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exotica-digest        Sunday, January 31 1999        Volume 02 : Number 307



In This Digest:

Re: (exotica) Music from a Surplus Store
(exotica) MP3 Sound Samples for Italian stuff
(exotica) Mirageman
(exotica) More Dave Pell
(exotica) Italian Re-Issues
(exotica) UL Peeves/Thrifting Report
Re: (exotica) Dimitri From Paris "Sacrebleu" French <-> US version
Re: (exotica) More Dave Pell
(exotica) The Ebony Godfather
(exotica) Re: Moooooooooon Gaaaaaaaaaaaaaas
(exotica) Sound Lounge  1/27/99
Re: (exotica) UL Peeves/Thrifting Report
(exotica) The Ebony Godfather
Re: (exotica) UL Peeves/Thrifting Report
(exotica) Playlist For Space Bop, January 31
(exotica) Peace of Mind
Re: (exotica) Dimitri From Paris "Sacrebleu" French <-> US version
(exotica) House
(exotica) Retro Cocktail Hour
(exotica) Esquivel's So in Love
RE: (exotica) Re: Boooooot Gaaaaaaaaaaaaaas
Re: (exotica) Dimitri From Paris "Sacrebleu" French <-> US version
Re: (exotica) Esquivel's So in Love
Re: (exotica) Dimitri From Paris
Re: (exotica) The Ebony Godfather
(exotica) Johnny Mann Singers
Re: (exotica) The Ebony Godfather
Re: (exotica) House - copyright

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

Date: Fri, 29 Jan 1999 20:52:10 EST
From: [e-mail]
Subject: Re: (exotica) Music from a Surplus Store

In a message dated 1/29/99 2:29:51 PM Eastern Standard Time,
[e-mail] writes:

<< on the Junkyard label, matrix # JY-9200-2,
 only 1000 copies available, probably boot, which I picked up for $8 (used) at
 my local shoppe...Good luck >>

It's up to about 25 + shipping now isn't it gang?

Robert


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

Date: Fri, 29 Jan 1999 17:58:04 -0800
From: Jack <[e-mail]>
Subject: (exotica) MP3 Sound Samples for Italian stuff

I have 4, at least for now, MP3 sound samples on my site for
Umiliani's "To-Days Sound" LP as well as his masterpiece soundtrack
to Svenzia Inferno E Paradsio (Sweden Heaven and Hell) if anyone's interested.

Many more to follow

http://www.jackdiamond.com/catalog.html

Jack


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

Date: Fri, 29 Jan 1999 18:03:40 -0800
From: Jack <[e-mail]>
Subject: (exotica) Mirageman

I totally disagree about the (both) Mirageman releases
I think they are both pretty much throwaways and thank goodness 1 of the
distributors here that I buy and sell to and from took all that I had from
me.  You too could have gotten them from me for 8 or 9 bucks each, had you
brought them up in conversation earlier

Mebbie next time

TO-DAY'S SOUND RULES!

A bit sophisticated and maybe needs a few listens to truly get/appreciate,
does not knock 1 over the head like some that are burned out sooner than
others, is my take on it as the more I listen to it, the more I hear and
the more I enjoy it

Jack


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

Date: Sat, 30 Jan 1999 13:19:27 +0000
From: "Charles Moseley" <[e-mail]>
Subject: (exotica) More Dave Pell

I'm sorry to go on but does anybody know which Dave Pell LP, 'Oh Calcutta'
is from?

Is it Ma Na Ma Na?

And is Ma Na Ma Na any good?

And can anybody (Jack, Ford?) enlighten me further with a description or
opinion on Jazz Voices in Video?


Thanks a lot

Charlie





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

Date: Sat, 30 Jan 1999 10:36:42 EST
From: [e-mail]
Subject: (exotica) Italian Re-Issues

Say what you will about the quality of Easy-Tempo, Right Tempo, Temposphere,
Irma La Douce and all the other Italian labels, soundtracks, library music and
every other thing they put out. Some of them do not quite "measure up", and a
lot of them sound alike. The thing is, they ARE putting it out en masse and in
pretty packages, unlike American Wreck-It companies. And isn't all the best
stuff really the American stuff?      Credit? You said it! The credit goes to
the Italians for best effort. As usual America has its head in the sand when
it comes to the quality of its home-grown product IMHO..Thanks for the space,
Jimmy Botticelli


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

Date: Sat, 30 Jan 1999 11:26:22 -0500
From: Peter Risser <[e-mail]>
Subject: (exotica) UL Peeves/Thrifting Report

As for the UL series, I have most all.  And though they don't shine with
chart-toppers, most are in the comfortable listening range.  There are very
few disappointing tracks (I can think of only a handful).  So, while they
don't knock my socks off like the Sound Galleries, they are worthwhile and
pleasant listening.

