had become head of artists and repertory for RCA
Victor in New York, appointed Mr. Atkins the manager of recording operations
in Nashville. "There were an awful lot of sidemen around who could have done
the same thing," Mr. Atkins said in 1988, when asked about his early
promotion to a position of authority at RCA. "But the difference was that I
was friends with Mr. Steve Sholes."

RCA built a recording studio in Nashville, and there Mr. Atkins, who had
left the "Grand Ole Opry" and the Carter Sisters to concentrate on his
recording career, guided many of the most famous country artists to success.
Among the singers whose career-enhancing records were produced by Mr. Atkins
were Don Gibson, Hank Snow, Jim Reeves, Roger Miller, Waylon Jennings, Dolly
Parton and Charley Pride. Don Gibson had failed with four record companies
before Mr. Atkins signed him for RCA. Mr. Gibson's first single for the
company was a recording of two songs he wrote on one day in 1957. The first,
"Oh, Lonesome Me," hit both the country and pop-music charts. The song on
the flip side, "I Can't Stop Loving You," became an American standard.=20

Mr. Atkins also suggested to Mr. Sholes that RCA should outbid Columbia
Records and sign Elvis Presley to a contract. RCA made millions of dollars
from that suggestion.

Mr. Atkins was regarded as possibly the consummate pop professional in
American music. He used his own wide taste, his mastery of every kind of
music, from the classics and jazz to religious music and flamenco, and his
familiarity with electronic instruments and sound to change the sound of
country music in the 1950's and 60's. Rock and roll had made enormous
inroads into country music when Mr. Atkins was operating as a record
producer. Sales of country music were declining and many radio stations were
switching to rock. Mr. Atkins was pivotal in adapting country music to
changing American tastes, initially toward a hard-edged, urban honky-tonk
style, then toward a suburban pop style with strings and vocal choruses.

This softer sound =97 Mr. Atkins liked to call it "uptown" =97 was marketed=
 as
"countrypolitan" but became more widely known as "the Nashville Sound." It
was created so that country music could have an identity separate from
rockabilly, but the softening also took place because Mr. Atkins and a few
other influential producers believed that the sounds of steel guitars and
country fiddles had become too old-fashioned.

Under his guidance, "progressive" country music achieved its intended
commercial crossover. Its admirers believe it saved country music from the
rock 'n' roll juggernaut, brought the music to mid-America in a way that had
not been experienced since Gene Autry, and turned Nashville into Music City
U.S.A.=20

Once success was achieved, however, the the style was derided for its
homogeneity and lack of backbone. "Aren't you going to ask me to define `The
Nashville Sound?' " Mr. Atkins would tease interviewers. Then he would
jingle some coins in his fist over the microphone. "It's the sound of=
 money."

Mr. Atkins became vice president in charge of country music for RCA in 1967,
but three years later he began to phase himself out of that end of the
business. "Producing can be so stressful," he said later. "I couldn't handle
it. It wasn't fun anymore."

Mr. Atkins made concert tours of Europe, Asia and Africa and played at the
Newport Jazz Festival, the White House and on numerous television programs.
He always played with a thumb-pick and his fingers, rather than a flat pick,
and he liked to show off his dexterity by playing two melodies
simultaneously on different strings. He took up the classical guitar and was
a guest artist with many symphony orchestras. Though he was offered honorary
degrees by various universities, he never accepted one; he preferred instead
the degree he bestowed on himself, Certified Guitar Picker or C.G.P.

He recorded duet albums through the 90's, among them sessions with the
singer Suzy Bogguss and the singer-guitarists Mark Knopfler and Jerry Reed.

Mr. Atkins was a tall, slender man who retained his childhood reticence.
Paul Hemphill described him in his book "The Nashville Sound" as "an
icy-veined, wry-humored, conservatively dressed refugee from the mountains"
with the "demeanor of a small-town undertaker."

