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exotica-digest        Monday, December 14 1998        Volume 02 : Number 265



In This Digest:

Re: (exotica) The Surfmen avaliable on CD
Re: (exotica) Phil Moore exotica!!
(exotica) Good Day Thrifting
Re: (exotica) Re: Heino sites
(exotica) The Surfmen
(exotica) Re:Moroders Moog
(exotica) Philadelphia record stores
(exotica) Re: Keith Mansfield's Carnaby Street
(exotica) 3" CDs - A Reply from TDK
(exotica) Re: Moroder
(exotica) Lew Grade,Kenneth Houseman,Pradeep,John Addison obits
(exotica) #11 ISSUE OF COOL AND STRANGE MUSIC MAGAZINE IS HERE!!
(exotica) Sergio Mendes
(exotica) Taping Tech
Re: (exotica) Phil Moore exotica!! -Reply
Re: (exotica) Good Day Thrifting/Carmen/etc...
Re: (exotica) Sergio Mendes
(exotica) RE: Taping Tech

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

Date: Sun, 13 Dec 1998 23:08:30 EST
From: [e-mail]
Subject: Re: (exotica) The Surfmen avaliable on CD

One of the albums by the Surfmen is avaliable on CD from CD Universe.
Larry


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

Date: Sun, 13 Dec 1998 23:47:40 PST
From: "Magnus Sandberg" <[e-mail]>
Subject: Re: (exotica) Phil Moore exotica!!

Phil Moore indeed is one of my great heroes! You have just found one of
the most fantastic exotica LPs I know of, and I am very jealous... If
anyone have a copy for sale or any other great Phil Moore LP I have
excellent stuff for trade.

I only have one LP with Phil Moore, also a real killer called "New York
Sweet" (Mercury MG 20763) From the Liner Notes: "Horns honk, trains
roar, boats whistle.. all these sounds of a teeming city are combined
with sensitive orchestrations to bring you one man's Manhattan" The
record begins with Phil talking to the listener from the Empire State
Building, and then in music describing some of New Yorks buildings,
parks, ferrys etc with lots of environmental sounds from the City. Its a
brilliant jazz album, sometimes it's near to exotica and quite
experimental for its day I should say. Released in the early 60s I
think. And it has excellent sound, as the other Mercury albums I've got
from this period.

Phil Moore is also the man behind Leda Annests "Portrait of Leda" LP
which I will let someone else describe since I havent heard the whole
album. Only got one side that was a bonustrack on Les Baxters "The
Passions" bootleg CD.

For more titles visit the Space Age Pop standards page on composers.

Congratulations!
Magnus



>>
There is mention that Phil Moore wrote some production scores to Kismet
and Panama Hattie... but not really any indication if he's done anything
else. Any one have any info on this guy? If his other albums are as good
as this one we've got a contender.
>>



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

Date: Mon, 14 Dec 1998 06:29:56 EST
From: [e-mail]
Subject: (exotica) Good Day Thrifting

I decided to visit an "antique" store in Laporte, Indiana that I hadn't been
to in a year.  This store has a lot of mostly forgettable records, but I did
come away with a few gems:

EXPLORING THE UNKNOWN BY THE VOICES OF WALTER SCHUMANN

I have heard of this album but never came across anyone who actually owned a
copy.  Unfortunately, it skips in a few spots, but is overall, listenable.
Paul Frees narrates the events of a rocket trip (in Captain's Log fashion)
while Schumann's choir fills the background with mostly wordless vocals.
Leith Stevens arranged and conducted the orchestra which sounds a bit like the
soundtrack to 1950's epic sci-fi film with some Holst-like and Stravinskian
moments -- at times bizarre, at times somewhat cliche'.  As far as I can tell,
there are no electronics or theremin on the album.  The melodrama makes it an
oddity, though.

DROP DEAD -- AN EXERCISE IN HORROR BY ARCH OBOLER

I expected this one to have some music on it, but it is all drama and
dialogue. It's a bit like a radio show.  Apparently, Oboler actually had a
radio show in the 30's and 40's called "Lights Out" which was the "Alfred
Hitchcock Presents" of its time.  It's an oddity, but I don't see listening to
it very often.  It's far more corny than Hitchcock (it features an imitation
Peter Lorre voice on one track).  The liner notes mention Oboler's latest
film, One Plus One, allowing me to date it at about 1961.

BLACK MASS LUCIFER BY MORT GARSON

This is from 1975.  It could be classified as a Moog record, but is probably a
little too abstract and academically presented to be included in the lounge
genre.  It does have some chilling moments, though, which make the term
'academic' a bit unfair.  It reminds me of a Moogy Nurse With Wound or of some
of Throbbing Gristle's instrumental numbers.  It has no vocals or chanting
like you might expect from the title, but does have some percussion which help
darken the overall mood.

