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exotica-digest          Tuesday, July 7 1998          Volume 02 : Number 145



In This Digest:

Re: (exotica) The inherently un-cool (was Tiki Lites / swing / etc)
Re: (exotica) the berkeley item #8
Re: (exotica) http://swingchicks.com
Re: (exotica) The inherently un-cool rule
Re:  RE: (exotica) Enter Lee Perry
Re: (exotica) The inherently un-cool (was Tiki Lites / swing / etc)
Re: (exotica) Autographed LPs
(exotica) More on the Disney experience...
Re: (exotica) What kind of music do you like?
(exotica) Not dead yet??...
Re: (exotica) Lounge forever
(exotica) Re: Not dead yet??...
Re: (exotica) Autographed LPs
Re: (exotica) Kontiki III - the museum expedition, Part 2
(exotica) Record obsessive
Re: (exotica) The All Seeing I
Re: (exotica) Kontiki III - the museum expedition, Part 2
Re: (exotica) Kiddies, Klaus Schulze and Disneyland!
Re: (exotica) A&M needs to get with it
Re: (exotica) The All Seeing I
(exotica) Reissue woes: (I found this on a message board): Long
(exotica) Brad's boogiosity
Re: (exotica) Kontiki III - the museum expedition, Part 2
Re: (exotica) Lounge forever

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

Date: Mon, 6 Jul 1998 19:06:14 -0500
From: [e-mail] (Hess Jeffery)
Subject: Re: (exotica) The inherently un-cool (was Tiki Lites / swing / etc)

Steve:
>Has anyone else had the horrifying experience of being introduced
>socially to someone new with "Oh, Steve knows ALL about music" and >the
new person loves power rock or Celine Dion and thinks you're a >fraud
because you don't follow the latest grungebands?


That's the story of my life.

Jeff

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

Date: Mon, 06 Jul 1998 20:04:42 -0400
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) the berkeley item #8

At 06:25 PM 06/07/98 Time, darren hutton wrote:

>>> ROB BOWMAN is the co-producer of Stax's forthcoming BOOKER T. & THE
>>MGs box "Time Is Tight" and annotator of several dozen Stax reissues. He's
>>also the  author of "Soulsville, U.S.A.: The Story of Stax Records,"
published
>>last fall by Schirmer Books and twice honored this spring:

Who's the Rob Bowman fan here?
Let's not get into that subject.
(winking for the second time today at Will...)

Nat



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

Date: Tue, 7 Jul 1998 01:41:20 +0000
From: "Robbie Baldock" <[e-mail]>
Subject: Re: (exotica) http://swingchicks.com

chuck wrote:

>Thought you might like some of the music at  this site.
> http://www.swinginchicks.com/

Never mind *that*, you should check out the Chicks (unofficial)
website:

http://www.bronte.demon.co.uk/chicks/

New Irish Shaggs-tastic teen pop sensation?  Only one EP out so far,
but from the one track I've heard, these girls ROCK!


Robbie

- ----------------------------------------------------------
** ** ** * Spaced Out - the Enoch Light Website * ** ** **
** ** ** * http://www.rcb.easynet.co.uk/light/  * ** ** **
- ----------------------------------------------------------


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

Date: Mon, 6 Jul 1998 21:08:31 -0400
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) The inherently un-cool rule

Any attempts at analysis, definition or quantification of cool automatically
cause all cool to vanish from the area (naturally, this rule includes itself as
an offender).

m.ace  [e-mail]
OOK   http://www.voicenet.com/~ecam/


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

Date: Mon, 6 Jul 1998 22:08:44 EDT
From: <[e-mail]>
Subject: Re:  RE: (exotica) Enter Lee Perry

Carl Douglas--Kung Fu Fighting--every DJ worth the name plays it 45 minutes
before shutting down


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

Date: Mon, 06 Jul 1998 20:42:28 -0700
From: Gary Mattingly <[e-mail]>
Subject: Re: (exotica) The inherently un-cool (was Tiki Lites / swing / etc)

At 08:04 PM 7/6/98 -0400, Nat Kone wrote:

