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Date: Thu, 06 Sep 2001 14:18:34 -0400
From: lousmith@pipeline.com
Subject: (exotica) Pea Hicks on Irwin's show - 9/12/01 noon-1:30pm
Wednesday, September 12, Noon - 1:30pm
PEA HICKS
Mr. Hicks is one-half of the obsolete-tech duo Optiganally Yours, who've
undertaken the thankless task of sparking a resurgence of public
indifference to Mattel's early '70s lo-fi groove machine, the Optigan. OY
currently record for Absolutely Kosher Records, and will be in town to
perform at a CMJ showcase. He'll spin new and unreleased Optiganally Yours
tracks, and will also share oddities from his personal record collection.
On Irwin's show.
Webcast at http://www.wfmu.org
The NY Post reports that the blow that sent Mariah Carey to the
hospital in July with a nervous breakdown was learning that Jennifer
Lopez had laid claim to the same Yellow Magic Orchestra sample that
she wanted to use. The YMO tune in dispute was "Firecracker." YMO was
the Japanese supergroup that included legendary producers Ryuichi
Sakamoto and Haruomi Hosono.
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Date: Thu, 6 Sep 2001 13:16:00 -0700
From: bigshot <bigshot@spumco.com>
Subject: (exotica) Re: ghetto-ized pop music
>Date: Tue, 4 Sep 2001 20:17:25 -0400
>From: Jerry Nutter <audiocarp@macconnect.com>
>Subject: (exotica) ghetto-ized pop music
>
>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.
That may be true in comparison with the others, but there are other
factors to take into account. During the Great Depression, record
sales plummeted due to lack of disposable income and the rise of
radio. By 30's standards, and in comparison to other musicians of
the day, particularly black ones, Duke Ellington and Louis
Armstrong sold a LOT of records. Elvis Presley sold a tremendous
amount of records in a very short period of time. I was referring
to the years before he entered the army primarily.
One thing you have to remember as a "social archaeologist" when
going through stacks of old records, the ones that survive aren't
everything. There is a diproportionate number of surviving records
that appealed to upper middle class tastes in the mid fifties. There
are several reasons for that: 1) the poorer classes were not so
consciencious about changing their steel needle with each play.
Their records got thrashed quicker and were discarded, rather than
being sold off or given to the Goodwill. 2) The record business post
WW2 was MUCH bigger than before that. They produced many, many times
more records per year than they did during the war or the thirties.
3) During the first few decades of the history of the phonograph,
records were expensive and were viewed as a status symbol. The people
who owned them, babied these records. That is why you see so many
completely pristine collections of bat wing Victor Red Seals from
the 20s...
>And Caruso blows! He was the Madonna of 1910.
That is a completely ridiculous opinion. I'm going to assume you
don't know what you are talking about.
>(His records sell for a buck apiece at record shows.)
The reason they are inexpensive now has nothing to do with their
quality, and has everything to do with Caruso's popularity. The
price of Caruso's records in their time was between $3 and $5
apiece. That is in 1910 dollars! They cost a LOT of money back
then, yet they still sold by the truckloads. The fact that enough
remain today to be worth very little on the collectors market
proves my point exactly.
>As for marketing overtaking the music, ever heard of Johnny Ray,
>guys? And Sinatra paid his bobbysoxers to swoon at his concerts!
And they were both among the dozen or so most influential and
creative popular singers of all time. You are using examples
that contradict your point.
See ya
Steve
Stephen Worth
bigshot@spumco.com
The Web: http://www.spumco.com
Usenet: alt.animation.spumco
Palace: cartoonsforum.com:9994
Spumco International
10859 Burbank Bl. Suite A
North Hollywood, CA 91601
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Date: Thu, 6 Sep 2001 13:21:09 -0700
From: bigshot <bigshot@spumco.com>
Subject: (exotica) Re: ghetto-ized pop music
>Date: Wed, 05 Sep 2001 21:18:45 +0000
>From: KK <Kahuna.K@hamburg.de>
>Subject: Re: (exotica) ghetto-ized pop music
>Kahuna: In the eighties things started to look brighter again, with the 50s
>and 60s revivals coming into play really. The concept of revival
>has never left us after the eighties. It got stronger, but
>increasingly shallow, and un-street.