I left a couple of curious albums behind including one from the 70's called
'Space Age Fandangos' by a group called Carmen.  I believe I recognized the
bass player's name, John Glascock, as a Jethro-Tull alumnus.  Instrumentation
included castanets and flamenco guitar as well as mellotron and electric
keyboards.  If anyone can recommend this one, I might go back for it.

Sean


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

Date: Mon, 14 Dec 1998 12:43:05 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Re: Heino sites

> and screen sprayed all over with
> >black-brown paint....
>
> Why black-brown?
>
"...schwarz-braun ist die Haselnuss..."

BTW:

That Heino 60th birthday TV show was such an unbelievable idiotic
embarrassing bullshit, that I became absolutely pessimistic for the
future of this country. While on the other channel the FC Bayern
Muenchen outclassed Bayer Leverkusen in a first division soccer match,
an absurd ghost show of aged showstars celebrated Heino's birthday live
from the Philipshalle in Duesseldorf - "only a few hundred meters from
where he was born" - and all qualified for the list of lethal weirdness
easily.

It started real nice with a Heino ballet: The girls were all dressed in
the obscure star's famous red dinner jacket, blond wig, sunglasses and
performed a dance that was a mixture of aerobic and military drill. But
as soon as "stars" like Eric Sylvester, Roger Wittaker or "Howie"
Carpendale took over, I started becoming really nervous and wanted to
bite pieces out of my carpet. A freaky terribly looking just recentely
recovered from a bad heart attack Drafi Deutscher ghost was shown, but
couldn't sing due to the state of his health. Heino-producer Ralf Bendix
approached - incredibly  fat, bald head, cowboy-outfit (lives in
America) and recieved the "Golden Heino" award by Heino himself. And he
was so MOVED. Ridiculous!!!

The worst moment though- and I badly wanted to emigrate from Germany at
that point- was when a group named "Zillertaler Sch=FCrzenj=E4ger" entere=
d
the podium. For all non-german residents: This band is supposed to be a
"Volksmusikgruppe", in fact they are momentarily the best-selling band
in Germany of all categories. Now, the title of the song of this
folk-music-band from the lovely Zillertal was "Easy Rider auf dem
Highway ins Paradies" (I believe you can easily translate that yourself)
and the singer wore a Harley Davidson cap. AaaaaCH!!!!

I'm seeking for cultural asylum now in a far away country and I hope
someone takes me.

Good night - I've had it

Mo





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

Date: Mon, 14 Dec 1998 06:44:58 EST
From: [e-mail]
Subject: (exotica) The Surfmen

On Sun, 13 Dec 1998 at 17:38:09 -0500 Nat Kone wrote,

>Well I have two Surfmen records, both on Somerset, one the notorious "the
>romantic lure of Exotic Island" - with the great cover of the half-naked
>top half of a woman emerging from an orchid - and the other one "the
>romantic lure of Hawaii" and I think they're pretty consistent and similar.

I have both of these, too, and I must admit, I find the Exotic Island album
much more interesting.  The analogy to Stanley Black's Exotic Percussion seems
right on.  The Hawaii record has a much more standard Hawaiian sound. I'll
pull it out and double check, but I don't remember as many birdcalls or eerie
wordless vocals on the Hawaii record.

Sean


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

Date: Mon, 14 Dec 1998 13:01:09 -0000
From: [e-mail]
Subject: (exotica) Re:Moroders Moog

As much as I hate to disagree with Nat the best Giorgio Moroder stuff
has got to be from the 70's,  but its not all synthesisers so be warned.
He did most of Donna Summers 70's disco records and some are like 'I
feel love',  there are some standard disco songs,  and some
disco/rock'n'roll hybrids like I feel love.  He also did the soundtrack
for Midnight Express which has the mighty 'Chase' in it and some truly
terrible rock ballads.

  I think Moroder was also one of the members of the 'Munich Music
Machine',  I was looking at it in a shop recently and recall seeing his
name on the back.  I think he did some production for Blondie or Debbie
Harry in the early eighties too.  I also suspect that this is the tip of
the iceberg,  I recall someone appealing to a lurker who had an in depth
knowledge to come forward about this very subject during the summer.
There was no response then either.

I think it'll be a long search for you


El Maestro Con Queso

[e-mail]
[e-mail]
http://www.sgillitt.dircon.co.uk/cheese/cheese.htm


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

Date: Mon, 14 Dec 1998 08:28:40
From: Jay Schwartz <[e-mail]>
Subject: (exotica) Philadelphia record stores

To whomever was asking about worthy Philadelphia record stores for exotica,
check out these 4 stores within a two block radius:

Philadelphia Record Exchange, 5th Street below South Street
Check out both stores that are a few storefronts apart (one is mostly rock,
one is mostly jazz).

