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exotica-digest      Thursday, September 6 2001      Volume 02 : Number 1040



In This Digest:

(exotica) Gary McFarland and the Now Sound
Re: (exotica) Johnny Keating / Norrie Paramor finds
Re: (exotica) Re: The Now Sound
Re: (exotica) Gary McFarland and the Now Sound
(exotica) public radio scumballs
(exotica) ghetto-ized pop music
(exotica) elimination of tv
Re: (exotica) elimination of tv
Subject: RE: (exotica) Kahimi Karie (was RE: Claudine & Out of Sight)
Re: Subject: RE: (exotica) Kahimi Karie (was RE: Claudine & Out of  Sight)
Re: (exotica) elimination of tv
RE: (exotica) Johnny Keating / Norrie Paramor finds
(exotica) Playlist for Mondo Bongos Sep 5, 2001
Re: (exotica) The Now Sound
Re: (exotica) "Adult Swim"
Re: (exotica) Petty Booka
(exotica) Exotica Down Under
(exotica) Tahitian Song Book / LP Finds
Re: (exotica) ghetto-ized pop music
Re: (exotica) The Now Sound
(exotica) Phase Four
Re: (exotica) Ronnie Aldrich
Re: (exotica) The Now Sound
Re: (exotica) Phase Four
Re: (exotica) Ronnie Aldrich
(exotica) songs for the jet set
(exotica) Norrie

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

Date: Tue, 04 Sep 2001 14:44:24 -0400
From: alan  zweig <[e-mail]>
Subject: (exotica) Gary McFarland and the Now Sound

At 10:06 AM 9/4/01 -0500, Clayton Black wrote:
>
>
>Alan,
> Because my computer's at my office and not home (where my records are),
>there is a slight possibility that I've got the title off a bit, but I'm 99%
>certain that that's it.  My only hesitation comes from hearing that you
> haven't heard of it (as in, "can it be?  Have I got the name wrong?").  I
>assumed this was a staple of your collection.

My entire view of the universe is based on the records I own - or have
owned.  I  have no idea about all the records I've never owned or never
seen. These kinds of records have been my focus for a few years now and I
suppose I sound like I'm being "authoritative" when I talk about them.  But
that's not because I think I know everything about them.  Or everything
that's out there somewhere.
I've owned four Gary McFarland records.  Soft Samba, Soft Samba with
Strings, Does the sun always shine on the moon and that one where he sings
these horrible funny duets with Gabor Szabo.
I accidentally bought this one called "Sympathetic Vibrations" on ebay and
it turned out to be a reissue of Soft Samba.  But it was a way better copy
so I kept it.  I always have trouble finding these McFarland records in
playable shape.
I've never found a good copy of "Does the sun..".  Maybe "In Sound" is a
reissue of that one.  I think he does "God only knows" on it.
I've gotten rid of almost everything that isn't in pretty good shape so I
can't actually go and retrieve the information anymore.
Anyway if you were inferring that I'm the big expert on all this stuff, I'm
not.  I may be the resident pundit but like I said, somewhere out there I'm
sure there are a thousand records that would blow my assumptions to shreds.
(However that doesn't stop me from having them.)

And for those interested in keeping the Now Sound debate alive, I do sort
of include Gary McFarland's "samba" records in the Now category and it
really doesn't have any of the classic signs I mentioned before.
Like horns.
I would include it because of its use of Beach Boys-style backing vocals.
And in the same sub-category I'd include perhaps my favorite record of the
period, Hugo Montenegro's "Good Vibrations", which is basically a vocal
harmony record.

I've been boiling down some of my new "soft, easy and sleazy" CD's lately.
Those "Soft n Easy" compilations out there.  Stuff like the Lindberg Hemmer
or even Fantastic Planet.  I notice some of that stuff appropriates the
term "Now Sound".
And I can actually see an association between my definition of the Now
Sound of the sixties and their use of the term.

It's all about a late-sixties notion of "MODERN".

With it.

AZ







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

Date: Tue, 04 Sep 2001 14:59:00 -0400
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) Johnny Keating / Norrie Paramor finds

At 10:54 AM 9/4/01 -0500, Clayton Black wrote:
>
>Okay.  I hope I can still get my ticket refunded.  My first exposure to
>Johnny Keating was on the Loungcore compilation "The Easy Project," which
>has some nice, swinging soundtrack-type songs.  I forget which were his, but
>I had assumed that JK was a hip arranger & conducter.  The "Temptation"
>album didn't dissuade me from that, although the subsequent Phase 4
>purchases were fairly disappointing.