He had been a member of the Country Music Hall of Fame since 1973 and
received many awards, including being named Cashbox magazine's outstanding
instrumentalist for 13 consecutive years.=20

He is survived by his wife of 55 years, Leona; a daughter, Merle, who was
named after his idol, Merle Travis; and two grandchildren.

In 1995, he told The Los Angeles Times that the reason he was still
performing on guitar was because he was still trying to "get it right."

"I've never expressed myself musically the way I would like," he said
"Because of that, I've had a long career. I've never been able to sit back
and say, `Wasn't I great? Listen to the one I made in 1958!' "





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

Date: Sun, 01 Jul 2001 11:35:52 -0400
From: Lou Smith <[e-mail]>
Subject: (exotica) [obit] Joe Henderson

The AP has announced the tenor saxophonist Joe Henderson died
Saturday,June 30th 2001,of heart failure.He had postponed going
to the hospital until the last minute despite a history of
problems.

Joe Henderson died Saturday, June 30, of heart failure following a long
bout with emphysema.
He was born April 24, 1936.

An obituary can be seen at
http://www.nytimes.com/aponline/national/AP-Obit-Henderson.html and an
interesting interview published in 1991 can be seen at
http://www.melmartin.com/html_pages/Interviews/henderson.html.

http://allmusic.com/cg/amg.dll?p=amg&sql=Bzyez97w7krst
http://www.google.com/search?q=%22joe+henderson%22




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

Date: Sun, 01 Jul 2001 11:22:06 -0700
From: [e-mail]
Subject: Re: (exotica) denny vs. baxter in the bins

At 12:31 PM 6/30/01, basic hip wrote:.
>Each have "lounge" sections, which continue to shrink with every visit.  On
>the other hand, certain artists that were once empty or did not exist at all
>are on the rise.

I have the same experiences in Portland, Oregon.  The stores which I went
to for new CDs of lounge have merged any remaining CDs into Easy Listening,
Jazz and Latin.  It is now much more difficult to find CDs.

The "heyday" of exotica is over.  Long live exotica!

Does this mean I would abandon my own collection of LPs?  No way...I never
collected because it was popular, only because I liked it.

However, I had hoped that the popularity of it would encourage more CDs to
be produced...and now I have lost hope in that.  Yet, maybe it will be
easier to find the records I want...and I can make my own CDs!

Byron



___...--''''***^^^^^^""""""^^^^^***''''---___
"Life is short. Stay happy."              |||
|||        ---May 2001 aol.com tv advert  |||
|||bag AT hubris DOT net Portland, OR, USA|||
"""^^^'''***----...__________...----'''^^^"""



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

Date: Sun, 1 Jul 2001 14:46:22 -0700
From: PjB <[e-mail]>
Subject: (exotica) Score!

well, a bit of thrifting yesterday turned up some great finds, which i will
list without ceremony:

1) ray martin and orchestra / dynamica (stereo action!) / RCA  LSA-2287
    condition vg, $1

2) the hi-lo's in stereo w/ frank comstock orchestra / omega  OSL-11
     nm, $1     (i don't know where this one falls in their discography,
but it is pre-CBS, so early)

3) george feyer / echoes of broadway / vox VX 25.350  (piano w/ rhythm
accompaniment)
     g, $1

4) ames brothers w/ sid ramin orch. / smoochin' time / rca  LSP-1855
     vg, $1

5) phase 4 stereo / demonstration record / london SPD 4  (this is a comp of
various orchestras.  london did a series of these, similar to rca's Stereo
Action! series)
  g, $1

6) the exciting.... lena horne w/ phil moore orch. / craftsmen C8018
(great cover shot)
  nm, $1

7) Time  Series 2000 / new sounds! /  (this is a strange one... a
collection of tunes by bands like 'bongos and brass', 'pin point
percussion', 'flutes and percussion', etc.  the motto on front of the
record is 'for those who dare.... the exclusive sound extra..'  i haven't
been able to find out much about this one, except that it was a division of
Time magazine...)  g, $1