Book Trader, 5th Street at South Street (NW corner)
records are in the back

Cue Records, 4th Street below South Street

Find a few Free Design and other new reissues at Space Boy Records, also
very close on South Street between 4th & 5th Sts.

And you should also go to Ninth Street Books and Records in the Italian
Market at 9th & Catherine Sts., which is a ten minute walk from the other
area.





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

Date: Mon, 14 Dec 1998 14:04:09 +0000
From: "Charles Moseley" <[e-mail]>
Subject: (exotica) Re: Keith Mansfield's Carnaby Street

An LP to showcase the swinging famous London street. Featuring original
compositions from Keith Mansfield. Four superb tunes - instrumental pop
classics with strong bass, big drums, tambourines and wordless vocals. A
slightly different Young Scene is on the LP and something called Funky
Fanfare is a re-working of a track from his This Is Keith Mansfield LP.
Overall this is a very good LP - hammonds a plenty in exciting arrangements
with top production. Keith Mansfield, Pete Moore, John Schroeder, Mark
Wirtz all sit very well together.
Does anybody on the list have any other Keith Mansfield works?

Also got a Japanese LP at the weekend - Jerry Goldsmith's In Like Flint and
Our Man Flint soundtracks on one LP - 1966ish. Not bad soundtracks but I'd
have to give them a bigger listen to appreciate them properly. I also saw
The Ipcress File has been reissued (bootlegged). Is there no end?



Charles





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

Date: Mon, 14 Dec 1998 08:36:41 -0500
From: Peter Risser <[e-mail]>
Subject: (exotica) 3" CDs - A Reply from TDK

Pretty basic, but at least they answered!

===
Many thanks for your e-mail concerning TDK CD-R media.  We appreciate
having this opportunity to correspond with you.

Regrettably, our 18 and 21 minute, 80mm CD-R's were discontinued in 1996,
and are therefore no longer available.

Once again, thank you for taking the time to contact us and for choosing
TDK as a preferred brand of recording media.  If we can be of some
assistance in the future, please let us know.
===

So, if anyone happens to run across any of these in an out of the way
record shop, I'd be curious as to how expensive they are.  I'd sure like to
try a few.

See ya!
Peter


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

Date: Mon, 14 Dec 1998 15:46:26 +0100
From: Moritz R <[e-mail]>
Subject: (exotica) Re: Moroder

 http://www.i-breeze.com/ato/glist.html

Looka here! Moroder's covers and record descriptions. Not all of them,
but quite many!

Mo



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

Date: Mon, 14 Dec 1998 11:11:35 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) Lew Grade,Kenneth Houseman,Pradeep,John Addison obits

 *Lew Grade =20
see also:
http://www.nytimes.com/yr/mo/day/news/national/obit-grade.html  =09
    LONDON (AP) -- Lew Grade, the legendary, cigar-chomping entertainment
tycoon who founded Britain's first commercially funded television company,
died Sunday of heart failure two weeks after undergoing surgery. He was 91.=
=20
    Grade, whose projects included the TV series ``The Saint,'' and the movie
``On Golden Pond,'' gave up an early dancing career and started a small
showbiz agency in 1934.=20
    Twenty-one years later, he founded Associated Television, the first
commercially funded channel launched in Britain to compete with the British
Broadcasting Corp.=20
    ATV dominated much of British popular television through the 50s, 60s and=
 70s.=20
    Grade, who was knighted in 1963 and given a life peerage in 1976, rode
showbiz rapids for 70 years -- with a string of TV hits, some movie flops,
fantastic deal-making skills, and memorable one-liners.=20
    Born Louis Winogradsky on Christmas Day 1906 in Tokmak, Ukraine, he came to
London at age six. His family became a showbiz dynasty -- one nephew heads
Britain's Channel 4 and a brother ran a music and electronics business.=20

 *Kenneth Houseman    =09
    GREAT FALLS, Mont. (AP) -- Kenneth ``Chip'' Houseman, a wildlife
cinematographer who made films on all seven continents, died in the crash of
a Thai Airways jet Friday.=20
    Houseman was killed when the Airbus A310-200 crashed in a swamp during a
storm in Thailand.=20
    Houseman's fiancee and technical assistant, Helen Gromme, was also killed
in the crash, said Roy Houseman, the filmmaker's brother. They had lived in
Jackson, Wyo.=20
    Houseman, who grew up in Great Falls, had been filming an ABC documentary
on gibbon monkeys. He and Ms. Gromme were flying to Bangkok, Thailand, to
show their footage to a network producer.=20
    In 18 years of making films, Houseman filmed polar bears in the Arctic,
grizzly bears in Russia, tigers in India, chimpanzees in Africa and wolves
in Alaska. Clients included the Public Broadcasting Service and National
Geographic.=20