On a related note, I'm beginning to really enjoy the On the Rocks series now.
Not as quickly "cool" as other releases, but many have their groove.
This is frightening to me.
I scare me.


On an unrelated note, I went back to the thrift today and all the rekkids
was still there.
So I got 'em, plus a sealed copy of something like, "How to speak in the
black dialect."  A language instruction record of some bizarre sort, from
1970.
I'm VERY looking forward to hearing this one.  I'll report, unless someone
knows it already.
Also a disc by someone like, the Strawberry Street Singers.  Another goofy
looking 25 person chorus type record, but I'm hoping it'll swing or go-go a
little.

Also, there was a disc by the Johnny Mann singers.  I can't remember, but I
passed it up.  How are these guys?  I'm afraid of singer groups like this.
Can anyone detail a list of good groups like this, or maybe a list of the
"good" albums from groups like this?
It looks like one key point is: Choir vs. Singers.
Choir seems to be good, while singer seems to be scary.
Anyway, one observation.


Peter


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

Date: Sat, 30 Jan 1999 11:37:07 EST
From: [e-mail]
Subject: Re: (exotica) Dimitri From Paris "Sacrebleu" French <-> US version

In a message dated 1/29/99 2:37:32 PM EST, DJJimmyBee writes:

<< Br. Cleve and I heard Dimitri spin here in Boston last summer and it
sounded mostly like heavy funk as opposed to house. Heavy beat, lots of yelps
and vocal pieces spliced onto the rhythm, but not that 128-140 BPM music I
think of as house. Jimmy Botticelli. Maybe its house he plays in Europe, I
don't know....... >>


That does sound out of the ordinary as I've caught Dimitri 4 times in NYC and
they have all been house sets. I have yet to come across one of his projects
as a remixer that is not house. His two latest are a remix for a female singer
Moa (on Tommy Boy, I believe) that thankfully omits her voals and of course
his killer remix of (the new French national anthem) Stardust's "The Music
Goes Better With You." There is a nice collection put out by MixMag that
compiles several of his remixes into an hour or so long continuous mix CD
(it's even been released domestically), while the harder to find triple vinyl
version features the tracks unmixed.


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

Date: Sat, 30 Jan 1999 11:53:11 EST
From: [e-mail]
Subject: Re: (exotica) More Dave Pell

<< I'm sorry to go on but does anybody know which Dave Pell LP, 'Oh Calcutta'
 is from?

 Is it Ma Na Ma Na?

 And is Ma Na Ma Na any good?

 And can anybody (Jack, Ford?) enlighten me further with a description or
 opinion on Jazz Voices in Video? >>

yes - that's the one, Charlie...Ma Na Ma Na!

Is it any good?  I like it alot - love it, but then again, I listen to field
recordings of bird songs. :)  Others might think of it as cheesy vocal covers
of 60's pop classics.  But I hear a distinct grooviness, that's for sure.
Besides Oh Calcutta, titles include:

Crystal Blue Persuasion
Sugar Sugar
Laughing
Ruby, Don't Take Your Love To Town
Keem-O-Sabe
Get Together
Honky TonK Women
...and Mah-Na-Mah-Na, of course...

Cover has a full head shot of a late sixties blonde looking right into your
eyes...I think it is / was on CD...

I have the Jazz Voices, too.  Much different from above and a Great LP!
Highly enjoyable swinging jazz and wordless vocals.  I think "Like Young" was
taked from this Lp and put on a comp.  Titles include:

Moon River
Thanks For The Memory
Holiday For Strings
Melancholy Serenade
See The USA
Over The Rainbow





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

Date: Sat, 30 Jan 1999 17:08:53 +0000
From: "Charles Moseley" <[e-mail]>
Subject: (exotica) The Ebony Godfather

Does anybody on the list know Moog Fluting by The Ebony Godfather?

Care to recommend/dis it?