You shouldn't assume such things about any of these guys.
You talk about Laurie Johnson.  I once had this record of his which had I
believe, the original version of whatever TV theme he's famous for - is it
the Avengers?.  On this record, it was just called "The Shake" or something
like that.
But the rest of the record was nothing like that cut.  Just your basic
well-arranged easy listening.
In an earlier post today someone said they associate Norrie Paramour with
producing the Shadows.
Boy that's not what I think of when I think of Norrie.  I associate him
with pretty well the opposite of that.  I was just listening to this record
of his called "The Zodiac".  You can probably figure out what it is.  A
tune for every sign of the zodiac.  It's sort of nice.  But it's all
strings and very low-key.  I think pretty well everything I've ever heard
by Norrie was like that.
But I'm not surprised to find out he went on to make some groovy things too.
Didn't they all?
I like a lot of things by Sounds Orchestral but nothing they did prepares
me for some of the John Schroeder cuts I've heard on those Loungecore
reissues.
The first time I heard John Keating, I figured he was just Ted Heath under
another name.
But maybe Ted also made some groovy records eventually.  (I don't like the
Heath vs. Ros record that much.)
With Keating, I get the feeling that when he called himself Johnny, he was
hipper. But maybe I have that wrong and he was always Johnny.
I find Phase Four really interesting.
Those records add an interesting wrinkle to the "Now Sound" debate.  I
basically think they don't qualify.
But when I make compilation CDR's, I include Ronnie Aldrich in what I call
my "Soft Now" category.
I don't think it is Now but I don't have another word for it.

bye for now

AZ



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

Date: Tue, 04 Sep 2001 15:10:46 -0400
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) Re: The Now Sound

At 10:25 PM 9/3/01 -0400, Brian wrote:
. Alan mentions horns as an essential component and I'd
>probably agree.. but organs can also do the job as can the right guitar
>sound.
>
>Anyway, its too bad this discussion stopped so quick as I still feel a need
>to discuss the subject further.

I didn't mean to say that if it doesn't have horns, it doesn't qualify.  I
only meant that horns are a hallmark of the classic and most easily
identifiable Now Sound records.
I don't know if they always used horns during the go-go sequences on
Laugh-In yet I agree with those who identify that as classic Now.
I think the reason horns make it identifiable is because otherwise it can
be difficult to distinguish it from "instrumental rock".
The sound is about an attitude, not a set of instruments.  It's just that
if they use horns, it's clear to me that they have that attitude.
For me the attitude includes what you might call a "miscalculation".
They're not making rock instrumentals.  They're making their version of
rock instrumentals.
And when they use horns, it's obvious they sort of don't get it.

(On the other hand, there are Willie Mitchell records and Booker T with the
horn section.  So it's not a sure sign.)

I mentioned this record I heard at Will's called "Mood Mosaic".  No it's
not a set of CD's recently reissued.  It's one record on Studio 2 and Nicky
Hopkins plays harpsichord on it.
I don't think there are any horns on that but I'd call it very Now Sound.
In the case of this record - which I hope to find some day - it's the vocal
chorusses  they sprinkle in, that marks it as very Now.

The now debate continues.
(And the race-of-DJ's debate hopefully dies.)

AZ



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

Date: Tue, 04 Sep 2001 15:28:41 -0500
From: Clayton Black <[e-mail]>
Subject: Re: (exotica) Gary McFarland and the Now Sound

> I accidentally bought this one called "Sympathetic Vibrations" on ebay and
> it turned out to be a reissue of Soft Samba.  But it was a way better copy
> so I kept it.  I always have trouble finding these McFarland records in
> playable shape.
> I've never found a good copy of "Does the sun..".  Maybe "In Sound" is a
> reissue of that one.  I think he does "God only knows" on it.

