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exotica-digest      Wednesday, February 24 1999      Volume 02 : Number 331



In This Digest:

(exotica) Luis Bacalov
Re: (exotica) Barbarella
Re: (exotica) The City!
Re: (exotica) Melancholy Serenade
Re: (exotica) Taboo tiki 2
Re: (exotica) The City!
Re: (exotica) 2 CD Capitol Gleason v. Denny v. Baxter
Re: (exotica) Barbarella, Bob Thiele and Bob Crewe
(exotica) Divas Exotica review
(exotica) Noam Pitlik obit
Re: (exotica) made to order-
(exotica) Desco et al
Re: (exotica) Desco et al
Re: (exotica) The City! (23-Skidoo!)
(exotica) Schlager & film soundtracks
(exotica) Scores Du Jour...
Re: (exotica) made to order-
(exotica) one way to spent y2k new year's
Re: (exotica) Desco/Wagram Records
(exotica) Sheet Music
(exotica) UL Bonus Tracks
Re: (exotica) Sheet Music

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

Date: Wed, 24 Feb 99 12:24:34 +0100
From: Bissia <[e-mail]>
Subject: (exotica) Luis Bacalov

I have that Kid Loco album for a long while now
(but ok I'm in europe) but who is (see subject) ?

tia


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

Date: Wed, 24 Feb 1999 13:21:55 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Barbarella

Nat Kone wrote:

> Your issue of "1 to 1" film music would be an interesting one to pursue
> some time.  As far as I understand your use of that term, I would say
> that's the concept upon which the vast majority of scores are based and
> even if most of them are somewhat less than imaginative, they also usually
> "work".

> I believe that Shaft is a perfect example of "1 to 1" film music that
> happened to really complement the film and made it better than it would
> have been.
>
This is a contradiction in itself. If you say, the music complements the film
and makes it better than it is without it, you say, that it adds something to
the film, that the film doesn't have by itself.

>
> But maybe I don't know what you mean by "1 to 1".
>
> But I don't believe that Mr. Hayes was trying to create music that was a
> "counterpoint" to the film.  I believe he was trying to absolutely match
> the sensibility, setting and ambience of the film itself.  It just happened
> that his music was better than the film.

By "1 to 1" I mean to express in the music what you already see in the
picture, I think I had said that. And as you say, this is a very common thing
and I don't see many film composers these days who are not aware of it. Like
when a person approaches a dangerous situation the music will sound alarming
as long as s/he isn't already in trouble. "1 to 1" would be absolute silence
in that situation as not to warn the bad guys or the monster the person is
hiding from. If "the others" suddenly notice him/her, usually "action music"
will start, or plain silence. As I said, this is so common that you don't
notice it anymore, and you hardly ever see a different use of film music
anymore.

Now, for the general style of a music for a given film something similar is
the case - and here you see big differences in quality even these days. The
most famous example of a "counterpoint" film music is of course Kubrick's
"2001": The first scene that shows a high tech space craft is illustrated by
this really old-fashioned 19th century waltz "An der schoenen blauen Donau" by
Strauss. The actual picture is out there in cold space showing this profane
piece of engineering and you hear the soothing romantic melody of a K.u.K.
dancehall. It is a counterpoint,  in the sense of you wouldn't expect this
soundtrack here. And of course it "works" because when you bring these
elements together they "fit" telling a whole new story, the story of human
ingeniuity that is able to bring his natural environment into inhospitable
worlds and conducts complicated technical machines lightly as an orchestra
that plays a waltz, so you literally forget that it is technique at all.

I'm surprised you don't see similar musical forces at work in "Shaft". I must
admit, my memory of the film is a bit vague, as I have seen it a long time
ago, but as far as I can remember, the very glamorous music makes an
interesting contrast to the dirty work in the most unglamorous places this
detective has to do. And this makes also the success of the figure Shaft
himself: Everybody would like to be gloryfied like this, like being a
glamorous person in the ordinary things one does everyday.