8) hang on ramsey! / ramsey lewis trio / cadet LP-761 /  (this was recorded
live at the light house, hermosa beach, ca.  interesting because he's doing
some pop hits of the day, including 'hang on sloopy', and a couple of
beatles tunes--- 'a hard days night (!)', and 'and i love her'...
g, $1

9) pete rugolo and orch. / an adventure in sound - REEDS / mercury SR 60039
/ (this is great... TEN reed players w/ rhythm section playing some jazz
standards and even a charlie parker tune, where they arranged some of
birds' solo for ten reeds.... a precursor to what supersax would do 20
years later!  features, among others, andre previn, bud shank, and barney
kessel.  another great cover shot...)  nm, $1

10) dinah washington / the queen! / mercury MG20439 /  vg+, $1

all in all, a good thrift score, and cheap!

.02
pb/

































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

Date: Sun, 01 Jul 2001 17:45:32 -0700
From: Kevin Crossman <[e-mail]>
Subject: (exotica) True Story: Desert Island Discs

Went over to Tower Records yesterday and picked up the latest issue of
their house-organ magazine Pulse.

I thought to myself - hey I ought to send in a list of "Desert Island
Discs" (a regular feature of the zine) with an Exotica theme - what
better for a desert island, right?  (BTW - in an earlier life I had a
DID list published in 1988)

So, I'm thinking about the selections I would put in there. Gotta have
Denny and Baxter. Check. Drasnin - yeah, he's in there too. Don Tiki
would be a good modern inclusion and of course their album is great and
deserves to be there... check.

I'm thinking away and start to read the issue.  I turn over to the DIDs
and see what's there.  Low and behold I see a photo of the cover of
Capitol's "Exotic Sounds of Martin Denny" comp.  The heading for the
list reads "Exotica A-Z". Full of Denny, Baxter, Drasnin, Ahbez, et. al.
  I look to see who contributed this list.

Lloyd Kandel, Honolulu HI !!

Floyd, Goddamned Floyd beat me to the punch. He even had the balls to
include Don Tiki on his list.  I'm not saying they don't belong, but
(for those in the know only) a little self-serving. Heh heh, I love it.

My only gripe is the exclusion of Arthur Lyman from Floyd's list. While
Lyman lacks a great comp, he should still be there (IMHO).

Anyway, congrats to Fluid Floyd for a great list and a little Exotica
props for the rest of the world!

- -Kevdo
- --
***********************************************************
*     Kevin Crossman           [e-mail]            *
*   http://www.kevdo.com  - The Narrow Interest Portal    *
*  Lip Balm Anonymous, Ultimate Mai Tai, Exotica Archive  *
***********************************************************


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

Date: Sun, 1 Jul 2001 18:29:08 -0700
From: PjB <[e-mail]>
Subject: Re: (exotica) Score!

>5) phase 4 stereo / demonstration record / london SPD 4  (this is a comp of
>various orchestras.  london did a series of these, similar to rca's Stereo
>Action! series)
>  g, $1

this one is excellent!  one of the tunes...'colonel bogey'.... is
incredible. true exotica at its best... has anyone heard of the band that
did this? they are called Johnny Keatings Kombo.
i'd really like to find a whole record of these guys. bongo city...

also, an amazing 'tiger rag', by eric rogers and his orchestra... replete
with gutteral vocal sounds and a damsel in distress.  wild....

.02
pb/











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

Date: Sun, 1 Jul 2001 20:04:25 -0700
From: "basic hip" <[e-mail]>
Subject: (exotica) where's that Mimi?  Got your Sammy song

Mimi had asked about Sammy Davis Jr's version of "The Man With The Golden
Arm"

It took some digging - evidently it was never on an LP - only released as a
45 single on Brunswick or Decca.