>I don't think about cool or uncool much when someone says "I like
>everything".  All I think is "Oh you mean, you don't have any particular
>attractions?  You mean that I could play you anything right now and it
>would have approximately the same effect on you?"
.
.
Hm, I read the above and thought inappropriate assumptions were and/or
are made, on your part.
.
.
>I didn't think this was a discussion of people who say "I like lots of
>different genres" and mean that they love Coltrane and Yo La Tengo and
>Blind Willie Johnson and Al Green and the Palace Brothers and the Louvin
>Brothers and Gary McFarland and Perez Prado and Henry Mancini.
.
.
I read this and I thought, well, that's why I usually say I like lots of
music.
Hm, I may say almost everything.  I suppose I should be a bit more rigorous
and say I like good music, no matter what the genre.
.
.
>I thought it was about people who turn on the radio and hear the announcer
>say "WKBW, the station that's not too hard, not too soft".  And they think
>"oh perfect".
>I thought it was about people who say "I like everything" and mean "I don't
>like anything in particular".
>And that's fine with me.  I feel the same way about classical music.  And I
>would just say "Oh turn on whatever you want because it's all about the
>same to me".
>
.
.
I continued reading and I'm not sure I understand why the email goes on
and on.  Coherent isn't a word I might use.  The Canadian joke was moderately
dumb.  Each to his own, but there are really some excellent classical pieces
out there too.  It's really not all the same.
.
.
>I'm stopping myself here.
.
.
Good.  Yeah, I probably shouldn't have added my two cents.  Seems like
a waste of time.  I think I'll go back to listening to Gustavo Santaolalla's
"Ronroco", then follow it with either Plastilina Mosh's "Aquamosh" or Joe
Beard's "For Real".

Have fun!

Gary
- --   Gary S. Mattingly
- --   [e-mail]
- --   http://www.dnai.com/~gmatting


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

Date: Mon, 06 Jul 1998 23:40:52 -0400
From: [e-mail]
Subject: Re: (exotica) Autographed LPs

I have two favorite autographed LPs:

1)  John Davidson's "Touch Me" album, which has a cover photo of a
topless (her back is to the camera) blonde long-haired woman giving John
a hug.  The LP features a great laid back seductive whispering version
of Jim Croce's "I'll Have to Say I Love You In A Song"
- - Autographed in red marker on the back by Mr. Davidson.

2)  Frank Sinatra's "Have Yourself a Merry Little Christmas" LP
No, it's not autographed by Frank, but the white bordered area contains
the following words written in red and green ink:

   'To "Cathy" Curry Francis and her husband "Mike" is
     given this Christmas recording by "the Voice"
     Sinatra's, to convey the donor's high esteem at
     Yuletide 1970 for a most worthy couple from the
     friend "Cathy" helped inspire to become to become
     WVU's "professor of the year" in 1970'

And its finally signed 'Dr. Royal C. Gilkey'

Yep, its a little bit confusing, perhaps written in a drunken fit of
appreciation, but it's rare that one gets this amount of personalization
written on a record.  Of course, I just plain like the idea of a college
professor giving out Frank Sinatra LPs as presents.

Vern


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

Date: Mon, 6 Jul 1998 23:58:36 EST
From: "Brian Karasick" <[e-mail]>
Subject: (exotica) More on the Disney experience...

Moritz wrote:

> Talking of the costs you expect for your visit, I wouldn't be so shure.
> Anaheim is still the cheapest I think.
It's that damned overpriced US dollar!  I know the DM has dropped
almost 25% against out Canadian dollar in the past 3 years but it
seems every currency in existence except maybe the UK pound has lost
big against the US dollar. Tourism is the big loser in all this,
as a lot of US cities near our border are finding. It's not like we
here in Canada have a lot of close vacation choices given our
geography.

> The nicest, to bring this to an end, might be the Tokyo Disneyland, not only
> due to the fact that you have these thousands of jap schoolchildren with black
> school-uniforms and their obligatory Mickey Mouse ears running around, but
> they also have some unique attractions that you can see nowhere else, like
> this inconspicuous acoustic sculpture next to a rest bank that makes little
> electronic sounds until you respond and then communicates with you. Or a
> wonderful show about Japanese history.
Funny you should mention this as I was close to hypothesizing on Tokyo
Disneyland, where in opposition to Euro Disney, the concept would
seem much less out of place, especially given the Japanese obsessive
emulation of all things American. To me the new Japan would be almost
as much fun to experience as the old and the contrast between them
all the more fascinating.  Of course even with the devaluation of the
Yen, this would surely be the most expensive Disney experience yet!