My objection to the revival movement is that they recycle without
adding anything significantly new to the genre. When Dick Dale
talks about Gene Krupa's drumming being influential to the
development of his guitar style, he is talking about taking
the influence of a previous musical style and transforming it
into his own style. The Stray Cats and REM just took rockabilly
and the Byrds and reprocessed them. There was no real
transformation involved.
See ya
Steve
Stephen Worth
bigshot@spumco.com
The Web: http://www.spumco.com
Usenet: alt.animation.spumco
Palace: cartoonsforum.com:9994
Spumco International
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Date: Thu, 6 Sep 2001 13:29:32 -0700
From: bigshot <bigshot@spumco.com>
Subject: (exotica) Engineers vs Musicians
>Date: Wed, 05 Sep 2001 21:44:25 +0000
>From: KK <Kahuna.K@hamburg.de>
>Subject: Re: (exotica) The Now Sound
>
>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.
That is why performers of the past developed their own inimitable
playing style. You could play an Ellington arrangement with the exact
same charts, but without Bubber Miley, you wouldn't have the same
sound at all. Try to play a Bix Beiderbecke solo from charts. It
just can't be done.
The difference is that in the old days, all of the creativity was
on the stage with the musicians, the engineers in the booth were
just trying to capture it faithfully. In the 60's, the Beatles
started experimenting with different production techniques. That
was great for the Beatles, because they were solid musicians in
control of their sound. But for lesser musicians it was a bad
way to go. In those cases, the engineers became more creative
and the musicians became less creative.
See ya
Steve
Stephen Worth
bigshot@spumco.com
The Web: http://www.spumco.com
Usenet: alt.animation.spumco
Palace: cartoonsforum.com:9994
Spumco International
10859 Burbank Bl. Suite A
North Hollywood, CA 91601
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------------------------------
Date: Thu, 06 Sep 2001 18:00:57 -0400
From: James Botticelli <jimmybotticelli@home.com>
Subject: Re: (exotica) Engineers vs Musicians
on 9/6/01 4:29 PM, bigshot at bigshot@spumco.com wrote:
> Try to play a Bix Beiderbecke solo from charts. It
> just can't be done.
on the other hand (Harry Truman always said, "Give me a one-handed
economist) there was Supersax whose LP "Supersax Plays Bird" not only
faithfully replayed Charlie Parker horn solos, but structured them in five
part harmony at times! It can be done my friend, it can be done.
- --
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: Thu, 6 Sep 2001 18:56:18 EDT
From: RLott@aol.com
Subject: Re: (exotica) songs for the jet set
In a message dated 9/5/01 11:04:43 PM, king8egg@ms60.url.com.tw writes:
<< 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? >>
The full-length has the tracks on it from the "Jet Set" compilation along
with a whole bunch of new ones, and while it's good, I don't think the new
stuff quite hit the heights of the comp tracks.
- --Rod
www.hitchmagazine.com
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------------------------------
Date: Thu, 06 Sep 2001 19:47:35 -0400
From: "M.Ace" <mace@ookworld.com>
Subject: Re: (exotica) Mariah's fit (was Pea Hicks on Irwin's show - 9/12/01 noon-1:30pm)
At 02:18 PM 09/06/2001, Lou wrote:
>The NY Post reports that the blow that sent Mariah Carey to the
>hospital in July with a nervous breakdown was learning that Jennifer
>Lopez had laid claim to the same Yellow Magic Orchestra sample that
>she wanted to use.
Pardon me, just can't hold it back...
[insert 5 minutes of cruel laughter]
Please Lou, more details.
- --M.Ace
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------------------------------
Date: Thu, 06 Sep 2001 19:51:51 -0400
From: "M.Ace" <mace@ookworld.com>
Subject: Re: (exotica) "Adult Swim"
>And the composer of the theme and all of the other music is Yoko
>Kanno. She has an amazing knack for various styles. Jazz, Heavy Metal,
>Country and Western, Blues, all of them show up in the series and it is
>mnd-boggling to believe, but it's all done by the same person (with
>different lyricists. She has that Les Baxter-ish (Hi, Laura!) knack. Her
>work for a show called "Brain-Powered" is scored for full orchestra, even.
>
>http://jameswong.com/ykproject/music.html for complete sound samples.
Thanks for the link, Brian. Terrific. I already know the music on Cowboy
Bebop is fairly diverse, but checking her work on other projects as well,
the diversity is indeed mind-boggling. I'll bet there's even some
exotica-sounding stuff in there, just to complete the Baxter parallel.