"The In Sound" is a separate album that preceded "Does the Sun Really Shine
on the Moon."   Douglas Payne has a nice web site on Gary McFarland at
http://www.dougpayne.com/gary1.htm
His discography is  extensive, and looking at it I realize how much there is
that I never knew existed.  His contributions to most of the albums are as
arranger, but the Skye label was his own, and he had quite a few albums
there.  I guess the Verve stuff just got better distribution.  Can anybody
out there comment on "Today," "America the Beautiful," or "Butterscotch
Rum"?
The story of McFarland's untimely demise is also tragic.  Seems somebody
slipped some liquid meth into his cocktail and he died on the spot.  The web
site doesn't offer more information on the event than that.
Clayton



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

Date: Tue, 4 Sep 2001 11:40:10 -0400
From: Jerry Nutter <[e-mail]>
Subject: (exotica) public radio scumballs

Domenic Ciccone: Public radio may in time loosen up. It may not really be
their fault. It's
the public that drives support after all. The GM would play bagpipes all
day if it generated the pledges... And maybe in about 20 years when we are
in our 60's well get a chance to
play Denny and Esquivel on public radio.

audiocarp: Don't hold your breath and don't quit your day job! I was a
volunteer at WNYC here in New York and their idea of "loosening up" is
running Schickele Mix! And yes, it *is* their fault that they suck and are
totally unresponsive to their audience. Your station may be the only one in
the country that doesn't take money from corporate underwriters, but the
majority of public radio stations live for that "payola". They even have an
office devoted to it, euphemistically called "Development". And they also
have been stepping up the amount of commercials on 'NYC, as on public
television, all because their precious gov't funding has been cut.
Meanwhile, if they had a dedicated core audience who supported them, they
wouldn't need any of it! But then they'd actually have to cater to that
audience, and they don't even know who their audience is. They rely on a
quarterly Arbitron demographic report. And they use that to get the ad
money.
And don't get me started on the numbskulls who work there who haven't a
clue as to what the appeal of radio is or how it should be used...
Not to mention NPR...
Not to mention that the term "public radio" is a misnomer: In what sense,
does Western classical music represent the public?




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

Date: Tue, 4 Sep 2001 20:17:25 -0400
From: Jerry Nutter <[e-mail]>
Subject: (exotica) ghetto-ized pop music

Stephen Worth: The truism that "popular" music is never as good as
"serious" music is a relatively recent one. If you look at the list of
artists that sold the most records from 1900 to 1960, the list would look
something like this... Enrico Caruso, Louis Armstrong, Duke Ellington,
Benny Goodman, Glenn Miller, Bing Crosby, Frank Sinatra, Elvis Presley...

audiocarp: I maintain that popular music was *never* any good, but like
everything else, it's been in steady decline for so long that the divide
between the two has finally become plainly clear to anyone with a brain
connected to their ears. (I think pop actually died around 1969.) The
reason for this decline is anyone's guess, but I think it's due to radio
consultants, the dumbing down of Americans and entropy.
Also, don't agree on your list of top sellers: As someone who's wasted a
lot of time digging through endless piles of Mitch Miller and Frankie Laine
78s at yard sales, I can testify that Louis Armstrong, the Duke and the
King sold bupkus compared to those others you mentioned. We're talking
ratios of at least 500:1 here. And Caruso blows! He was the Madonna of
1910. (His records sell for a buck apiece at record shows.)

Stephen Worth: The ghettoisation of popular music has only been since the
British Invasion when marketing became more important than the music.

Kahuna: I have thaught so for quite some time, too. I think the
developement was furthered after 70s Punk.

audiocarp: As for marketing overtaking the music, ever heard of Johnny Ray,
guys? And Sinatra paid his bobbysoxers to swoon at his concerts! I think
Kahuna is referring to the Anglophilia which a lot of US radio and magazine
people seem to have. To them any English import has an instant cache. Back
in the 80s, I admit I caught this 'orrible disease when I first heard the
Clash, the Specials, Pistols, Damned, Jam, et al. But a couple of years
later, when all those bands crapped out or broke up, what replaced them?
Spandau Ballet and Duran/Duran. That cured me! The really funny thing is
that to this day, if you read NME, they have Yank-o-fever over our groups
like Destiny's Child! I guess the grass is always greener...