                             *Pradeep    =09
    NEW DELHI, India (AP) -- Pradeep, a master of Hindi poetry and a favorite
of Indian prime ministers and paupers alike, died Friday after suffering
from acute bronchitis. He was 83.=20
    Pradeep, who used only one name, was the favorite poet of Prime Minister
Atal Bihari Vajpayee, who this year conferred on him India's highest honor
for lifetime contribution to cinema, the Dadasaheb Phalke Award.=20
    Pradeep's Hindi ballad ``O my countrymen,'' written in response to the
Chinese attack on India in 1962, brought tears to the eyes of the country's
first prime minister, Jawaharlal Nehru, at a concert.=20
    His soulful film lyrics, many sung by him, stirred the hearts of millions
for decades and became classics. He wrote more than 1,500 songs.=20
    Pradeep, born Ramchandra Narayanji Dwivedi, was influenced by the struggle
of Indian revolutionaries against colonial British rule, and his lyrics were
hugely popular patriotic numbers. Several angered the British colonialists.=
=20

    BENNINGTON, Vt. (AP) -- John Addison, the composer best known for his
Oscar- and Emmy-winning scores for movies and television, including the
music to ``Tom Jones,'' has died at 78.=20
    Addison died Monday after suffering a stroke at Southwestern Vermont
Medical Center, said James Goldstone, a family friend.=20
    Addison spent five years on the faculty of the Royal College of Music in
London, and his early compositions were primarily chamber works.=20
    He began composing for the theater, movies and television in the 1950s,
then won an Academy Award for his score of the 1963 movie ``Tom Jones'' and
was nominated for another for ``Sleuth.''=20
    He won a British Academy Award for the 1977 movie ``A Bridge Too Far'' and
was nominated for another for ``Swashbuckler.'' He won his Emmy for the
theme ``Murder, She Wrote.''=20
    He also composed for London theater companies, including a score for
Laurence Olivier's staging of ``Hamlet.''=20
    He moved from California to Vermont with his wife, Pamela, eight years ago,
and continued to compose chamber and symphonic pieces.=20
    ``Bassoon Concertina'' premiered last summer in Manchester, England, and he
had just completed a commissioned chamber piece several weeks ago.=20
    Addison is survived by his wife, Pamela, a sister, two sons, one stepson, a
daughter, a stepdaughter and six grandchildren.=20
    Musical memorial services will be held later in Vermont and London,
Goldstone said.=20