Thanks

Charlie





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

Date: Sat, 30 Jan 1999 19:17:28 +0100
From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Re: Moooooooooon Gaaaaaaaaaaaaaas

>Jane Fondle; demi goddess, writes:
>
>KA-POW!  Last night I heard my new copy of MOON GAS,

Jack <[e-mail]> replied:

>You must mean your new BOOTLEG copy of Moon Gas...


    and maybe one of YOUR bootleg copies, Jack ;-)

    what a difference does it make between owing the original,
    or a 70's reissue, or a bootleg LP or CD, or a home-recorded
    CDR of a collectible album? NONE, IMO. it's the MUSIC that
    counts for me, not the physical material that carries it...

    i'm HAPPY that Jack sells these CDR bootlegs, although i know
    that many think they're expensive... i would NEVER be able
    to listen to this music if not for these bootlegs...

    it's funny, on his last one, it says "copyright" blablabla
    "unauthorized copying" blablabla "prohibited" :-)

    the quality of the cover prints has improved a lot, BTW.

        Johan


        [e-mail]


        | )    / \    | )    / \    | )    / \    | )    / \






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

Date: Sat, 30 Jan 1999 11:42:59 -0700
From: jonathan <[e-mail]>
Subject: (exotica) Sound Lounge  1/27/99

ThE SouNd LouNgE
With host Dj Flint
KPSU 1450am Portland Oregon
Every Wednesday 9pm-10 (extra long set, due to other DJ sickness)
thanks for listening!!!


GROOP-------------------SONG-------------------------TITLE
Combustible Edison:  Mr Pushkin came to Shove  "Impossible World"
=46antastic Plastic Machine: Pura Saudabe   "Fantastic Plasic Machine"
Walter Wanderley:  Il Mondo  "Brazilian Blend"
Bill Irwin & Groop:  Song Of India Bossa Nova  "Seduction"
       =3D=3D=3D=3D=3Dmixed with   VIctor Jay- "Journey to the Moon"=3D=3D=
=3D=3D=3D
Les Baxter: Soolaimon   "Que Mango"
Piero Umiliani:Luna di Miele remixed by Gemolotto & Leo Mas- "Easy Tempo Exp=
er"
         =3D=3D=3D=3D=3D=3Dmixed with REVEEN: "Relax with Reveen"=3D=3D=3D=
=3D=3D
Electrosonics:  Twilight Ozone  "Electronic Music"
I Gres:  Hot Dog  "Exotic Themes for Radio and TV"
       =3D=3D=3Dmixed with Sports Cars Of Sebring "Sounds of Speed"=3D=3D=3D
Peter Nero:  Be IN  "From Hair to Hollywood"
Jack Parnell: Enter the Dragon "Sound Gallery II"
Mort Garson/Jacques Wilson:   Aquarius   "Zodiac, Cosmic SOunds"
Warren Kime:    Mas Que Nada    "Brass Impact"
H. LeCaine:    Dripsody   "Folkways Electronic Music"
     =3D=3D=3D=3Dmixed with Electrosonics "Song of 2nd Moon"=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D
Les Baxter:   Prelude C# Minor      "Moog Rock"
       =3D=3D=3D=3D=3Dmixed with "Little Marcy and Smokey Bear"=3D=3D=3D=3D=
=3D=3D
Dick Hyman/Mary Mayo:   Isnt it Odd   "Moon Gas"
Alec Empire:  Get Some   "HyperModern Jazz 2000-5"
Curd Duca:    Bounty   "Easy Listening 5"
     =3D=3D=3D=3DMixed with Jungle Cruise Narration, "The Enchanted Tiki Roo=
m"=3D=3D=3D
Spectrum:   Owsley    "Songs for Owsley"
Jack Costanza:   I Got Bongo    "Learn to Play Bongos"
Rod McKuen:     No Pics Please    "Beatsville"  (CD Re-issue)
Stock, Hausen and Walkman:     Unlucky     "Organ Transplants"
   =3D=3D=3D=3D=3D=3D=3Dmixed with various Moog sounds from DJ Flint=3D=3D=
=3D=3D=3D=3D=3D=3D
Girl from Ipanema:    Richard Hayman   "Genuine Electric Latin Love Machine"
Combustible Edison:   Lauras Aura      "Impossible World"
Enoch Light:   Caravan   "Future Shock"
Dick Hyman:  Stompin at the Savoy    "Electrodynamics"
Enoch Light:    Marrakesh Express     "Permissive Polyphonics"
Dick Hyman:   Moog and Me        "Electric Eclectics"
John Schroeder Orch:    Wana Nana Wana Nana     "House of Loungecore" CD
Living Guitars:      Teen Beat     "Teen Beat Discotheque"
Elec. Concept Orch:     Feelin' Allright    "Moog Groove"
Lesiman:       Le Regole del Gioco     "Future Sound of Lesiman"
Sukia:       Dream Machine Space Echo Remix    "Dream Machine EP"
       =3D=3D=3D=3Dmixed with some ATC Clearances=3D=3D=3D=3D
Martin Denny:       Baia         "Afro-Desia"
Tony Mottola:       Come Together      "Guitar Factory"
Tipsy:  SpaceGolf DJ Friendly mix (played 33 instead of 45)  "Space Golf"
       =3D=3D=3D=3Dmixed with Pierre Henry's  Balancement=3D=3D=3D=3D=3D
John Keating:     I feel the Earth Move       "Space Experience"
Turn On:    United States of Surrealism     "Turn On"
The Corporation:   Ya ta TA-ya ta TA   "A Sound Contemporary Musical
Investment"
Ken Nordine:    Yellow     "Colors"
Herbie Hancock:    Riverside Park      "Death Wish"  Soundtrack