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

Date: Tue, 4 Sep 2001 21:06:06 -0400
From: Jerry Nutter <[e-mail]>
Subject: (exotica) elimination of tv

Alan Zweig: In a book called "Four Arguments for the Elimination of
Television", the
author pointed out that three hundred years ago, if native Americans walked
into the forest and two of them ate a strange plant and died, they'd just
say "Nobody eat that plant".  Now we appoint a commission to study the matter.

audiocarp: Those must be four really long arguments to fill a book! Which I
could read, because I have attention deficit disorder from watching MTV.




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

Date: Tue, 04 Sep 2001 21:29:09 -0400
From: [e-mail]
Subject: Re: (exotica) elimination of tv

> In a book called "Four Arguments for the Elimination of Television"
>
> audiocarp: Those must be four really long arguments to fill a book!

I was impressed with 'Four Arguments' -- It is one of my two favorite bookss
concerning television.  The other is Neil Postman's 'Amusing Ourselves to Death'

Both books are likely to result in you watching less television and listening to
more records.

For those interested, here's the preface to 'Amusing Ourselves to Death' ....
http://serendipity.magnet.ch/jsmill/post_1.html

Vern




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

Date: Tue, 4 Sep 2001 20:46:15 -0700
From: "JamesBGerwitz" <[e-mail]>
Subject: Subject: RE: (exotica) Kahimi Karie (was RE: Claudine & Out of Sight)

<<<Date: Tue, 4 Sep 2001 15:41:33 +0100
From: [e-mail]
Subject: RE: (exotica) Kahimi Karie (was RE: Claudine & Out of Sight)

<Kahimi Karie, Cornelius, Fantastic Plastic Machine,  Pizzicato 5, Takako
Minekawa are some of the more obvious names.  But a whole creative thing
going on over there.
At least that means that they've been putting those expensive LP's to good
use.
The Scamps.
El Maestro Con Queso>>>>>

 A good place to hear asian pop is on live365.com, just do a search on jpop.
I have soccerchic10's station on my presets (along with BGSpradlin's always
wonderful Spectropop's GirlPop Radio.)  Many of the jpop, kpop & cantopop
singers do the Celine/Mariah/Whitney/TLC/Destiny's Child/Madonna/etc
imitations, but there is
enough frothy bouncy dancy girlpop to keep you busy. Seems I'm more
accepting when pretty young girls one-third my age sing songs in a language
I don't understand.

About a year ago I would check the charts at Angelpop & YesAsia (which have
since merged) and listen to sound samples of the cutest girl singers or
groups. Unfortunately YesAsia is tight with the samples now. Anyway, back
then a trip
over to that now-moribund file-sharing place would turn up lots of mp3's by
the cuties at Angelpop.
I must have hundreds, and just found two Petty Booka tunes at Morpheus,
including a jumpin bluegrass version of Material Girl and a folksy Do You
Really Want to Hurt Me.

So the above artists mentioned by El Maestro are the ones that have had some
success or at least CD releases in the US. But let me add the following to
the list: Puffy Amiyumi (new US release), Ayumi Hamasaki, Hi-Posi, Morning
Musume, Speed, Every Little Thing, Utada Hikaru, & rockin' Shiina Ringo.
Korea gives us BabyVox, Finkl, SES and on and on. The International Channel
has the Korean equivalent of MTV's TRL on Monday night and a mandarin
Chinese top 20 on Wednesdays. Korean CD's are cheap and occasionally come
with a VCD
of music videos. FYI YesAsia sometimes has "international"  (Taiwan)
versions for $10 less than the Japanese CD's.

Funny how during the Napster heyday my Pink Lady songs were popular
downloads. And now all 6 Pink Lady episodes are being released on DVD in
early October (been pushed back a few times already). Here's a blurb from
CDNow:
"300 Minutes . This DVD contains episodes 1-6 and includes guest stars
Blondie, Larry Hagman, Hugh Hefner, The Playboy Playmates, Alice Cooper and
Roy Orbison."
Yikes, the Apocalypse is near - 6 hours!!! I better go use that CDNow coupon
that expires tonight.

JBjpopkpop









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

Date: Tue, 04 Sep 2001 21:13:13 -0700
From: crymad <[e-mail]>
Subject: Re: Subject: RE: (exotica) Kahimi Karie (was RE: Claudine & Out of  Sight)

JamesBGerwitz wrote:
>

> So the above artists mentioned by El Maestro are the ones that have had some
> success or at least CD releases in the US. But let me add the following to
> the list: Puffy Amiyumi (new US release), Ayumi Hamasaki, Hi-Posi, Morning
> Musume, Speed, Every Little Thing, Utada Hikaru, & rockin' Shiina Ringo.