 1990 The Phantom of the Opera [TV]     Composer (Music Score) =A0=20
 1988 Shadow on the Sun [TV]            Composer (Music Score) =A0=20
 1987 Bride of Boogedy [TV]             Composer (Music Score) =A0=20
 1987 Strange Voices [TV]               Composer (Music Score) =A0=20
 1986 Something in Common [TV]          Composer (Music Score) =A0=20
 1986 Dead Man's Folly [TV]
=A0=A0=A0=A0 aka Agatha Christie's 'Dead Man's Folly' Composer (Music Score)=
 =A0=20
 1985 Thirteen at Dinner [TV]
=A0=A0=A0=A0 aka Agatha Christie's Thirteen at Dinner Composer (Music Score)=
 =A0=20
 1985 Code Name: Emerald [TV]
=A0=A0=A0=A0 aka Emerald                        Composer (Music Score) =A0=
=20
 1984 Grace Quigley
=A0=A0=A0=A0 aka The Ultimate Solution of Grace Quigley [1985] Composer=
 (Music Score) =A0=20
 1983 Ellis Island [TV]                 Composer (Music Score) =A0=20
 1983 Strange Invaders                  Composer (Music Score) =A0=20
 1982 Charles and Diana: A Royal Love Story [TV] Composer (Music Score) =A0=
=20
 1982 Eleanor: First Lady of the World [TV]      Composer (Music Score) =A0=
=20
 1982 I Was a Mail Order Bride [TV]              Composer (Music Score) =A0=
=20
 1981 Mistress of Paradise [TV]         Composer (Music Score) =A0=20
 1980 Highpoint                         Composer (Music Score) =A0=20
 1979 Love's Savage Fury [TV]           Composer (Music Score) =A0=20
 1979 Danger in the Skies
=A0=A0=A0=A0 aka Pilot (U.S. title)             Composer (Music Score) =A0=
=20
 1979 Like Normal People [TV]           Composer (Music Score) =A0=20
 1978 The Bastard [TV]
=A0=A0=A0=A0 aka The Kent Chronicles            Composer (Music Score) =A0=
=20
 1978 Black Beauty [anim]               Composer (Music Score) =A0=20
 1978 A Death in Canaan [TV]            Composer (Music Score) =A0=20
 1977 A Bridge Too Far                  Composer (Music Score) =A0=20
 1977 Joseph Andrews                    Composer (Music Score) =A0=20
 1976 The Seven Percent Solution        Composer (Music Score) =A0=20
 1976 Swashbuckler
=A0=A0=A0=A0 aka Scarlet Buccaneer              Composer (Music Score) =A0=
=20
 1976 Ride a Wild Pony
=A0=A0=A0=A0 aka Born to Run                    Composer (Music Score) =A0=
=20
 1975 Born to Run [TV]
=A0=A0=A0=A0 aka Ride a Wild Pony (U.S. title) Composer (Music Score) =A0=20
 1974 Dead Cert                        Composer (Music Score) =A0=20
 1974 Luther                           Composer (Music Score) =A0=20
 1972 Cry of the Penguins
=A0=A0=A0=A0 aka Mr. Forbush and the Penguins [1971] Composer (Music Score)=
 =A0=20
 1972 Sleuth                           Composer (Music Score) =A0=20
 1970 Brotherly Love
=A0=A0=A0=A0 aka Country Dance [1969]          Composer (Music Score) =A0=20
 1970 Start the Revolution without Me Musical Direction/Supervision /
Composer (Music Score) =A0=20
 1968 The Charge of the Light Brigade Composer (Music Score) =A0=20
 1967 Smashing Time                   Composer (Music Score) =A0=20
 1967 The Honey Pot
=A0=A0=A0=A0 aka Anyone For Venice?
=A0=A0=A0=A0 aka It Comes Up Murder
=A0=A0=A0=A0 aka Mr. Fox of Venice            Composer (Music Score) =A0=20
 1966 Torn Curtain                    Composer (Music Score) =A0=20
 1966 Time Lost and Time Remembered
=A0=A0=A0=A0 aka I Was Happy Here             Composer (Music Score) =A0=20
 1966 The Uncle                       Composer (Music Score) =A0=20
 1966 A Fine Madness                  Composer (Music Score) =A0=20
 1965 The Loved One                   Composer (Music Score) =A0=20
 1965 The Amorous Adventures of Moll Flanders
=A0=A0=A0=A0 aka Moll Flanders                Composer (Music Score) =A0=20
 1964 Girl with Green Eyes      Composer (Music Score) / Musical
Direction/Supervision =A0=20
 1964 The Model Murder Case     Composer (Music Score) / Musical
Direction/Supervision =A0=20
 1964 Guns at Batasi            Composer (Music Score) / Musical
Direction/Supervision =A0=20
 1963 Tom Jones                 Composer (Music Score) / Musical
Direction/Supervision =A0=20
 1962 Go to Blazes              Composer (Music Score) =A0=20
 1962 The Loneliness of the Long Distance Runner
=A0=A0=A0=A0 aka Rebel with a Cause     Composer (Music Score) =A0=20
 1961 His and Hers              Composer (Music Score) =A0=20
 1961 A Taste of Honey          Composer (Music Score) / Musical
Direction/Supervision =A0=20
 1960 School for Scoundrels     Composer (Music Score) / Screenwriter =A0=20
 1960 A French Mistress         Composer (Music Score) =A0=20
 1960 The Entertainer           Composer (Music Score) =A0=20
 1959 I Was Monty's Double
=A0=A0=A0=A0 aka Hell, Heaven or Hoboken [1958] Musical=
 Direction/Supervision /
Composer (Music Score) =A0=20
 1959 Charlton-Brown of the F.O.
=A0=A0=A0=A0 aka Man in a Cocked Hat (U.S. title) Composer (Music Score) =A0=
=20
 1958 Three Men in a Boat                 Composer (Music Score) =A0=20
 1958 Lucky Jim                Musical Direction/Supervision / Composer
(Music Score) =A0=20
 1958 Look Back in Anger       Musical Direction/Supervision / Composer
(Music Score) =A0=20
 1958 All at Sea
=A0=A0=A0=A0 aka Barnacle Bill [1957]  Composer (Music Score) =A0=20
 1957 The Shiralee             Composer (Music Score) =A0=20
 1956 A Private's Progress     Composer (Music Score) =A0=20
 1956 Reach for the Sky        Composer (Music Score) =A0=20
 1955 The Cockleshell Heroes   Composer (Music Score) =A0=20
 1955 That Lady                Musical Direction/Supervision / Composer
(Music Score) =A0=20
 1955 The Light Touch          Composer (Music Score) =A0=20
 1955 Touch and Go             Composer (Music Score) =A0=20
 1955 Josephine and Men        Composer (Music Score) =A0=20
 1955 One Good Turn            Composer (Music Score) =A0=20
 1955 Make Me an Offer         Composer (Music Score) =A0=20
 1954 The End of the Road      Composer (Music Score) =A0=20
 1954 The Black Knight         Composer (Music Score)=20
 1954 Paratrooper
=A0=A0=A0=A0 aka The Red Beret [1953]  Composer (Music Score) =A0=20
 1954 The Maggie
=A0=A0=A0=A0 aka High and Dry (U.S. title) Composer (Music Score) =A0=20
 1953 Terror on a Train            Composer (Music Score) =A0=20
 1953 Time Gentlemen Please?       Composer (Music Score) =A0=20
 1953 The Man Between              composer (Music Score)=20
 1952 The Hour of Thirteen      Composer (Music Score) / Musical
Direction/Supervision =A0=20
 1952 Brandy for the Parson     Composer (Music Score) =A0=20
 1951 The Light Touch           Composer (Music Score) =A0=20
 1951 High Treason              Composer (Music Score) =A0=20
 1951 Pool of London            Composer (Music Score) =A0=20
 1950 Seven Days to Noon        Composer (Music Score) =A0=20
 1948 The Guinea Pig            Composer (Music Score) =A0=20