end of show

=95cheers=95
jonathan





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

Date: Sat, 30 Jan 1999 16:23:54 -0500
From: "telstar" <[e-mail]>
Subject: Re: (exotica) UL Peeves/Thrifting Report

Peter wrote:

> Also, there was a disc by the Johnny Mann singers.  I can't remember, but
I
> passed it up.  How are these guys?  I'm afraid of singer groups like
this.


...and so you should be.

One of the issues of "...the Postman" fanzine included a compilation
cassette which contained a track by the Johnny Mann Singers. Here's what
editor Ken Miller had to say: "Kind of like your generic choral-and-band
adapations of popular songs at the time, with nary a hint of ethnicity.
Music for republicans who like songs by 'coloured' artists, but who like
their music as over-produced and bland as a bag of flour".

'nuff said

Allan
++++Unusual Music+++++++++++++++++++++++++++++++++++++++++++++++++++++
"Mondo Bongos" Wednesdays 9 - 10 am on CFRU 93.3 fm in Guelph, Ontario,
Canada
+++++++++++++++++++++++++++++++++++++++++++++++++++++Unusual Music++++


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

Date: Sat, 30 Jan 1999 17:11:24 -0500
From: "Bryan J. Cuevas" <[e-mail]>
Subject: (exotica) The Ebony Godfather

CHARLIE WROTE:
>Does anybody on the list know Moog Fluting by The Ebony Godfather?
>
>Care to recommend/dis it?

Finally! A Moog Fluting reference....I occassionally used this album
underneath my announcements back when I used to have a radio show. I've
never seen this record available anywhere. I think it came out around '72.
I seem to recall that The Ebony Godfather was an alias for a certain Joe
Thomas, or something like that? Right? Anyway, if my memory serves the
music is laid back jazz-funk like the Blackbyrds or Players'
Association....groovy wah-wah, flute, etc. I don't remember a Moog-sound so
much, it's probably that flute running throughout. Did you find this
record?

keep on steppin
bryan c.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Bryan J. Cuevas
Department of Religious Studies
University of Virginia
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=




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

Date: Sat, 30 Jan 1999 17:16:36 -0500
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) UL Peeves/Thrifting Report

At 11:26 AM 1/30/99 -0500, Peter Risser wrote:
>Also a disc by someone like, the Strawberry Street Singers.  Another goofy
>looking 25 person chorus type record, but I'm hoping it'll swing or go-go a
>little.

What do you mean by "swing or go-go"?
If I see a 25-person choir on a record and a "hippy-ish" word like
Strawberry, "swing" is not the first word that comes to mind.
On the other hand, appearances can be deceiving and I'm not sure I'd
believe that the fresh-faced bunch on the cover are actually the singers on
the record.
That's not to say I wouldn't buy it.  In fact, unfortunately, I'm sure I
would.  I'm always hoping it'll have a few classics like Living Voices
"Positively 4th Street" record or Enoch Light Singers "Whoever you are I
love you".

>Also, there was a disc by the Johnny Mann singers.
> I'm afraid of singer groups like this.
>Can anyone detail a list of good groups like this, or maybe a list of the
>"good" albums from groups like this?
>It looks like one key point is: Choir vs. Singers.
>Choir seems to be good, while singer seems to be scary.

I would have said the opposite but really, I think they're all scarey.

I'm getting a little deja vu on this subject but anyway, I'd say the real
distinction in this kind of record is between those made in the fifties and
those made in the sixties.  Or you could make a distinction between
"lounge" and "now Sound"

In general, the lounge/fifties "singers" records feature overt vocal
arrangements, really using each voice like another instrument to arrange.
Most of the groups aren't as "jazzy" or overt as someone like Lambert,
Hendricks and Ross but most of them at least enter that territory.
You get a lot of wordless vocals on the lounge/fifties records.  The voices
aren't just used to sell the lyrics.