I won't go into the relative merits of the Disney or Las Vegas
experience, and as Jill says, I really can't comment until I've made
the pilgrimage myself. However, there's no doubt that the outloook of
a European vs a North Amercan toward this subject is likely to be
wildly different. For me the US is at once the most exotic place I've
ever visted while also among the dullest. Not to knock that seeming
contradiction as it's exactly that extreme that makes it the one
place where anything is truly possible! But I gotta say, the
massive increase in "corporate" blandness that by geography channels
itself into Canada, isn't exactly increasing those exotic qualities I
so much admire. Not to worry though, there's plenty of the exotic
left, all it takes is a little effort to go looking for it. The whole
issue is very well presented in George Ritzer's "The McDonaldization
of America" which actually maintains a website for anyone interested.

You know it's kind of nice to talk about exotica culture for a change
rather than strictly relating to music.  I think its something we
don't do nearly enough on this list!

Brian Karasick
Physical Planner
McGill University
Montreal, Canada


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

Date: Tue, 07 Jul 1998 00:38:03 -0400
From: [e-mail]
Subject: Re: (exotica) What kind of music do you like?

> >>When asked "What kind of music do you like?" those who reply: "I like all
> >>kinds of music"

It's easy to picture a teenager replying by saying something like "Oh I
like all kinds....Celine Dion, Jewel, Hanson " and then progressing down
the line with all their favorite overplayed MTV videos.  Although
narrow, this is their view of the musical world.

This worldview is quite different from a typical exotica list subscriber
definition of "all kinds", whose knowledge of the different
possibilities of musical styles is much more varied.

It's a tough question to answer.  I've been asked the question "What
type of music do you like?" and have at various times said

a) "lounge", which leaves them more or less befuddled, but does give me
the opportunity to spread the word about a new musical genre (which
normally either bores or confuses them)

   Or worse yet, they assume that 'lounge' is the only music I listen
to.  I have a co-worker who would answer the question with "I like Heavy
Metal", and then I visited his house and sure enough 99.5% of his music
was heavy metal. I admired this guy's dedication, but not his
worldliness.

b) "oh, all kinds" but then they don't gain a real appreciation for my
musical diversity.  This is though, the safe reply, much like answering
"Fine, how are you" to the question "How are you?"

c) "everything from punk to polka to lounge to..etc. etc. etc." and then
they think I'm schizophrenic, or just too wishy-washy.

d) "anything but country and classical"   and then they view me as a
negative person with a real nasty grudge who is rather close minded.

I think that the best response is "Well, this is what I've been
listening to lately"  which enables me to spotlight my current favorites
while acknowledging that there are other genres I tend also to like.

Vern


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

Date: Tue, 7 Jul 1998 01:00:13 EDT
From: <[e-mail]>
Subject: (exotica) Not dead yet??...

In a message dated 98-07-03 23:33:28 EDT, you write:

<< "Lounge" is gasping it's last breaths of life from what I can see. The
 first sign of doom was when I discovered those RCA History of Space Age
 Pop CDs were pulled out of print a while back. (aside from used or
 unreturned-new stock in a store, you can only get them through BMG's CD
 Club's leftover stock any more)

 The majors (with the exception of Capitol) didn't seem to have too much
 faith in its viability before, so it's REALLY grim now. It looks like
 further reissues from major label vaults are already pretty much
 impossibilities. The only thing I could see that could change all this is
 if the buzz around Esquivel that jump-started this whole thing 4 years
 ago gets reignited when that John Leguizamo Esquivel movie gets released
 (whenever that is).

 For the few folks on this list who don't already have a turntable: the
 way things look, vintage vinyl is about to be your only source for
 acquiring new music in the genre.
  >>

Do you really think so?  I mean where I live in L.A.  every record store has a
lounge records section and I have seen those RCA CDs everywhere.  I don't
think we've seen the end of it.  As I've posted before, I am just amazed at
how much mileage Capitol's Ultra Lounge is getting what with that Rat Pack
debut on television recently and AMC did a lounge movie every saturday and  a
lounge "sweepstakes" where you got all the Ultra lounge comps and a classic
car and dinner with some lounge has-been.  I think they are still getting a
lot of action and don't seem to be cooling off.  Anyone else out there got an
opinion on this?  Any industry watchers?  Does anyone know if Capitol has a
new series of Ultra Lounge comps in the works???