Often you see meant-to-be funny films that work with "funny" music and so
often it is not funny at all and looks so cheap: Cases of "1 to 1" that
failed. But when you see a clown doing funny things to really sad music, it
can touch you deeply....

A very refined understanding of film music you find in "The Outsiders".
Carmine Coppola almost doesn't do any film music at all. Although you hear
music nearly all the time, it becomes pure noise. Like in this scene, when
this boy runs away from home and meets his friend in the park you hear very
low volume main stream rock as coming from a nearby house or a car. It's
absolutely not the kind of music that expresses fear and loneliness, but still
it works like this here, because it expresses that "the others" are having fun
somewhere in their houses and the two boys don't belong to them anymore and
are outsiders now.

> Mostly though I'm curious about your use of the word "camp".  Usually
> something becomes a "camp classic" only in retrospect. If the music works
> for you NOW, that may not be much of a reflection on whether it was an
> appropriate choice at the time.

I knew you would ask that. I was almost done with my explanation until I
deleted it, because I thought, this has been explained too often. But of
course it should be done again for this case of Barbarella.

> Let's face it.  In the case of films like Barbarella and lots of biker
> films and hippy films too, they hired composers who they thought could give
> them a "hip" sound that matched their "hip" sensibility. Sometimes they got
> lucky and the composer actually came up with something that matched the
> film
>
> I can't
> even say that I'm certain that the director was purposely going for a
> "camp" sensibility but I'm pretty sure the composer wasn't.  That was
> pretty well the kind of music he was making at the time which is why, as
> cheryl pointed out, it sounded so familiar to me.
>
Of course I do not know what had happened in 1967 when they made all this and
took their decisions, but you might underestimate the abilities of these
people a bit. I'm pretty sure the camp aspect was intended in Barbarella, even
if they had not called it camp. But everything that happens fits so perfectly
in what I think is "camp", that I'm not able to believe it's all pure
coincidence.
It's all so iridescent and dazzling. The images of space machinery is always
broken into phantastic, often old-fashioned looks. The fur-inside of
Barbarella's ship is the ultimate contradiction to high-tech. Behind all of
this you can almost hear the message: Yes, we are using the damn technology of
those blockheaded burocratic engineers, but we don't care for it, we care for
our own glamorous styling. Even the fact that the film isn't so dramatic adds
to the general feeling of arrogance that is a typical camp attitude, like
saying: Entertain you? Why? If WE are not interesting enough ourselves, go
away and watch another movie!
You mentioned the trippy aspect: Same here: We go on a trip, but we don't
admit it. It's not the drug, it's us who is so psychedelic, because we are so
strange and beautiful. Even the bad black queen is so beautiful that we kind
of love her, etc. I would call all of this a very campy pose.
Although I must admit "camp" has been a difficult term to explain since it
came up, because it seems to be in its own nature to try to escape from all
kinds of fixations. You gotta be cool to feel the heat!

- -Mo

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

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

Date: Wed, 24 Feb 1999 08:18:50 EST
From: [e-mail]
Subject: Re: (exotica) The City!

In a message dated 2/22/99 1:48:12 PM EST, [e-mail] writes:

<< Would like to know if the group "23 Skidoo" took there name from this
 funny fluid, or does "23 skidoo" mean something else?
  >>

Believe it or not, the term "23 skidoo" stems from one of New York City's
windiest locations being in front of the Flatiron building (the triangular
building where it can get particularly windy because of the convergence of
Fifth Avenue and Broadway, togehter with 23rd Street (one of New York's few
four lane cross streets) and the rather unobstructed-by-buildings area caused
by Madison Square Park to the north. Because of this wind, during the 1920's
men used to hang out in front of the the Flatiorn building to girlwatch in
anticiaption that the wind would sweep women's dresses up, causing the police
to have to disperse this girl watchers which became called giving them "the 23
skidoo." One of those companies that deal with archival films actually sell
films of this phenomenon. (Remember also around this time one of the most
popular fun house rides at Coney Island ended with a skirt blowing machine and
there were several rows of seats where people could watch patrons coming out
of the ride to see women's skirts blown up above their knees or higher.) I
guess times were different then!