By contrast, in general, the Now Sound/sixties records are more like your
high school choir doing "a tribute to the music of Jimmy Webb" at a school
assembly.  They sing the song in unison with a little dose of harmony.

I buy these things and occasionally I'm pleasantly surprised.  It's obvious
I think that the fifties/lounge records are way better but I'm a sucker for
covers of sixties tunes, especially when it's not one of the usual suspects
like "Going out of my head", "Call me" or "leaving on a jet plane".  Or
more Beatles/Bacharach

For some reason, even arrangers capable of something more clever and
swinging, decided to take a duller approach with the sixties "pop/rock"
covers.  I don't know what it was but sometimes I think it was their basic
contempt for the material.

The only "good thing" if I can call it that, is that I find them
exclusively at thrift stores and never waste too much money.

The Anita Kerr singers made some good records.

But if you really prefer the choir types, I can't say enough about the
Doodletown Pipers.

Nat



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

Date: Sat, 30 Jan 1999 17:18:42 -0500
From: cheryl <[e-mail]>
Subject: (exotica) Playlist For Space Bop, January 31

Beyond kitsch, Space Bop is one hour of full galactical wonder, and can
be heard every Sunday from 4 to 5 pm on CKUT 90.3 FM in Montreal,
Canada. Comments and questions welcome.

Space Bop #33     Groovin'

Perrey & Kingsley:  Strangers In The Night  "The Essential..."
Serge Gainsbourg:  Comic Strip  "Bonnie And Clyde"
Larry Lemon Combo:  Rhythm 55  "Easy Tune Vol. 4"
Tommy Yamaha & His Magic Organ:  Hatsjoe !  "Easy Tune Vol. 3"
(thanks to Chuck for these last two CDs!)

Dimitri From Paris:  Un World Mysteriouse  "Sacrebleu"
Czerkinsky:  I'm Hot  "Czerkinsky"
Portishead:  Cowboys  "Roseland NYC Live"

Usha Uthup & Chorus:  One Two Cha Cha Cha  "Further Inflight
Entertainment"
Easy Alohas:  Aloha  "Easy Tune Vol. 3"
Laika & The Cosmonauts:  Oahu Luau  "Zero Gravity"

J Girls:  Yellow World  "Further Inflight Entertainment"
Arling & Cameron:  My Favourite Song  "All-In"
Big Jim Sullivan:  Sunshine Superman  "Further Inflight Entertainment"



[e-mail]
[e-mail]


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

Date: Sat, 30 Jan 1999 14:35:26 +0000
From: [e-mail]
Subject: (exotica) Peace of Mind

At 12:22 PM 25-01-99 -0800, Jack wrote:
>Just put up "Peace of Mind" by the Billy May Orchestra featuring
>Dr Samuel J Hoffman
>Man alive, she is pretty:-)

Yes, but all that glass fiber cutting into her skin. Ow!

Byron

(THIS IS MY SIGNATURE IN ASCII: APOLOGIES TO NON-ASCII VIEWERS)
      .-
     /  \
    / ___) | |  ;     _.  ;__
   /    \  | | /"-.  / () |  )
  <}____/_/(_|/   \_(__/\/|  (_______
          ___/
          \_/
Byron Caloz
Portland, Oregon, USA, Earth, Sol, Milky Way
http://www.hubris.net/zolac
The Mr. Smooth site: http://www.hubris.net/zolac/smooth


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

Date: Sat, 30 Jan 1999 17:55:52 -0500
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) Dimitri From Paris "Sacrebleu" French <-> US version

At 11:37 AM 1/30/99 EST, [e-mail] wrote:
>That does sound out of the ordinary as I've caught Dimitri 4 times in NYC and
>they have all been house sets.

Okay I'm going to go out on a limb and show my ignorance.  What do you mean
by "house" in this context?
Does it mean, among other things that his live DJ sets sound nothing like
his record?  If so, is that because it's assumed that the live audience
wants something different than the CD-buying audience?
I have DJ pals who I mostly know from the record stores I see them in.  I
know that they're buying a lot of the same records I am.  In fact some of
them have records that were once mine and I want them back. Of course,
they're also buying those I-don't-know-what-to-call-them records with lots
of drum n bass patterns on them... which seem more like "equipment" than
records to me.
And when I go hear them, most of the time, in spite of the crate of cool
records they have with them, it's mostly what I call "beat matching", with
only occasional suggestions of latin/jazz/pop/groove sort of floating in
the deep background.
Sometimes if they spot me or another friend of theirs, they'll switch to
something I like more, as if I've come to their house and now they can play
something "cool" but most of the time, it's "just" lots of beats with very
subtle sampling.
... Which I guess I'd like more if I was in an aerobics class... on ecstacy.