- - Michele


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

Date: Tue, 7 Jul 1998 01:00:08 EDT
From: <[e-mail]>
Subject: Re: (exotica) Lounge forever

In a message dated 98-07-05 13:23:58 EDT, [e-mail] writes:

<< >
 >>Anyway, I do have the feeling that swing may be rapidly displacing
 >>"lounge"

 Nothing will *replace* lounge. Lounge is lounge period!
  >>

Certainly this is a true statement, since in order for lounge to be
"replaced," the whole lot of us will have to stop listening to lounge and
start listening to swing.

- - Michele


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

Date: Tue, 7 Jul 98 02:16:17 -0000
From: Michael D. Toth <[e-mail]>
Subject: (exotica) Re: Not dead yet??...

[e-mail] wrote:

>Do you really think so?  I mean where I live in L.A.  every record store
>has a lounge records section and I have seen those RCA CDs everywhere.

That ain't a good sign. If you still see those RCA comps everywhere, then
it means nobody's bought them in months, since they couldn't have been
restocked. I don't know when they were pulled out of print exactly, but I
discovered they were discontinued at least a couple months back (check
those MUZE kiosks and/or CD-NOW to see for yourself). Ask those record
stores how many copies of Louis Prima CDs they're moving and then how the
Esquivel twofers are selling. It's grim out there for the Esquivel side
of "lounge."

>I don't
>think we've seen the end of it.  As I've posted before, I am just amazed at
>how much mileage Capitol's Ultra Lounge is getting what with that Rat Pack
>debut on television recently and AMC did a lounge movie every saturday and  a
>lounge "sweepstakes" where you got all the Ultra lounge comps and a classic
>car and dinner with some lounge has-been.

But again, it's the Dean Martin, Frank Sinatra, and Wayne Newton variety
of "lounge," which never really captivated me. I'm much more taken by the
whole Esquivel, Three Suns, Dean Elliott, Arthur Lyman, etc. Space Age
Pop scene, which I thought has given way to the Rat Pack and swing stuff
whose appeal I felt lay in their broad familiarity and nostalgia aspects.
What was that Esquivel movie -- "Cabaret Tragico?" If *that* is getting
shown on AMC's lounge series, then it's another story. But the music that
intrigued me and got me on this mailing list seems to have gotten pushed
back underground by most people's preconceptions of the words "lounge" or
"easy listening."

Your resident Space Age Bachelor,

Michael David Toth
[e-mail]




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

Date: Tue, 07 Jul 1998 00:37:58 -0700
From: LeAnn & Dave Davidson <[e-mail]>
Subject: Re: (exotica) Autographed LPs

>1)  John Davidson's "Touch Me" album, which has a cover photo of a
>topless (her back is to the camera) blonde long-haired woman giving John
>a hug.  The LP features a great laid back seductive whispering version
>of Jim Croce's "I'll Have to Say I Love You In A Song"
>- Autographed in red marker on the back by Mr. Davidson.

Woo hoo!  I have this one too (but not autographed), and I find it quite a
hoot.  To me, it sounds like he's doing an impersonation of David Cassidy &
the Partridge Family, and pretty accurately too!  It was probably released
around the peak of the PF - was he going for the teen market?

Dave



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

Date: Tue, 07 Jul 1998 10:00:32 +0000
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Kontiki III - the museum expedition, Part 2

Nat Kone wrote:
>
> At 02:21 PM 06/07/98 +0000, Moritz R wrote:
>
> 1) >met ** and  ** both respected members of the Exotica list.

> Are there "respected" members here?
> Respectable, probably a whole bunch, maybe not...
> I'm not saying they're NOT respected...
> Oh, somebody knows what I'm saying here.
> I guess I thought that a bunch of people who discuss the relative merits of
> often long-forgotten, discarded and disregarded records wouldn't be
> referring to each other as "the honourable member from wherever".
> (And don't bother with the replies "Yes there are respected members but
> you're not one of them!"  Last time I heard that, I fell off my dinosaur
> laughing.)