Holy Jap crap...believe me, the charming exoticism of these very mass
market performers dwindles after you are subjected a few months of
encounters from TV, radio, commercials, karaoke, and piped-in store
music.

- --cm


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Date: Wed, 05 Sep 2001 01:32:40 -0400
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) elimination of tv

At 09:06 PM 9/4/01 -0400, Jerry Nutter wrote:
>
>Alan Zweig: In a book called "Four Arguments for the Elimination of
>Television",
>
>audiocarp: Those must be four really long arguments to fill a book! Which I
>could read, because I have attention deficit disorder from watching MTV.

It's a great book.  I read it a million years ago but I remember it fondly.
 I watch more TV than most but I kind of wish it didn't exist.  I can't
stop watching it on m own.  I need help.  Please eliminate it.
I think the author's name was Gerry Mander, which may be a pseudonym given
the fact that his name makes up a word, I think.

AZ



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

Date: Wed, 5 Sep 2001 09:14:30 +0100
From: [e-mail]
Subject: RE: (exotica) Johnny Keating / Norrie Paramor finds

Irritatingly I've embedded comments..

> In an earlier post today someone said they associate Norrie Paramour with
> producing the Shadows.
> Boy that's not what I think of when I think of Norrie.  I associate him
> with pretty well the opposite of that.
Norrie Paramor wrote and produced pretty much all of Cliff Richard and The
Shadows 50's and early 60's stuff, and was quite a player in the Brit.
Rock'n'Roll scene of the time.  Even if he was producing very soft Latin
LP's at the time (eg Lovers in Latin from '58).   BTW he did a latin LP of
Cliff and Shadows songs that was released on a Studio 2 twofer 2 years ago.
> But I'm not surprised to find out he went on to make some groovy things
> too.
> Didn't they all?
> .
> The first time I heard John Keating, I figured he was just Ted Heath under
> another name.
I don't know if that was an informed remark or just off the cuff, but on the
Temptation LP it says JK was arranger for Ted Heath for a number of years.

> With Keating, I get the feeling that when he called himself Johnny, he was
> hipper. But maybe I have that wrong and he was always Johnny.
Or maybe just younger....

> I find Phase Four really interesting.
I've more often been disappointed than stimulated,  but there you go.

El Maestro Con Queso

[e-mail]
[e-mail]
[e-mail]
http://www.shitola.freeserve.co.uk/cheese/cheese.htm
http://www.geocities.com/djcheesemaster/





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

Date: Wed, 5 Sep 2001 07:52:13 -0400
From: "Telstar" <[e-mail]>
Subject: (exotica) Playlist for Mondo Bongos Sep 5, 2001

Mondo Bongos can be heard every Wednesday morning at 9 (EST) on CFRU 93.3fm
in Guelph, Ontario, Canada. The show is also available on the web at
http://www.uoguelph.ca/~cfru-fm

23 Skidoo - Ethics 7"
Essential Logic - Barbie Be Happy
Shades of Time - Can You Dig It "Amazing Funk Masters"
Bar-Kays - Bar-Kays Boogaloo "Soul Finger"
The Fantastic Johnny C - Boogaloo Down Broadway 7"
Roundhouse - I Hear You Call "Beyond The Valley Of The Ultrabeats"
Guy Boyer - Bongos & Sound "Sexopolis"
DJ Food feat Ken Nordine - The Ageing Young Rebel "Xen Cuts"
Can - Don't Say No "Saw Delight"
James Last - U-Humbah "Voodoo Party"
Eric Random & The Bedlamites - Nile Song "Ismael"
Kalachakra - Raga No 11 "Crawling To Lhasa"
Okko -Santana "Sitar & Electronics"
George Coleman - I Wish I Could Sing "Bongo Joe"
The Desperate Bicycles - Smokescreen 7"

...music has been very very good to me...