- --M.Ace
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Date: Thu, 06 Sep 2001 22:31:33 -0400
From: alan zweig <azed@pathcom.com>
Subject: Re: (exotica) Re: ghetto-ized pop music
At 01:21 PM 9/6/01 -0700, bigshot wrote:
>iThe Stray Cats and REM just took rockabilly
>and the Byrds and reprocessed them. There was no real
>transformation involved.
Are you equating the Stray Cats and R.E.M.? Are you calling R.E.M some
kind of "revival band" like the Stray Cats. If so, I'm not going to get
into a big argument. I'll just quote what you said to someone else in your
previous post:
"That is a completely ridiculous opinion. I'm going to assume you
don't know what you are talking about."
I haven't really been following this thread but that caught my eye.
As far as what appears to be your bigger issue, I wish I could be more
definitive about it but in my experience the business of "Is the band just
imitating or have they created something new?" is too subjective to argue
about.
I spent the evening with new friends recently. This guy is about my age
and has a huge record collection. I was familiar with everything he
played. A lot of it I had once owned and loved myself. But after a few
hours, I had to ask him whether he had anything made after 1973.
Everytime I gave him an example of a post-1973 band that he might like,
given the fact that they were clearly influenced by the music he loved, he
said "Yeah I've heard them. I just didn't think they were as good as (The
Velvet Underground, The Byrds, the Stooges etc etc) They didn't add
anything new. They're just more of the same. Why should I listen to them
when I can listen to the original?"
And for the umpteenth thousandth time in my life, I thought to myself "How
curious that the better, more original stuff just happened to be created
when you were first getting into music. How convenient is that??"
Personally I don't really care if the new bands I like transformed,
imitated or created something new.
But I have to assume that once upon a time, there was someone who thought
just about any artist you can name, was just imitating - not transforming -
some previous artist.
I'm sure you'll disagree.
AZ
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------------------------------
Date: Thu, 06 Sep 2001 19:50:17 -0700
From: "F. Cobalt" <fcobalt@lycos.com>
Subject: (exotica) Kahimi Karie/McFarland's In Sound
Re: Kahimi Karie. She sounds a lot like Claudine. I think that would have been what would have drawn me to her originally except that the first time I heard her I saw her live. Her voice is tiny and whispery when she sings, but that's also the way she talks. As was mentioned before, you can get a compilation of some of her good songs on the Minty Fresh release Kahimi Karie, which was the first domestic release of her work. However I highly recommend the Crue-L label EP "I Am A Kitten", which has kind of become her signature song, and none of the songs on it are on the Minty Fresh collection, which is kind of unfortunate. I know it took Minty Fresh about 3 years to secure the rights and they almost gave up on it, but luckily they didn't. She's considered a superstar in Japan, lives in Paris, loves to collaborate, sings in English, French, Japanese and Italian. Kahimi is love.
Re: Gary McFarland's The In Sound. I would have to say this is the essential McFarland album. If you were to buy any McFarland album, go with this one.
Also, can anyone confirm the rumor I heard about Tom Cruise planning to produce the movie about the Shaggs? It seems way to creepy to be true.
Mr. Unlucky
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Date: Thu, 06 Sep 2001 22:57:29 -0400
From: James Botticelli <jimmybotticelli@home.com>
Subject: (exotica) Re: ghetto-ized pop music
on 9/6/01 10:31 PM, alan zweig at azed@pathcom.com wrote:
> But I have to assume that once upon a time, there was someone who thought
> just about any artist you can name, was just imitating - not transforming -
> some previous artist.
For Once In My Life I can say that "well-said trumps well-done"..Its really
all about where YOU and you and YoU and YOu stepped into the picture, not
about the truly unoriginal thoughts that circulate through your nebuli and
dopamine processing centers. Middle-Age hips a fella/gal to that fact. That
leads me to another version of the "why are we into 'this' " question, and
that is; Do we think or feel that we have transcended the bummer
enlightenment of Middle Age by finding stuff that is unacceptably
acceptable? Or have we truly stumbled onto a new angle of observation. The
new angle theory works for me, but I'm identifying lately as a 50% elitist
and a 50% conservative--fuck all y'all--kinda guy
> I'm sure you'll disagree.
I'm not a gambler, but odds are in your favorbank
JB/absolutely not into absolutism
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Date: Thu, 6 Sep 2001 23:19:01 -0400
From: "Brian" <brian@phyres.lan.mcgill.ca>
Subject: (exotica) Re: The Now Sound
M.Ace wrote:
> technical definition of Now Sound.