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

Date: Mon, 14 Dec 1998 11:12:01 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) #11 ISSUE OF COOL AND STRANGE MUSIC MAGAZINE IS HERE!!

Here's the latest Press Release from Dana Countryman, publisher of C&S!M.
- -Lou


THE #11 ISSUE OF COOL AND STRANGE MUSIC MAGAZINE IS HERE!!

IT'S TRULY OUR BIGGEST ISSUE EVER! Starting with this new issue, we've gone
FULL-SIZE!=20

Yes, we're abandoned our small format (half-legal) and increased the size of
the magazine to the traditional size (Time Magazine equivalent size.) At  56
pages, it's beautifully offset-printed, with a cool color cover, lots of
high-quality photos, great articles, tons of new wacky and weird CD reviews
and it's more fun than ever!

The new issue features:
=95 A cover story/exclusive interview with DAVIE ALLAN, written by diehard
collector and fan, Seth Wimpfheimer. Seth interviews Mr. Allan, and delves
deeply into the behind the scenes recording sessions of the pioneer
Surf/Fuzz guitar god.

=95 A look at the grooviest music the Big Bands ever pumped out, with Brad
Bigelow's BIG BANDS GO GROOVY article. Yes, after the Swing Era peaked, many
old-time bandleaders got hip and led their musicians of the '60s through
some of the coolest (and strangest) covers of '60s pop songs. Read all about
which ones are the greatest to hunt for.

=95 A feature article about THEY MIGHT BE GIANTS, one of pop music's=
 quirkiest
and most charming duos. Writer Rich Wilhelm interviews GIANT John Linnell
and discusses TMBG's career and future projects.

=95 A tour though some of the coolest and strangest record stores in=
 Missouri,
in Timothy Friend's KANSAS CITY RECORD STORE REPORT.=20

=95 Writer David Greenberger interviews GEORGE LOWE, the voice of Cartoon
Planet's SPACE GHOST - COAST TO COAST. We find out about Mr. Lowe's
background and insight into his wacky voice-over character in this fun
interview.

=95 A short look at three of the oddest records of the '60s, in Ed Kaz' ED=
 KAZ
KOLUMN. Ed takes us through a short detour of his personal collection to
point out a few of the odder ones!

=95 Our Centerfold is a spread of some of the coolest JACK DAVIS LP COVERS
ever created, courtesy of the Ross Hartsough collection. Just a small but
cool sampling of this great Mad Magazine illustrator's voluminous body of LP
cover art.

=95 A short piece of the music (yes, I said MUSIC) of EVEL KNEIVEL. Probably
one of the strangest cash-in LPs ever recorded, the stunt driver never sings
a word on the LP that Alan Patterson describes!

=95 Speaking of bizarre records, Lara 7 tells all about one of the most
FLIPPED OUT CHILDREN'S RECORDS OF ALL TIME. Created by Bruce Haack and
Esther Nelson, "Dance to the Music" encouraged children back in the '70s to
explore astral projection and other experimental concepts, bordering on the
edge of going too far! Read all about this strange, strange record.