I don't mind, if you laugh. If you wouldn't, I'd be disappointed. No, wait: A
whimsy smile might do as well!

MO


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

Date: Tue, 07 Jul 1998 00:31:02 +0000
From: [e-mail]
Subject: (exotica) Record obsessive

I freely admit it...I am obsessive about my record collection.

This doesn't mean I only buy pristine condition LPs, however.
One of my objectives is to get vinyl with a reasonable chance of
being good and rescuing it from the throw away society and giving
it new life.

Of course, I am overjoyed when I find records in excellent condition
which were kept by someone who cared.

Today I ran across G.G. Morgan's assortment of mostly jazz/big band
LPs at the thrift store (I have no idea who this person was, but the name was
on a label on one of the records). Morgan had all his records in their
original
sleeves. Morgan didn't write all over the cover, but when there was
writing, it was a snappy signature of the owner (always on white space).

The owner apparently liked to play the records, because the sleeves did not
create a "dust seal" as obsessives like me insist on: the record was ready
to roll out anytime without removing the sleeve. So give Morgan lots a
points, but take off one for not putting the record in the sleeve in the
cover with the sleeve open side UP. However, he gets many extra points for
putting the records away once he played them: no dust, no clam dip, no
fingernail polish, no fingerprints.

If I didn't know better, they were kept in mylar outer covers (like I put
over those of mine with no cover abrasions).  There was little ring wear on
his albums and few split seams.  My theory is: the owner simply didn't jam
pack them into the shelves (which also helps prevent cover abrasions).

Only a handful of the albums were without inner sleeves...but these were
the low cost ones (which may not have had sleeves to begin with!) or the
Columbias (Columbia often put their records in these plastic sacks...nice
to seal in new vinyl but difficult to use on a regular basis).

So, today, I "dust sealed" all of them, put a little card in them
(indicating the price, when and where I bought it, the original owner's
name if known, notes on condition) and prepared them for the price sticker
removal ceremony.  Thanks to good advice HERE (on this list), I now can
safely remove most stickers from almost any album cover by applying lighter
fluid (not a recommended method for chain smokers).

After that, the ones with excellent covers get the mylar bags (open side up)
and then they get inserted properly on the shelves (alphabetical/label
number order of course).

HOWEVER, I will never have the excellent condition LPs Morgan once
owned...thanks to Goodwill.  As if their industrial strength stickers on
the front cover aren't enough, they also inscribe the price with a felt-tip
pen on the back cover.  The ink sinks into the paper and can't be removed.
AND, the jokers like to put the price over album notes, photographs or
illustrations: never over only white space.

I was able to remove, safely, some of the felt-tipped marker prices...but
only when the back cover was "glossy."  A couple of times they marked the
price on
shrink wrap, so they can't be that evil minded about it. (ooo, let's take
this perfect record and mark it up so it's not perfect anymore!)  Can't
help think about the time one company did a public service campaign for
condoms...and stapled a sample onto every brochure!  I understand the
birthrate shot up tremendously there that year. :)

I long for the time when merchants used to write the price of the LP
in pencil (some of my LP's have the original price still written there: I
could have erased the 2.98 or 3.98, but thought better of it).

Okay, now you are saying (among other things) "Then don't buy Thrift Store
records."  Hey, I have to complain about something! :) I am certainly not
going to complain about the price at this store!

I do think this is more than just a criticism of their care of record cover
condition...it also says something about trust.  Here they are selling
things they didn't even buy to resell...it was GIVEN to them.  And how do
they repay their public...by redundant pricing in case someone wants to
steal or alter these donated items! No trust, no belief in the
customer...in fact, disdain and discouragement are offered to those willing
to buy old and used stuff.

Thanks for the memory (about 13 kbytes I imagine).