> R&B-style instrumentals with de-emphasized soul and cartoonishly
> exaggerated rhythms.
Alan wrote:
> 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...
> 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
There's one other term that may help; The description found on many of the
usually instrumental records that happen to have some interesting Now Sound
tracks included. I've actually been using it as a clue for some time to see
if I should buy the records I spot or whether to listen to those I can
audition. It's particularly noticeble on the German records where they tend
to uniformly add a descriptor at the end of the song, ie Foxtrot, Waltz,
Rhumba or "Beat". That last one is the key word for me, and no surprise
again the songs with this tag are most often pop-rock songs done by the
orchestra in question. This is how I discoverd Hugo Strasser's verison of
Indian Resewrvation and Black Magic Woman (though I don't think Max Gregor's
"Big Train" was a rock song but probably R&B - to get back to M. Ace's
comment). I have to agree with Alan's description of Now Sound being what
were then unhip people trying to play "the songs the kids liked". However,
what isn't clear is whether they were trying to extend their audience to the
younger crowd, or trying to entice the older crowd to "think young", or
both. Either way, they do have a wackiness and off the wall sound which only
comes from being so totally off-base that they work at a whole different
level.
To follow up onthat thought, here's an intersting observation; I received a
few records as a gift when I was 13, that thanks to my father having never
throwing anything out, remained with me. I never liked them at all, and
they were likely bought by someone's parents, thinking that these looked
like the kind of records "the kids might like". Well the kids (at least
myself anyway) were not amused at the time. Here's what they were:
Bruce & The Robin Rockers - Batman
Zero Zero Seven Band - Music from Goldfinger
Various - Groovy Greats ) featuring the likes of Lou Christie, Ray Charles,
and Bobby Goldsboro)
And here's the description of this last record as written on the back cover:
<Today's scene is psychedelic, kinetic and wild, a free swinging world of
mad, mad mod and the big beat takes over au go-go from The Strip to Carnaby
St. The big names of rock and soul that geared the world for their kind of
action are here, blasting and groovin' for your own freak out! Pow! Zap!>
I discovered these records six or seven years ago, left in the collection in
my parents basement along with the Al Hirt and Herb Alpert records my father
also discarded along with the rest of the family vinyl collection. And they
were, to no surprise, VERY Now Sound!
The conclusion.... I obviously grew into these records, which must mean that
I must be getting old myself, which may then prove that the Now Sound really
was for old (well at least not young) people! Come to think of it I haven't
converted too many 20 yr olds to like this stuff... Say, this discussion
may be leading us down a path of discovery we may well not want to follow...
Brian
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Date: Thu, 6 Sep 2001 23:47:24 -0400
From: "Brian" <brian@phyres.lan.mcgill.ca>
Subject: (exotica) Is this weird or what!
James wrote:
> 11. "Inuit Throat and Harp Songs". field recordings of inuit throat
> singing from the early 70's. beats Radiohead any day. a Great record! but
a little
> pricey (i traded for it).
Yikes! I got this record many years ago from traveller friends who prided
themselves on always trying to find us musical souvenirs to outdo the weird
things we already had in our record collection (We also got from them the
Polish new wave sensation "Shakin' Dudi"). I always kept Inuit Throat &
Harp Songs as a novelty, but this is the second time I've heard it seems to
be a valuable item! OK I don't expect a forthcoming CD reissue, but then
again with the recent publicity surrounding the Inuit filmmaker that won a
prize at Cannes, who knows! ... Now if we could just hear those same Inuit
Women doing a cover of say... "Downtown", things could get real weird...
Brian
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Date: Thu, 06 Sep 2001 23:16:44 -0700
From: crymad <crymad@xprt.net>
Subject: Re: (exotica) Kahimi Karie/McFarland's In Sound
"F. Cobalt" wrote:
>
> Re: Kahimi Karie. She's considered a superstar in Japan, lives in Paris,
Is that so? I mean the superstar part. My Japanese wife has never
heard of her; in fact, I hadn't either until we returned to the US last
year.
- --cm
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Date: Fri, 07 Sep 2001 11:36:37 -0400
From: lousmith@pipeline.com
Subject: Re: Re: (exotica) Mariah's fit (was Pea Hicks on Irwin's show - 9/12/01 noon-1:30pm)
I wish I could supply more details but can't. I extracted that news snippet from the WFMU Blast O Hot Air newsletter - the same place I pulled the announcement of Pea's upcoming appearance on Irwin's show.