This is the Decca version, which I stumbled upon today.  Just for you, Mimi
:)

http://www.basichip/sounds/sammy.mp3







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

Date: Sun, 1 Jul 2001 20:14:33 -0700
From: "basic hip" <[e-mail]>
Subject: Re: Bad URL (Re: (exotica) where's that Mimi? )

Oops, sorry - I gave a bad URL, this should do the trick:

http://www.basichip.com/sounds/sammy.mp3




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

Date: Mon, 2 Jul 2001 18:30:47 +0400
From: Dmitri Bender <[e-mail]>
Subject: (exotica) Re: by the numbers...?

Hi All,

PjB wrote:

- -----
Date: Fri, 29 Jun 2001 17:56:13 -0700
From: PjB <[e-mail]>
Subject: (exotica) by the numbers...?

hi all.....
i was just reading an interview with jazz pianist dave brubeck, one that
was done in '95 or so.
at one point, he starts talking about what the jazz scene was like in
eastern european communist countries in the 40s and 50s.

in another paragraph, he talks about doctors using x-ray screens to make
bootleg copies of his music, taken off the VOA radio programs.  very
strange..... sounds incredible.  here 'tis:

DB:  "My music and a lot of jazz was taken off of the Voice of America
      when it was broadcast, by doctors and technicians in a hospital,
        on X-ray screens. They could make a copy some way on an X-ray
     screen and make that into a recording. A lot of my music was done
                                          that way."

comments? additions?  anyone..?
- ------


I confirm this information. I'm Russian, and although I'm 34 - so
I apparently didnt catch that time - I do aware that back in 50s
people used this very media - X-ray screens - in order to record
music "from the West" and distribute it among likeminded folks - not
only jazz, virtually any kind of popular music (it makes no sense to
record classics this way ;). This kind of recordings were referred to
as "recordings on bones" ;) - due to images on those X-ray screens :)
These recordings were suitable for turntables. As for the method
itself: a taperecorder output was linked with weird macinery equipped
with a crook. The crook had a needle (nail alike) which would produce
curves on a floppy media by scratching out chips and thus in the end
we had a self-made recording. X-ray screens could be picked up in
trach cans nearby hospitals. One screen could fit only one song.

That's it :)


Dmitri Bender
"The Voic eof Theremin" radioshow
http://i.am/golos




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Date: Mon, 02 Jul 2001 10:14:36 -0400
From: Brian Phillips <[e-mail]>
Subject: (exotica) Oh...my!

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Date: Mon, 02 Jul 2001 15:38:25
From: "Robert McKenna" <[e-mail]>
Subject: Re: (exotica) Score!

>also, an amazing 'tiger rag', by eric rogers and his orchestra... replete
>with gutteral vocal sounds and a damsel in distress.  wild....
>
>.02
Have you heard (on I think the same phase 4 comp) Stanley Black Orchestra
with rythm and female chorous doing 'Caravan'? Marvellous exotic percussion
and star trek style female wordless vocals. I usually play it on top of an
old African Head Charge 12".
rob
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Date: Mon, 02 Jul 2001 11:51:29 -0500
From: Paul Wages <[e-mail]>
Subject: Re: (exotica) Score!

> this one is excellent!  one of the tunes...'colonel bogey'.... is
> incredible. true exotica at its best... has anyone heard of the band that
> did this? they are called Johnny Keatings Kombo.
> i'd really like to find a whole record of these guys. bongo city...

Keating's "Colonel Bogey" is on "Percussive Moods" (SP 44005).  I have
several Keating LPs, but this one is my favorite if only for his version of
"Delilah" which is prime Exotica somewhat in the vein of Mel Henke's "Exotic
Adventure".  Not a hard find either, so check it out!



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

Date: Mon, 2 Jul 2001 19:04:01 +0200
From: "Maurizio Mansueti" <[e-mail]>
Subject: (exotica) Transistors News! Kid Loco - Gak Sato - Masanori Ikeda in ...Mission on Venus!