Allan

The Mondo Bongos Homepage
http://communities.msn.ca/MondoBongos






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Date: Wed, 05 Sep 2001 11:14:30 -0400
From: "M.Ace" <[e-mail]>
Subject: Re: (exotica) The Now Sound

At 03:10 PM 09/04/2001, AZ wrote:
>And when they use horns, it's obvious they sort of don't get it.
>(On the other hand, there are Willie Mitchell records and Booker T with the
>horn section.  So it's not a sure sign.)

Mention of the Stax instro acts got me thinking of a stab at a more
technical definition of Now Sound. Here it is for you to lacerate, agree
with or embroider:

R&B-style instrumentals with de-emphasized soul and cartoonishly
exaggerated rhythms.


M.Ace  [e-mail]
http://ookworld.com



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Date: Wed, 05 Sep 2001 11:16:13 -0400
From: "M.Ace" <[e-mail]>
Subject: Re: (exotica) "Adult Swim"

At 12:12 AM 09/01/2001, Rod wrote:
>I was fortunate enough to preview "Adult Swim" a couple months ago, and it
>is (with the exception of "Home Movies") hilarious. It'll definitely have
>my viewership for 2.5 hours every week.
>The title doesn't lie, either -- some of the humor is very adult.
>Those on this list will really like the "Harvey Birdman" opening sequence.
>Cool visuals, cool song.

It is a neat opener. My 2 cents: the Hanna-Barbera deconstruction/warpings
are entertaining and even disorienting, but the real whomping piece of work
is "Cowboy Bebop". I don't know if it's the top anime ever that some people
seem to think it is, but it's darned solid. And the opening theme (killer
crime jazz) / title sequence is breathtaking. Some cool stuff goes on
elsewhere in the score as well -- caught one sequence scored with just
congas & bongos, very tasty. Can't say a whole lot on the basis of two
episodes, but the story itself seems better than average. Reminds me of
Hong Kong gangster movies... lots of wild action with some attention paid
to mood and character (more than current Hollywood anyway). Mind you, we
are talking about outer space bounty hunters.

- --M.Ace



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Date: Wed, 05 Sep 2001 11:44:37 -0400
From: "M.Ace" <[e-mail]>
Subject: Re: (exotica) Petty Booka

This page:
http://ap.e-direct.ne.jp/sinf/title.php3?T_CD_CODE=6506

has some brief samples from their "Singin' In The Rain" album. I like their
version of "Rainy Days and Mondays" with steel drums.


- --M.Ace



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

Date: Thu, 6 Sep 2001 01:59:51 +1000
From: "Justin Bartlett" <[e-mail]>
Subject: (exotica) Exotica Down Under

Aloha,

For those of you that showed interest
in the Exotica Down Under CD's
by Nelson Ferguson, here's an update.

I've just come back from Nelson's place in the country
(about 2 & a half hours drive from my place)
with the first two CD's material (we decided to re-record
some of the tracks, so they have been delayed a little)
The new titles are.....
'Trade Winds' - The music of Hawaii volume 1
'Beyond The Reef' - The music of Hawaii volume 2
which are definitely ready now and are sounding fantastic.
And the Classical Exotica CD is now called
'Sabre Dance' & will be ready soon,
with 4 more titles planned.

They are being released by Gala Sono Records
here in Brisbane, Australia.
Email - [e-mail]
with a web site currently under construction.
More updates to come.

Justin from OZ.



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Date: Thu, 6 Sep 2001 02:19:03 +1000
From: "Justin Bartlett" <[e-mail]>
Subject: (exotica) Tahitian Song Book / LP Finds

Aloha,

I have a Tahitian song book called
Te Mau Himene Tahiti  -  Chants Tahitiens
(Polynesian songs composed or adapted by Eddie Lund)
Does anyone know how I can get the English translations
for the song titles.
Maybe on the web, some kind of translater site?????
These are for my friend Nelson to arrange for a
CD of Tahitian songs.