Perhaps someone who actually reads the Post and saw the original article can fill in the blanks. Oh wait -- there's always the on-line Post...yep, here's the piece:
How J. Lo freaked Mariah
THE blow that sent Mariah Carey to the hospital in July with a nervous breakdown was learning that Jennifer Lopez had "stolen" part of her song "Loverboy." Carey had sampled "Firecracker" by Japan's Yellow Magic Orchestra when she recorded "Loverboy" six months earlier. But Talk magazine reports that before "Loverboy" was released, J. Lo came out with "Be Real," which used the same "Firecracker" sample. Carey freaked out, convinced that her ex-husband, Sony Music chief Tommy Mottola, had a hand in giving the tracks to Lopez. A source said, "It literally drove her crazy." In June, interviewed by Allure, Carey said Lopez was styled to look like her. And when writer Vanessa Grigoriadis mentioned having met Lopez, Carey hissed, "I bet that was really intellectually stimulating. I bet you could just see the depth in her eyes." As for Lopez's claim that she gets eight hours of sleep a night, Carey snarked, "If I had the luxury of not actually having to sing my own songs, I'd do that!
>The NY Post reports that the blow that sent Mariah Carey to the
>hospital in July with a nervous breakdown was learning that Jennifer
>Lopez had laid claim to the same Yellow Magic Orchestra sample that
>she wanted to use.
Pardon me, just can't hold it back...
[insert 5 minutes of cruel laughter]
Please Lou, more details.
- --M.Ace
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Date: Fri, 07 Sep 2001 12:44:07 -0400
From: "Nathan Miner" <nminer@jhmi.edu>
Subject: (exotica) Song ID.....
Okay, there's this song I taped off of WCVT college radio (hey, Bump!) =
years ago. It's about Norman Bates and sounds like UK New Wave to me.
The chorus goes: My name is Norman Bates - I'm just a normal guy.
At the end of the song, they use the outro from Psycho where the shrink =
describes Norman's two personalities. The song ends with "Norman Bates =
no longer exists."
Who is this?
Thanx -
Nate
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Date: Sat, 08 Sep 2001 01:04:43 +0800
From: "Jonny Perl" <delicado@cheerful.com>
Subject: (exotica) Re: Ronnie Aldrich
>anyone know which LP of his has his cover of 'Soulful Strut' on?
It's on Ronnie's 'It's Happening now' unless I'm mistaken. On of many blatantly 'Now'-titled LPs he did (e.g. 'This way IN').
For some reason, I always find more interesting Phase 4 records here in the US than I ever did in the UK. The Ronnie Aldrich US releases I have are pretty good; I'm particularly partial to his ludicrous, clunky but strangely addictive version of the Beach Boys's 'Do it again'.
Regarding Norrie Paramor, I have that record 'Shadows go Latin', and it's surprisingly good, quite 'Now-sound'y, but also reminiscent of discotheque records.
cheers,
jonny
psychedelicado.com
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Date: Fri, 07 Sep 2001 18:00:27 +0100
From: Michael Jemmeson <michael@moreover.com>
Subject: Re: (exotica) Song ID.....
Nathan Miner wrote:
>
> Okay, there's this song I taped off of WCVT college radio (hey, Bump!) years ago. It's about Norman Bates and sounds like UK New Wave to me.
>
> The chorus goes: My name is Norman Bates - I'm just a normal guy.
>
> At the end of the song, they use the outro from Psycho where the shrink describes Norman's two personalities. The song ends with "Norman Bates no longer exists."
>
> Who is this?
Landscape?
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Date: Fri, 07 Sep 2001 17:26:49 +0000
From: "james brouwer" <jamesbrouwer@hotmail.com>
Subject: Re: (exotica) Is this weird or what!
re "Inuit Throat and Harp Songs".
Brian wrote: I always kept Inuit Throat &
>Harp Songs as a novelty, but this is the second time I've heard it seems to
>be a valuable item!
well the guy I bought it off of is one of those "if it's weird it must be
valuable types" (maybe he's right), but I'm sure the good majority of record
dealers would sell it cheap or cheapish. but enough about price. to me the
record is beautifully strange stuff, and the circular breathing guttarness
of it makes it sound like some Steve Reich tape-loop recording from the 60's