Greetings Earthling!
Waiting for the new album "Atelier" on Temposphere/Right Tempo rec., we are
pleased to introduce to you:
The "Mission on Venus" adventures!

What subliminal message is hidden behind the vocalize of Miss Ari?
Waiting for an answer, enjoy with these three new Transistors adventures!

1) Mission on Venus - Kid Loco Belleville Carnival Mix
(June 2001 - Temposphere / Right Tempo)
Kid Loco is the most eclectic dj of the Parisian scene.
Since the first time that he listened "Mission on Venus" vynil ep, Kid loved
our track.
So it's a great honour for us to present his Belleville Carnival Mix!
You can listen a preview on-line at kid loco.com

2) Mission on Venus - CDep
(June 2001 - Temposphere / Right Tempo)
And finally on cd, "Mission on Venus"!
This new Temposphere / Right Tempo edition includes
the 2000 original vynil release of Mission on Venus
plus Kid Loco Belleville Carnival Mix.

3) "SPINOUT 2" - Non Stop DJ Mix by Masanori Ikeda - Out now! 2001.5.23
(V2 Records - Japan - http://www.v2records.co.jp)
that includes The Transistors with "Mission on Venus - Gak Sato Custom Mix"
http://www.v2records.co.jp/special/o004_sc/010504/spinout2.html

See also Discography page and Fan Club page on The Transistors Space
Station.

Stay tuned Earthlings!

ErMan
____________
for contact
The Transistors:

The Transistors Space Station
http://members.xoom.com/Lounge_Italy/the_transistors.htm




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

Date: Mon, 2 Jul 2001 10:17:41 -0700 (PDT)
From: tikiman <[e-mail]>
Subject: Re: (exotica) True Story: Desert Island Discs

Hey Kev-- mahalo for including us on your mental DID
list... and you're right, Lyman should've been on
mine! Obviously for this group, my list is exotica
101... just wanted to hip the uninitiated to what's
easily available from the past and present artists.
And yeah, although it seems self-serving... gotta plug
the Don every chance we get. here's the list Tower
printed:

Exotica A - Z

My DID list for an imaginary tropical paradise... full
of exotic percussion, evocative jungle sounds, congas,
bongos, vibraphones and sensual vocals.

1. Eden Ahbez- Eden's Island
2. Les Baxter- The Exotic Moods of
3. Combustible Edison- Schizophonic!
4. Martin Denny- The Exotic Sounds of
5. Don Tiki- The Forbidden Sounds of
6. Robert Drasnin- Voodoo!
7. Bebel Gilberto- Tanto Tempo
8. Mondo Exotica- Ultra Lounge/Volume 1
9. Tipsy- Trip Tease
10. John Zorn- The Gift

Lloyd Kandell (aka Fluid Floyd)
Honolulu, HI

- --- Kevin Crossman <[e-mail]> wrote:
>
> Went over to Tower Records yesterday and picked up
> the latest issue of
> their house-organ magazine Pulse.
>
> I thought to myself - hey I ought to send in a list
> of "Desert Island
> Discs" (a regular feature of the zine) with an
> Exotica theme - what
> better for a desert island, right?  (BTW - in an
> earlier life I had a
> DID list published in 1988)
>
> So, I'm thinking about the selections I would put in
> there. Gotta have
> Denny and Baxter. Check. Drasnin - yeah, he's in
> there too. Don Tiki
> would be a good modern inclusion and of course their
> album is great and
> deserves to be there... check.
>
> I'm thinking away and start to read the issue.  I
> turn over to the DIDs
> and see what's there.  Low and behold I see a photo
> of the cover of
> Capitol's "Exotic Sounds of Martin Denny" comp.  The
> heading for the
> list reads "Exotica A-Z". Full of Denny, Baxter,
> Drasnin, Ahbez, et. al.
>   I look to see who contributed this list.
>
> Lloyd Kandel, Honolulu HI !!
>
> Floyd, Goddamned Floyd beat me to the punch. He even
> had the balls to
> include Don Tiki on his list.  I'm not saying they
> don't belong, but
> (for those in the know only) a little self-serving.
> Heh heh, I love it.
>
> My only gripe is the exclusion of Arthur Lyman from
> Floyd's list. While
> Lyman lacks a great comp, he should still be there
> (IMHO).
>
> Anyway, congrats to Fluid Floyd for a great list and
> a little Exotica
> props for the rest of the world!
>
> -Kevdo
>