So is this just my ignorant prejudice or does it relate to what you're
talking about?

Nat



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

Date: Sat, 30 Jan 1999 23:26:54 +0000
From: Hugh Petfield <[e-mail]>
Subject: (exotica) House

Nat wrote
>they're also buying those I-don't-know-what-to-call-them records with lots
>of drum n bass patterns on them... which seem more like "equipment" than
>records to me.

I've often wondered how on earth the composers (?programmers) of these
records register the copyright on their compositions.  I don't know about US
laws, but here in Europe you can simply copyright your music by writing down
the music and words, sealing them into a registered letter which you mail to
yourself, and keep unopened.  But how exactly do you set down the score
of a rap record, which has a rhythm but no discernable/unique melody?

Hugh

By the way, I don't remember who alerted us to the Popvoid website, but
whoever it was - thank you very much!  Most entertaining.


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Date: Sat, 30 Jan 1999 20:18:15 -0600
From: "Darrell Brogdon" <[e-mail]>
Subject: (exotica) Retro Cocktail Hour

On this week's Retro Cocktail Hour webcast, we'll hear from a couple
of mysterious bongo beaters - Chaino and Rolley Polley.  Both seem to
have dropped off the face of the Earth (although somebody at Dionysus
told me Chaino was touring again - true?), they left us with some
great records.  We'll hear from Rolley Polley's unsung percussion
classic "Mad Drums", plus some of the "percussion genius of Africa"
on "Chaino: Africana and Beyond".

Also, more stereo over-stimulation by the Three Suns, Henri Rene and
the Guitars Unlimited;  music from Herbie Mann's "African Suite";
beatnik jazz by Warren Barker and Les Modes; plus some of Gerald
Fried's jazz score for "Shotgun Slade" (banjos?); Les Baxter, Lalo
Schifrin, Mancini and the overly-excited Gloria Wood.

To hear The Retro Cocktail Hour on the World Wide Web, just go to:

http://kanu.ukans.edu/retro.html

An important note for Retro Cocktail Hour listeners - beginning this
week, we're using G2 encoding for all new shows.  This results in
dramatically better sound but requires RealPlayer G2 (or so I'm told
by the experts here) in order to download the show.

RealPlayer 5.0 will still work on old shows, from #154 backwards.
New shows, however, must be played on RealPlayer G2.  You can
download it for free at:

http://www.real.com/products/player/50player/index.html?src=download

And you'll need at least a 28.8 Internet connection, too.

If you tune in, please drop us a line and let us know you're out
there!

Thanks for the space.


Darrell Brogdon
Program Director
KANU Radio
Broadcasting Hall
The University of Kansas
Lawrence, KS 66045
[e-mail]
http://kanu.ukans.edu


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

Date: Sat, 30 Jan 1999 19:41:55 +0000
From: [e-mail]
Subject: (exotica) Esquivel's So in Love

Anyone know?
I found an Esquivel cut in a two LP sampler set from RCA called "Soft
Lights and Sweet Music"  PRS-229 (dated 1966). It is called "So in Love."
I didn't find it on any of the two-fer CDs nor on the other three Esquivel
compilation CDs.  I imagine this means it is from one of the LPs that
haven't been released on CD: Latin-Esque, See It In Sound, The Genius of
Esquivel, Esquivel! 1968 or To Love Again.
So, anyone know, from what LP is this selection...or is it an orphan cut?

Also of interest on this LP set: Londonderry Air and Sleepy Time Gal by
Dick Schory.

Byron




(THIS IS MY SIGNATURE IN ASCII: APOLOGIES TO NON-ASCII VIEWERS)
      .-
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    / ___) | |  ;     _.  ;__
   /    \  | | /"-.  / () |  )
  <}____/_/(_|/   \_(__/\/|  (_______
          ___/
          \_/
Byron Caloz
Portland, Oregon, USA, Earth, Sol, Milky Way
http://www.hubris.net/zolac
The Mr. Smooth site: http://www.hubris.net/zolac/smooth


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

Date: Sat, 30 Jan 1999 19:55:49 -0800
From: "Ron Grandia" <[e-mail]>
Subject: RE: (exotica) Re: Boooooot Gaaaaaaaaaaaaaas

>> the quality of the cover prints has improved a lot, BTW.

Indeed they have. Just got the Karloff two-fer, and I am quite happy =
with it.