Byron

      /-
     / '\
    / ___> ; ;  ;    _   ;__
   /    \  [ | /"-  / () |  )
  <}-___/_/(_|/  \_(__/\/|  (_______
          ___<
          -_/
Byron Caloz
Portland, Oregon, USA, Earth, Sol, Milky Way
visit my website:
http://www.hubris.net/zolac


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

Date: Tue, 7 Jul 1998 09:31:11 +0100
From: "Charles Moseley" <[e-mail]>
Subject: Re: (exotica) The All Seeing I

Charles Moseley@MCKINSEY-EXTERNAL
07/07/98 04:31 AM


To:   [e-mail]@internet
cc:
Subject:  Re: (exotica) The All Seeing I


The All Seeing I is a good record and it has been mentioned before on this
list. The singing is lifted from Sonny & Cher's The Beat Goes on and the
rest of it - bassline, breaks, fill-ins etc. are all lifted from Buddy
Rich's cover version of The Beat Goes On. The whole record is made from two
other records with only the vibra-bass and lfo sounds added. It's still
very cool though.

Their first release (which is still here in a couple of London record shops
is a rolling slow, jazzy thing with a repetitive slow 4 bar sampled loop.
It is good but doesn't measure up to The Beat Goes On.



Charlie





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

Date: Tue, 07 Jul 1998 11:55:24 +0000
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Kontiki III - the museum expedition, Part 2

Nat Kone wrote:
>
> At 02:21 PM 06/07/98 +0000, Moritz R wrote:
>
> 1) >met ** and  ** both respected members of the Exotica list.

> Are there "respected" members here?
> Respectable, probably a whole bunch, maybe not...
> I'm not saying they're NOT respected...
> Oh, somebody knows what I'm saying here.
> I guess I thought that a bunch of people who discuss the relative merits of
> often long-forgotten, discarded and disregarded records wouldn't be
> referring to each other as "the honourable member from wherever".
> (And don't bother with the replies "Yes there are respected members but
> you're not one of them!"  Last time I heard that, I fell off my dinosaur
> laughing.)

I don't mind, if you laugh. If you wouldn't, I'd be disappointed. No, wait: a
sly smile might be equally appropriate!

MO


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Date: Tue, 7 Jul 1998 03:57:08 -0600
From: Jill Mingo <[e-mail]>
Subject: Re: (exotica) Kiddies, Klaus Schulze and Disneyland!

At 14:30 06/07/98 EDT, you wrote:
>In a message dated 98-07-06 11:26:06 EDT, you write:
>
><< here are still a
> few of the originals like the FABULOUS Submarine ride. >>
>
>they are dismantling this one at disney world (was closed when i was there in
>dec 96).  you need to save your money (and i do mean save) and go to disney
>world again.  epcot is beautifully landscaped, architected, etc.  MGM studios
>are good and i have not been to animal kingdom.  it cost a lot to stay in the
>park (43 freaking square miles!!!) but is worth it.

WAIT A MINUTE...I was in Disneyland just March 98, and I rode the Sub ride.
Even had to queue for quite a while. It's still going. Also, go to Main
Street into City Hall and tell them you want it open. They take complaints
seriously there. I said I wanted Tiki Room merchandise again and filed a
complaint. Apparently the girl at the shop said people always ask for it,
and it sold pretty well. But the Submarine ride was working.

As for World, it's pretty much a week trip. I will do it again someday, but
for the LA visitor, Disneyland is a good place for a visit even if you can't
see it all in a day!

 Jill "Mingo-go"



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Date: Tue, 7 Jul 1998 04:56:39 -0600
From: Jill Mingo <[e-mail]>
Subject: Re: (exotica) A&M needs to get with it

At 13:38 06/07/98 EDT, you wrote:
>
>> Then you could walk into your
>>local Goodwill or Salvation Army and pick up all the Sergio Mendes and=
 Herb
>>Alpert you want in near mint condition for a buck each.  If you get lucky,
>>you'll get a Claudine, too.

>Excuse me, not to niggle, however---who you people kidding?
>it seems to me that you'd have to search Goodwills & Salv Armies day and=
 night
>to find a REALLY near-mint copy of Mendes / Claudine etc.  Virtually all=
 these
>shops get mostly trash-can quality vinyl, & they cram them in with the beat=
 up
>telephones and electronic junk or (maybe worse) stack 'em on the floor=
 where
>they get kicked/knocked over periodically.=20

Honest. I've found these in thrift stores and I spend so little time in
America. And I've found them in excellent shape, brought them back for my
friends who were ready to pay =A315 for them (that's about $22). I can't go=
 on
enough about the joy of thrifting. The shops here just don't have the
quality merchandise you get stateside. That is what hurts me about living in
Europe, lack of good bargains. When I hear people Stateside who just don't
do it when there are all those untold bargains waiting before them, part of
me wants to cry, and part of me rejoices knowing that I will pick these
bargains up next time I'm over!!!!