Here's some stuff I found on my last trip out to
the country.
Colorful Romantic Hawaii  -  The Surfmen
(I assume this is an alternate title given for the Australian release?)
At The Candlelight Cafe  -  The Three Suns
Dream Time  -  Wayne King & His Orchestra
(such an unfortunate name!)
More Bossa Nover Pops  -  Joe Harnell
Drifting And Dreaming  -  Bing Crosby
(I'd never heared lyrics for Beyond The Reef before this)
At The Movies  -  Enoch Light

Justin from OZ







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Date: Wed, 05 Sep 2001 21:18:45 +0000
From: KK <[e-mail]>
Subject: Re: (exotica) ghetto-ized pop music

> Kahuna: I have thaught so for quite some time, too. I think the
> developement was furthered after 70s Punk.
>
> audiocarp: I think
> Kahuna is referring to the Anglophilia which a lot of US radio and magazine
> people seem to have. To them any English import has an instant cache. Back
> in the 80s, I admit I caught this 'orrible disease when I first heard the
> Clash, the Specials, Pistols, Damned, Jam, et al. But a couple of years
> later, when all those bands crapped out or broke up, what replaced them?

Kahuna: In the eighties things started to look brighter again, with the 50s
and 60s revivals coming into play really. I liked the british Polecats as much
as The Stray Cats from NY. I liked the Surfadelics and The Fuzztones. The
concept of revival has never left us after the eighties. It got stronger, but
increasingly shallow, and un-street. Now people seem to be belive that any
revival is a righteous one. Which is in my opinion a real anti-progress
opinion. But the current of popular music forced that kind of attitude and
all.
KK



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

Date: Wed, 05 Sep 2001 15:19:27 -0400
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) The Now Sound

At 11:14 AM 9/5/01 -0400, M.Ace wrote:
>
>
>Mention of the Stax instro acts got me thinking of a stab at a more
>technical definition of Now Sound. Here it is for you to lacerate, agree
>with or embroider:
>
>R&B-style instrumentals with de-emphasized soul and cartoonishly
>exaggerated rhythms.

I rise to lacerate.
If you want to say that Now sounds like your description, I guess that's
okay though it doesn't cover all of the things I would throw in the Now
Sound bag.
But it covers the classic stuff.
I guess the only reason I'd dispute this definition is because it's a
description but doesn't really address how the music was made.  They didn't
really de-emphasize anything.  In fact, in a sense these musicians were
kind of adding soul to the sound they would have "naturally" created.
No, I think the simplest definition is to start with big band music, make
the drummer swing less - play more like Charlie Watts or Ringo - add organ
and/or more rockin guitar (rather than simply using it as a rhythm
instrument).
But the thing which we've all been ignoring - in my case because I don't
know how to talk about it - is that the standards of the sixties were quite
different from the standards of the fifties (and before) which big band and
space-age bachelor lounge musicians played.
And it's not so simple as to say that it was rock n roll.  I don't think
Bacharach wrote rock songs.  And yet his material fits in with the a lot of
the rock and pop that Now Sound covers.
There are N.S. records which actually try to transform the fifties
standards into the new sound.  And they work to some degree.  But that
material always sounds different from the more modern tunes.  Even the
original tunes on N.S. records have that sound.  It's a different way of
writing.
I agree that it's partly the way the bands played.  But it's also the
tunes.  And I don't know how to talk about music on that level.

AZ



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

Date: Wed, 05 Sep 2001 15:19:24 -0400
From: alan  zweig <[e-mail]>
Subject: (exotica) Phase Four

At 09:14 AM 9/5/01 +0100, [e-mail] wrote:
>> I find Phase Four really interesting.
>I've more often been disappointed than stimulated,  but there you go.

I didn't say stimulated (though I'm sure you also find them much less
interesting than I do.)  I haven't had too many Phase Four records I would
consider Now Sound or in any way "exciting" enough to be called stimulating.
In fact what I find interesting about them is the way they're sort of the
opposite of stimulating.  And yet how enjoyable I find them.
I guess I'm thinking particularly of Ronnie Aldrich.
I realize that I've developed a taste for very quiet, soft things.  But I
still have my standards.  And some things are just too plain, too soft, too
nothing.
But some of those Ronnie Aldrich cuts almost remind me of ambient music or
Brian Eno.  And since I know it's just a couple of pianos and an orchestra,
I get the feeling that it's the Phase four recording techniques that
elevate the material.
Not to take anything away from Ronnie's possible genius.
I feel the same way about some of the later Kostelanetz records so I know
that this sound I love can be achieved through arrangements and not just
through recording techniques.
But still, Phase four seems to have this way of making the music just
float....