As for price - You got it just right.... It beats the shit outta paying =
for the original vinyl.=20



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

Date: Sat, 30 Jan 1999 23:48:57 EST
From: [e-mail]
Subject: Re: (exotica) Dimitri From Paris "Sacrebleu" French <-> US version

In a message dated 1/30/99 5:56:44 PM EST, [e-mail] writes:

<< >That does sound out of the ordinary as I've caught Dimitri 4 times in NYC
and
 >they have all been house sets.

 Okay I'm going to go out on a limb and show my ignorance.  What do you mean
 by "house" in this context?
 Does it mean, among other things that his live DJ sets sound nothing like
 his record?  If so, is that because it's assumed that the live audience
 wants something different than the CD-buying audience?

Dimitri's style has changed. That debut album of his was actually over a year
old by the time it was released in the U.S.



 I have DJ pals who I mostly know from the record stores I see them in.  I
 know that they're buying a lot of the same records I am.  In fact some of
 them have records that were once mine and I want them back. Of course,
 they're also buying those I-don't-know-what-to-call-them records with lots
 of drum n bass patterns on them... which seem more like "equipment" than
 records to me.
 And when I go hear them, most of the time, in spite of the crate of cool
 records they have with them, it's mostly what I call "beat matching", with
 only occasional suggestions of latin/jazz/pop/groove sort of floating in
 the deep background.
 Sometimes if they spot me or another friend of theirs, they'll switch to
 something I like more, as if I've come to their house and now they can play
 something "cool" but most of the time, it's "just" lots of beats with very
 subtle sampling.
 ... Which I guess I'd like more if I was in an aerobics class... on ecstacy.

 So is this just my ignorant prejudice or does it relate to what you're
 talking about?
  >>

It all depends on the DJ. I'm sure there are several people on the list who
also mix in "easy" stuff with new electronic music. It is just that some of
the new electronic music is a lot closer in style and feel the main bent of
the music discussed in this forum than others. A perfect example is the new
2CD David Holmes "Essential Mix." Here is an artist whose "Let's Get Killed"
album does include some referances to John Barry, and has an overall groovy,
soul feel to his music, but the msuic is definitley electronic rather than
soul or rock. Yet for his "Essential Mix" Cd DJ set includes only  4 out of
close to 30 tracks recorded after 1994. The rest of the set includes Percy
Faith, Rare Earth, Bridgete Bardot, and other cool obscurities.

 I'm actually off in a few minutes to catch hiim spinning in NYC at a club
where they are suspending their usual sets of house and techno for his set
that Time out describes as "a mix of mod soul seven-inches, old funk and
sundry break-beat-y styles."

So I guess what I'm saying is that while a fair amount of electronic leaning
DJs are into "easy" stuff and really do appreciate it, when they spin either
they have to cater to the style of music the club's management is requesting
(i.e keep the people dancing) or their style can differ somewhat from the
music they actually write or record.

Ashley


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

Date: Sat, 30 Jan 1999 23:50:43 -0500
From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) Esquivel's So in Love

At 7:41 PM +0000 1/30/99, [e-mail] wrote:

>I found an Esquivel cut in a two LP sampler set from RCA called "Soft
>Lights and Sweet Music"  PRS-229 (dated 1966). It is called "So in Love."

That cut is from the album "In A Mellow Mood", which was released in 1962
under The Living Strings monikor. It was originally recorded in 1959 for an
album that was to be titled "You And The Night And The Music" (I'm told
that cover art exists for this), but the album was cancelled by RCA. They
later released 10 of the dozen cuts as this budget LP (which doesn't bear
his name on it anywhere; curiously, I found a British copy of it that did
say 'Esquivel' on the back cover). The entire album sounds like that one
track you've heard - - one of the RCA producers comissioned Esquivel to
write a quiet, string laden LP. It's not one of his personal favorites.

br cleve


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

Date: Sun, 31 Jan 1999 00:04:18 -0500
From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) Dimitri From Paris

At 5:55 PM -0500 1/30/99, Nat Kone wrote:

  -about Dimitri From Paris
>Does it mean, among other things that his live DJ sets sound nothing like
>his record?

yes, that's correct

> If so, is that because it's assumed that the live audience
>wants something different than the CD-buying audience?

yeah, kind of. The way Dimitri explained it to me, he makes records as one
kind of thing - something you play at home and utilise in a kind of
background/ambient setting; as a club DJ, people are there to dance (and do
lots of chemicals), so the beat-matching hi-NRG thang is the thrust for
that.