Jill "Mingo-go"



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Date: Tue, 7 Jul 1998 08:08:06 EDT
From: <[e-mail]>
Subject: Re: (exotica) The All Seeing I

In a message dated 98-07-06 14:38:41 EDT, [e-mail]
writes:

<< Just wanted to say that I have bought a cd single by this group
 "The All Seeing I" (I don't know anything about them, except that
 they're from Sheffield, UK) called "Beat Goes On", that - yes - it is
 a reworked version of the Sonny & Cher classic. Whether I tend to
 dislike contemporary "Easy" music (Dimitri from Paris, Air, etc.) I
 find this record do rule! It has a distinct easy flavour, and it is
 quite danceable too, without sounding any house. Nice lazy girl
 vocals.
 Worth a listen, if you should come across.
 It's out on London Records (ffrr/earth recs.), 570 146-2.
 PY901. LC7654 (1998).
 B-side is all-forgettable "Booty In The I"
 I Think it's their first. Does anyone know something about them?
 Ciao
 Gionni >>


It is actually their second single...they also do a remix of a Fuzz Townshend
single "Smash It Up" (i.e. Bentley Rhythm Ace's drummer's solo project)

Ashley


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Date: Tue, 7 Jul 1998 09:37:15 -0400
From: "Brian Phillips" <[e-mail]>
Subject: (exotica) Reissue woes: (I found this on a message board): Long

This is probably nothing new to list readers, however, it makes for
interesting reading.  This is long post and I didn't write it!

I'm not an outsider to the music industry, having worked in the wholesale
and retail end of things for about 20 years. I also co-ran a reissue label
for 45s from 1981 through 1986, so I'm intimately familiar with the vagaries
of licensing. The bottom line in all of the licensing considerations is
money. Companies have to be able to bring in a reissue package for a price,
and if they can't meet that price, then they compromise on the standards
that they've set for themselves. It's these compromises that turn collectors
off. I can't speak for the rest of the collectors on this forum, but, if one
of the labels decided to do a series that featured 20 tracks per disc of
hard-to-find stereo material, mastered from the best available sources, and
had to charge $20.00 per disc, I'd be there!

Another thing that turns collectors off is mastering from vinyl. Most vinyl
transfers on current CDs are immediately identifiable as such, yet it
doesn't have to be this way. I've been shown by an expert sound engineer (Hi
Tom!) that remastering from vinyl does not have to sound bad, and, in most
cases, can equal the sound of a tape source. However, this takes time,
expertise, and money. The labels don't want to put such resources into their
catalog divisions. Small entrepreneurs who do have the time, equipment, and
dedication, and are willing to do the work are closed out of the market by
ridiculous licensing requirements by the majors. Just as an example, the
current minimum for licensing a track from WEA is an up-front payment for
20,000 pieces, and that's just for a standard, production master. If you
want a tape vault search done for a better master, then the cost per unit
goes up considerably. The other majors have similiar, albeit smaller,
requirements, but none are less than 10,000 pieces. The average cost per
piece is about $0.15, which leads to an initial per-track cost of anywhere
between $1500.00 and $3000.00. This does not include the mechanical, or
songwriter, royalties of $0.07 per track, which adds another $700.00 to
$1400.00 to the per-track costs. Multiply that by the number of tracks on
the CD and you're starting to talk six or seven figures, without even
thinking about manufacturing and packaging costs. This is sick, and shows
just how little the majors care about the reissue market.