=95 Right in keeping with the holidays, Wilhelm Murg discusses some of the
strangest Christmas records ever in RECORDS ROASTING ON AN OPEN FIRE. There
are so many weird ones, but Wilhelm manages to single out a few of the odder
ones in this funny article.

=95 Finally, learn all about the world of SITAR RECORDS, with David=
 Schafer's
article on the '60s fascination with Eastern music. It all started with the
Beatles, and just about everyone jumped on the Sitar bandwagon in a
desperate attempt to be hip.=20

All this, and a whole lot more fun stuff than we dare mention, and you'll
find a very Cool Issue #11 of COOL AND STRANGE MUSIC! MAGAZINE. So get on
board! It's gonna be a cool ride through the wild, wacky and sometimes tacky
world of records!

COOL AND STRANGE MUSIC! MAGAZINE is available at most Tower Records and
Tower Books stores, Borders and other national bookstore chains. We are also
in hundreds of newsstands and independent bookstores around the U.S., so
take a look!

If you have trouble locating  COOL AND STRANGE MUSIC! MAGAZINE locally, you
can order by mail. You can purchase a single copy directly from us for a
measly $3.95 each in the US, $5 Canada, and $6 to all other countries. (U.S.
funds, please.) Hey, there's never an extra charge for postage. THAT'S the
kind of magazine we are! Sorry, but all of our back issues (except #7, which
is still available) are now SOLD OUT, and won't be reprinted.

Subscriptions (we publish quarterly) are just $12 a year (4 issues) for cool
guys and gals in the U.S.A., $16 Canada, and $25 (U.S. funds) for our
foreign buddies! All prices includes shipping.

Sorry, we don't take credit cards.
Send your Check, Cash or Money Order to:

Cool And Strange Music! Magazine
1101 Colby Ave.
Everett, WA USA 98201
********************************************
Hey, take a look at our Web Site at=20
<http://members.aol.com/coolstrge/coolpage.html>

There are lots of fun LP covers to download, lots of cool links to other
great related websites, scads more info about the magazine, and even reviews
of the mag by other magazines!




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

Date: Mon, 14 Dec 1998 12:32:29 -0500
From: Peter Risser <[e-mail]>
Subject: (exotica) Sergio Mendes

I got this "Greatest Hits" album and it pretty much blows.  Mais Que Nada
is good, but the rest are pretty much stinkers.

I do remember someone on this list saying that he had one or two good
albums.  Can anyone recommend any?  Because I sort of like the style, just
not the song choices.


Peter


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Date: Mon, 14 Dec 1998 12:52:32 -0500
From: Ross Orr <[e-mail]>
Subject: (exotica) Taping Tech

First, I am going to apologize to people who were already bored with this
geeky topic when I brought it up last year. . . just delete this.

Michele said:

>I recorded my Iron
>Maiden albums on the SA's and man, did it sound bad - it was like listening to
>the AM radio.  Gotta use SAX for vinyl.

And Mo asked:

>Does anybody possibly know what the "accubias"-modulation really does? I
>never understood what it is and what it does to the sound.


It's a little hard to say anything reliable about the "sound" of different
tapes, because there is such a huge variability between people's tape *decks.*

The heads can get magnetized or dirty, the bias settings can be off. . .
0dB on the meter may be miscalibrated. . . the tape head can be positioned
weirdly. . . (e.g., I once got a tape from Brad which sounded really
murky on my deck--until I stuffed a wad of paper under the cassette, to
shift the tape upwards slightly. Then it was fine!)

"Bias" is an inaudible ultrasonic signal sent to the record head, which
modifies how the tape records treble sounds. The idea is that the bias
level needs to be matched to the magnetic properties of the tape formula,
so that a natural-sounding treble level is recorded.

All decks have a switch to make the coarse adjustment between "Normal" and
"High Bias" tapes--but some have a fine adjustment knob as well. You just
compare the source and playback by listening, until the tape no longer
sounds brighter or duller than the source. But if this setting is way off,
it has MUCH more of an effect on the sound than any difference between tape
brands.

Basically a "better" tape has a very slightly extended treble response, and
a slightly lower hiss floor--and if you care about any of that, even the
cheapest Metal tape beats all all other kinds hands down. But when
recording from old records, jeez, is a little hiss and treble roll-off
really a bad thing? I've been very happy taping my records onto cheap
old TDK Ds. . .

The most scientific comparison of cassette tapes I have seen was in the
June 1993 issue of _Audio_ magazine. This was based on actual measurements,
where all the brands of tapes were tested using the same carefully prepared
Nakamichi deck. The reviewer weighted all the different factors according
to his perception of their audibility, to give a composite ranking--but all
the raw measurements were published as well. (I wish _Audio_ would repeat
this sometime, rating today's tapes.)