Dimitri is a pretty amazing DJ - - he keeps a steady kick drum going, but
manages to mix in a fair amount of old disco, electro and funk into the
steady house mix. When Jimmy and I saw him in Boston, he was a lot looser
than I'd seen him in NY, mixing in a lot more funk and even tribal. Despite
what some of his recordings are like, though, he doesn't mix any EZ/Now
Sound into his live show.

br cleve


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

Date: Sun, 31 Jan 1999 00:57:56 EST
From: [e-mail]
Subject: Re: (exotica) The Ebony Godfather

In a message dated 1/30/99 2:06:10 PM Pacific Standard Time,
[e-mail] writes:

<< CHARLIE WROTE:
 >Does anybody on the list know Moog Fluting by The Ebony Godfather?
 >
 >Care to recommend/dis it?

 Finally! A Moog Fluting reference....I occassionally used this album
 underneath my announcements back when I used to have a radio show. I've
 never seen this record available anywhere. I think it came out around '72.>>

this was just up for auction on ebay.  the link below will send you to the
item, which includes a grainy scan.  Not much of a description from the
seller.  A hot item, though, 12 bids and a $62.25 winning bid.

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=59039535



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

Date: Sun, 31 Jan 1999 00:42:17 -0800 (PST)
From: [e-mail]
Subject: (exotica) Johnny Mann Singers

>editor Ken Miller had to say: "Kind of like your generic choral-and-band
>adapations of popular songs at the time, with nary a hint of ethnicity.
>Music for republicans who like songs by 'coloured' artists, but who like
>their music as over-produced and bland as a bag of flour".

=============================================================

true, imho.  still though i enjoy some JMS renditions of popular tuneage.

they are almost a scientific study in how to extract all the "soul" from
a song, and purely sing the "tune itself".   interesting, sometimes enjoyable,
other times... painful.

paul moshay
toluca lake, calif.



fine print -  upcoming momentous events in my world;

"salute to carl reiner" museum of tv/radio event w/the man himself and dvd
     show personell/cast

"how i learned to drive" starring molly ringwald/mark taper pavillion, los
angeles




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

Date: Sun, 31 Jan 1999 11:44:11 +0000
From: "Charles Moseley" <[e-mail]>
Subject: Re: (exotica) The Ebony Godfather

>>Did you find this record?

I've been offered two copies at $30 each - both still sealed and I'm
debating whether to get it, after I heard about it years ago.

but

>>Anyway, if my memory serves the music is laid back jazz-funk like the=

Blackbyrds or Players' Association....groovy wah-wah, flute, etc. I don=
't
remember a Moog-sound so much, it's probably that flute running through=
out.

Much as I like funk, I'd normally avoid the mellower laid back jazz-fun=
k so
I think I'll pass on this one this time. Of course, I wouldn't want to =
miss
out on some heavy flute and wah wah. Its one of those days when I feel =
like
I've got a vinyl devil on one shoulder telling me 'You need the record,=
 its
got a cool title, how can you pass it up, its rare, its just been on eb=
ay
for $60ish and you've been offered it for $30ish, its got moog in the
title, etc etc.'; and a vinyl angel on the other shoulder saying 'You
should only buy records that you actually want, don't go around buying
things hoping they might be good, save your money for records you reall=
y
need, you've already spend =A375 on records this week, etc etc.'.

I'll let you know later whether the angel or devil has the last word.


Charlie
=





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

Date: Sun, 31 Jan 1999 12:19:45 +0000
From: "Charles Moseley" <[e-mail]>
Subject: Re: (exotica) House - copyright

In Intellectual property law (copyright), you don't have to send anything
to yourself to copyright it, just the act of creating something is enough
for you to hold the copyright. In music, the law protects the originator of
a work but only in certain areas. British (and US) law says that music is
based on melody and therefore sampling somebody else's rhythm is not
illegal. Pulp's song 'This is Hardcore' is an excellent example. The song
is by Pulp so they get the money from sales. It is all sampled from Peter
Thomas, so he gets a writers credit and a proportion of the royalties
(probably 50%) (because in court, Peter Thomas' publishers could sue Pulp's
publishers claiming that a significant part of Pulp's song is by Thomas).
But the drums in that song are all sampled from an Oasis record (which must
have annoyed them) and Oasis get nothing and can do nothing.
So in answer to the question, sampled rhythms cannot be protected by law,
only the tune. And if you're going to sample somebody's, make sure it only
ends up as a small portion of your own composition. Its also worth
mentioning the phrase 'Where there's a hit, there's a writ' - meaning the
more succesful your tune, the more those people you've sampled will be
after a share of your pie.

Charlie





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End of exotica-digest V2 #307
*****************************