About the only ones who can afford these minimums are the mass marketers
like Westwood Promotions (Sessions) and Time-Life/Heartland
(owned/controlled by WEA), who put out average product at best. No wonder
alternate source providers exist. Although some of them are money-grubbing,
profiteering thieves that put out shoddy product, others help to fill a
large void in the marketplace. However, I have yet to meet the collector who
would settle for a package from TNT, Radiola, Marginal, or CamPark when an
equivalent package could be had from a legitimate source. With respect to
the difficulties encountered by the reissue labels when putting together
their packages, all I can say is that, in my humble opinion, it would be
better to shelve the project than to put out a mediocre item that won't
sell. This just feeds into a self-fulfilling prophecy that there's no money
in reissues.

I can foresee the time when the reissue market will be dominated by imports,
even more so than it is now. The major labels will have gobbled up all of
the older, independent label catalogs and, with their absurd licensing
demands, will have forced the small reissue specialist labels out of
business. I apologize for the length of this message, but allow me to close
with an anecdote. When I was working with one of the major labels back in
1984 to get a particular 45 pressed, the special markets person with whom I
was working told me that we'd have to press a minimum of 5000 pieces to get
the license. Now, at that time, 5000 pieces was a pretty hefty order for a
single. I asked the label contact how they had arrived at that number. He
told me, off the record, that it had been selected by the VP of special
markets in an attempt to discourage me from pursuing the matter. It didn't!




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Date: Tue, 7 Jul 98 10:02:15 CDT
From: "VIC RUGH" <[e-mail]>
Subject: (exotica) Brad's boogiosity

Last week, Brad ([e-mail]) wrote "I'm tempted to put
together a comp of nothing but killer tunes like these that will drive
listeners into a non-stop dance frenzy leading into a higher level of
consciousness and boogiosity.
"Any suggestions of other tunes from the rest of you out in exotica-land?"

There is an album that probably has no particular appeal to exotica fans.
It features Doc Severinsen and a bunch of other instrumentalists of that
caliber playing "big band" arrangements with (I believe it was) the
Cincinnati Symphony Orch.  There is an arrangement of "Caravan" that will
affect whomever I play it for!  At least enough to lose train of thought in
a conversation or tap fingers on table or do some controlled shifting in
the chair. . .  It just has a cadence, with a hand-clap on the four beat,
that seems to loosen something inside most folks.  (Okay, so that does not
approach non-stop frenzy.  Hey, frenzy has gotta stop sometime!)

Another cut I enjoy on that CD is "Let's Dance," which was Benny Goodman's
theme song.  The arrangement will get into pretty much of a well-crafted
cover of the original BG sound, but first the clarinetist (Eddy Daniels)
does this waltz solo (it is NOT a waltz tune) which sounds sorta baroque
and courtly and gives me visions of white wigs and ladies in those hooped
skirts, with their hair in ringlets, you know?  The men bow to the ladies
and say, "Let's dance!"



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

Date: Tue, 7 Jul 1998 18:02:51 +0100
From: [e-mail] (Al Nino)
Subject: Re: (exotica) Kontiki III - the museum expedition, Part 2

>abilities. In a country where a bottle of beer costs as much as a Trader Vic's
>cocktail in other countries getting stinko is pure luxury.

No, getting stinko in Sweden isn't luxury, cheap home-brewed moonshine is
*the* keyword here :)

Of course, that's something I wouldn't recommend to all you sensible
swingers out there, heheehe...

Al Nino

"Honesty is great and groovy and kicks all rolled into one big mind-blower.
No one should be without it"




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

Date: Tue, 7 Jul 1998 12:10:59 -0400
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Lounge forever

>  >>Anyway, I do have the feeling that swing may be rapidly displacing
>  >>"lounge"
>
>>  Nothing will *replace* lounge. Lounge is lounge period!
>
> Certainly this is a true statement, since in order for lounge to be
> "replaced," the whole lot of us will have to stop listening to lounge and
> start listening to swing.

Y'know, that was not the intent of my original statement, which (to restore to
its full length) was:

"Anyway, I do have the feeling that swing may be rapidly displacing "lounge" as
the new non-rock trend that the media writes about and the industry pushes."

I was NOT saying "lounge" itself is dead. I WAS saying that I have the feeling
that the mass media & major label interest is moving on to the next shiny
object that catches its eye. Which doesn't necessarily have that much to do
with us, other than to the extent that it affects our supply lines.

m.ace  [e-mail]
OOK   http://www.voicenet.com/~ecam/


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End of exotica-digest V2 #145
*****************************