The most interesting finding was that there was substantial overlap in
ranking between the Normal (Type I) and the High Bias (Type II) tapes. So
for example TDK DS-X, Sony ES-1, and Maxell XLI normal tapes all ranked
about the same as many mid-level chrome tapes. I quote:

" . . .If you peruse the Tables, you'll find that many Type I tapes have
better upper-midrange/lower-treble MOLs and SOLs [two measurements of
saturation level] than the the typical Type II tape. This suggests that for
a lot of music, you should record at a *higher* level on a good Type I tape
than on a Type II. . . . "

So I know this may shock you, but a lot of the difference between the
profusion of different "grades" of tape appears to be pure marketeering. . .

no bias here,


 --Ross

|| Ross "Mambo Frenzy" Orr  <[e-mail]>
|| Ann Arbor, Michigan USA




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

Date: Mon, 14 Dec 1998 13:28:59 -0500
From: "Nathan Miner" <[e-mail]>
Subject: Re: (exotica) Phil Moore exotica!! -Reply

All this talk about Phil Moore amazes me.=20

Then again, I didn't really rave over Stanley Black's "Exotic Percussion" =
but I now love that album.

Looks like I'll have to spin that Phil Moore exotica stuff one more time - =
It's "not bad" but certainly nothing to compare with the Surfmen or Denny =
and "that bunch."

- - Nate



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

Date: Mon, 14 Dec 1998 13:37:42 -0500
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Good Day Thrifting/Carmen/etc...

>I left a couple of curious albums behind including one from the 70's called
>'Space Age Fandangos' by a group called Carmen.

I have Carmen - "Fandangos In Space" (ABC, 1974). It's an interesting
specimen from that wacky era. Prog rock with a bit of glam and a big
flamenco influence. A more interesting listen than a lot of prog rock, but
if you're allergic to that sort of thing, you are warned. The flamenco
dance segments are certainly unique. I can just imagine the studio
engineers debating what mics would be best for recording foot stomps.
Carmen was managed by Bowie's outfit, MainMan (album produced by Tony
Visconti) and made an appearance on Bowie's legendary "Midnight Special" TV
episode (the one that included Bowie and Marianne Faithfull (in a nun's
habit, or was that Bowie) dueting on "I Got You Babe").

Mo, don't feel too wounded by the Heino TV special. We've got plenty here
that makes one want to pull one's own head off.

Since the thread is still hanging around, I'll note a preference for Maxell
XLII-S. For me they're richer and smoother sounding than the plain XLII
tapes, which I find to be kind of inconsistent in response. I *think* the
"S" line uses thicker tape too. They're heavier when mailed, anyway. I
wound up going to Maxell years ago, 'cause they were the only ones that
didn't jam on me.

For any of you who are into odd bric-a-brac, the index page of my site is
currently illustrated with a weird ceramic Santa that family memories date
to somewhere around the late 1940s. Brand-name on the bottom is "Kreiss".

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


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

Date: Mon, 14 Dec 1998 12:36:07 -0600
From: [e-mail] (Jeffery Hess)
Subject: Re: (exotica) Sergio Mendes


Peter Risser writes:
>I do remember someone on this list saying that he had one or two good
>albums.


Equinox is excellent.  My favorite tune is "Chove Shuva (Constant Rain)"


Jeff

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

Date: Mon, 14 Dec 1998 14:03:07 -0500
From: "Rajnai, Charles, NPG" <[e-mail]>
Subject: (exotica) RE: Taping Tech

> no bias here,
>
>
>  --Ross
>
Thank you, Ross, for bringing some sanity to the subject.  From the
engineering perspective, bias adjustment and head adjustment are indeed the
two *most* important aspects of analog recording, next to clean heads,
hands down.  Any of you engineers out there that have the bias-adjustable
Tascam decks our there know *how* different the bias can be among the big
three tapemakers.

I am also 'biased' toward normal (type I) tape.  I have been swearing by the
Maxell XL-1 for years.  Does anyone remember the TDK OD and AD normal bias
tapes?  Boy, I sure wish they would bring those back, they were the best!
Have I just dated myself?

The other way of fixing bad recordings to tape is with equalizers.  I am
surprized that nobody on the list seems interested in these marvelous tools.
The purists say they add noise and distort the timbre of what the
artist/producer wanted to present.  I say baloney, I can use EQ to
compensate for bias inaccuracies during recording and playback *and* make
those lousy $100 speakers sound listenable.

Enoch Light used normal bias 35mm mag stock.  He's my MAN!

surfing the chaos,
Charlieman



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End of exotica-digest V2 #265
*****************************