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

Date: Mon, 02 Jul 2001 11:42:56 -0700
From: "F. Cobalt" <[e-mail]>
Subject: (exotica) taking the kitsch out of tiki

I ran across this on the NY Times site today, and it's so lame I had to share. They are so right, "kitschy tiki" is, like, so done to death!

Mr. Unlucky
- --
Tiki Room
NYToday Pick, After Work, Lounges

Is it possible to take the kitsch out of Tiki culture? That is the concept behind Tiki Room, a new, sleekly modern lounge at 4 West 22nd Street in Manhattan. Nancy Mah, who also designed the interiors of hangouts like Lotus and Sushi Samba, did away with the nostalgic Polynesian staples -- thatched huts, flamethrowing pu pu platters and red-eyed tribal totems -- and replaced them with pared-down references. There are abstract sunsets made of backlighted plexiglass, and plasma television screens play surf videos and have Internet access. The tropical cocktails have lost their dry ice mist and have been given names like the Honolulu Hangover and Hawaii 5-Ohhhh! Instead of servers in Don Ho attire, the waitresses wear midriff-baring Hawaiian-print halter tops. The massive Tiki head that traditionally lords it over the festivities is still there, but its forbidding features have been smoothed away, leaving an 18-foot-tall modernist sculpture with a V.I.P. seating area inside. "We w
anted to do something different," said Eddie Dean, co-owner of the lounge with Steve Steckel. Ms. Mah, snacking on jalape~no-glazed pork ribs in front of the sunset, said: "Kitschy Tiki has been done so well for many years at places like Trader Vic's and the Tonga Room. So there was no point in trying that again." -- Julia Chaplin

From "Pulse: On Bali Hai, No Ballyhoo," The Times, 5/27/01.










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

Date: Mon, 02 Jul 2001 14:54:24 -0400
From: [e-mail]
Subject: Re: (exotica) taking the kitsch out of tiki

Here's the Sheckys review of the Tiki Room.
[e-mail]
(I don't know if I'm happy or sad that my office just moved from around the corner from TR to across the street from the main library)

http://newyork.sheckys.com/bar.asp?id=72
Tiki Room
4 W. 22nd St.
(5th & 6th Aves.)
Flatiron
646-230-1444

ItÆs not like you need a hook to get you up off the sofa for the night, but a cutesy, kitschy theme never hurt anyone. And, while youÆll be greeted by a giant tiki icon and a barrage of faux bamboo crafted from cardboard tubes care of Designer Nancy Mah, there are no leiÆs to speak of and over all the Polynesian rendering is subtly toned down to cater to the persnickety downtowners who actually like kitsch but act like they donÆt. So take a seat alongside the tiki torch and order a spiked slurpee (available in eight fruitilicious flavors like raspberry and Hawaiian Punch, $10) and a plate of tropical Cajun cuisine. Coming soon: Sex and The City viewings on Sunday nights.

[e-mail] wrote:
>
I ran across this on the NY Times site today, and it's so lame I had to share. They are so right, "kitschy tiki" is, like, so done to death!

Mr. Unlucky
- --
Tiki Room
NYToday Pick, After Work, Lounges

Is it possible to take the kitsch out of Tiki culture?


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

End of exotica-digest V2 #1007
******************************