AZ



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

Date: Wed, 05 Sep 2001 15:21:54 -0400
From: "Nathan Miner" <[e-mail]>
Subject: Re: (exotica) Ronnie Aldrich

Ronnie's actually had a few really good cuts, good orchestration (which is =
generally where most songs fall apart, in boring composition............) =
- - I like some of his cuts off of the "Twin Pianos" LP.

- - Nate




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Date: Wed, 05 Sep 2001 21:44:25 +0000
From: KK <[e-mail]>
Subject: Re: (exotica) The Now Sound

> I agree that it's partly the way the bands played.  But it's also the
> tunes.  And I don't know how to talk about music on that level.

The difference between the 60s music and the tunes of previous decades is that
the 60s standards were composed with a production-sound in mind. Joe Meek,
Phil Spector, Brian Wilson, Detroit and Memphis soul etc. You had those kind
of people before, like Glenn Miller or Martin Denny, but they were recorded in
the same way any other session would be done. So more or less anybody could
get that sound on a cover version, given the same instrumentation.
In the sixties you could still cover the tune, but you couldnÆt sound like
them much anymore. You had to put in some of your own. And if this element was
created by jaded session men, I can easily see / hear that it could have
sounded like now-sound.
A tune that is being composed with a sound in mind, I mean the final sound is
not just an attribute but an integral part of the tune itself. You would leave
more spaces for that. Feature parts for the sake of their sound and groove.
The arrangement happened on a cleaner canvas, with master arrangers being able
to fill the leaner melodic content and harmonic base with a greater variation
of features, than the original recording.
The Beatles and The Beach Boys, in my book, pulled a lot of stops, which is
not as typical sixties, their songs could more commonly mingle among a set of
older tunes.

KK



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

Date: Wed, 05 Sep 2001 15:38:52 -0400
From: James Botticelli <[e-mail]>
Subject: Re: (exotica) Phase Four

on 9/5/01 3:19 PM, alan  zweig at [e-mail] wrote:

> I haven't had too many Phase Four records I would
> consider Now Sound or in any way "exciting" enough to be called stimulating.

A used record shop here in Cambridge is named after Phase Four and he has a
pretty groovy tee-shirt as well. It simply says "Phase Four' in swirling
psychedelic lettering. He loves the label he says, but he'll sell anything
that sells...His two 'new arrivals' bins usually contain some tasty items.
He's one of those guys who charges $3.50 for a rekkid instead of most of the
dealers around here who charge $3.99...And so it goes
- --
DJ Jimmy Botticelli
The Groove Merchants
Mobile DJ's For Hire
Disco/House/Latin/Funk
No Talk No Rock
"The cat's in the bag.
 The bag's in the river"





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Date: Wed, 05 Sep 2001 21:36:16 +0100
From: Michael Jemmeson <[e-mail]>
Subject: Re: (exotica) Ronnie Aldrich

Nathan Miner wrote:
>
> Ronnie's actually had a few really good cuts, good orchestration (which is generally where most songs fall apart, in boring composition............) - I like some of his cuts off of the "Twin Pianos" LP.

anyone know which LP of his has his cover of 'Soulful Strut' on?

and, i'm not 100% sure it's on Phase 4, but the Johnny Dankworth
'Million Dollar Collection' - is it any good? it's always priced very
highly. (not as highly though as his 'Zodiac' one)



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Date: Thu, 6 Sep 2001 12:01:46 +0800
From: "william" <[e-mail]>
Subject: (exotica) songs for the jet set

hi all,

   not too long ago i finally picked up "songs for the jet set" that siesta
comp. there is a band on here called loveletter and they cover "barbarella"
and one other tune.  does anyone have their full length album? does it sound
like this or is it really different from the tracks that are  on this?

          william in taipei.



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Date: Thu, 6 Sep 2001 09:39:08 +0100
From: [e-mail]
Subject: (exotica) Norrie

I had a look through my Cliff Richard and The Shadows stuff last night and
it looks like Norrie Paramor did do much of the production (or Musical
Supervision) even of the Shadows (without Cliff - or should that be Sir
Cliff),  but he didn't write much, the most notable exception being stuff
from the Expresso Bongo Soundtrack.


El Maestro Con Queso

[e-mail]
[e-mail]
[e-mail]
http://www.shitola.freeserve.co.uk/cheese/cheese.htm
http://www.geocities.com/djcheesemaster/


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End of exotica-digest V2 #1040
******************************