Ashley


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

Date: Wed, 24 Feb 1999 08:27:36 EST
From: [e-mail]
Subject: Re: (exotica) Melancholy Serenade

In a message dated 2/23/99 2:37:29 PM EST, [e-mail] writes:

<< This tune was indeed penned by Gleason and was used as the theme for the
 Honeymooners. >>

One more time..."Melancholy Serenade" was used for Gleason's variety show and
"You're My Greatest Love" (also penned by Gleason) is the theme to the
Honeymooners. I should know this as I put together the Jackie Gleason "And
Awaaay We Go!" Cd which features both!

Ashley


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

Date: Wed, 24 Feb 1999 08:30:29 EST
From: [e-mail]
Subject: Re: (exotica) Taboo tiki 2

In a message dated 2/23/99 2:48:29 PM EST, [e-mail] writes:

<< To many people Tiki bar's are the place you go to get

 drunk on fruity drink's but Otto Von Strohiem and Brynne Cortez (Taboo

 promoter's) take thier Tiki ambience AND entertainment seriously. This month
 they feature Traditional Hula Lessons and "The Best Lei" contest. >>

So you have to get lucky to enter "The Best Lei"contest???

Ashley



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

Date: Wed, 24 Feb 1999 14:58:41 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) The City!

[e-mail] wrote:

> In a message dated 2/22/99 1:48:12 PM EST, [e-mail] writes:
>
> << Would like to know if the group "23 Skidoo" took there name from this
>  funny fluid, or does "23 skidoo" mean something else?
>   >>
>
> Believe it or not, the term "23 skidoo" stems from one of New York City's
> windiest locations being in front of the Flatiron building (the triangular
> building where it can get particularly windy because of the convergence of
> Fifth Avenue and Broadway, togehter with 23rd Street (one of New York's few
> four lane cross streets) and the rather unobstructed-by-buildings area caused
> by Madison Square Park to the north. Because of this wind, during the 1920's
> men used to hang out in front of the the Flatiorn building to girlwatch in
> anticiaption that the wind would sweep women's dresses up, causing the police
> to have to disperse this girl watchers which became called giving them "the 23
> skidoo." One of those companies that deal with archival films actually sell
> films of this phenomenon. (Remember also around this time one of the most
> popular fun house rides at Coney Island ended with a skirt blowing machine and
> there were several rows of seats where people could watch patrons coming out
> of the ride to see women's skirts blown up above their knees or higher.) I
> guess times were different then!
>
> Ashley

Even if this is the true origin of the word: I heard the band took the idea from
Robert Anton Wilson's "Illuminatus!" , where a fictitous band with this name is
mentioned.

Mo




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

Date: Wed, 24 Feb 1999 08:59:28 EST
From: [e-mail]
Subject: Re: (exotica) 2 CD Capitol Gleason v. Denny v. Baxter

In a message dated 2/23/99 8:00:10 PM EST, [e-mail] writes:

<< Actually, I think I'd disagree. I went through my collection and based on
the
 stuff I've heard and like from the Capitol and Scamp collections, I'd
probably
 make different choices myself. For example, where's "Exotica" or "Similau"?
 Also, this collection took 4 songs from the Quiet Village album (not
including
 "Quiet Village" which also appeared on "Exotica"). My personal opinion is
that
 the Quiet Village album was not Denny's best, certainly ranking below
Exotica,
 Exotica II, Hypnotique, and Afro-Desia.

It is very difficult to do a best of with so many albums and so many great
tunes. Collections always bring some personal bias with them. In the case of
the Toshiba EMI one you may have noticed a certain affinity towards the more
Japanese flavored tunes. In the case of  tracks from the "Quiet Village" album
there are two in particular - "Firecracker" (reworked many years later by
Yellow Magic Orchestra) and "Sake Rock" (both of which are actually different
arrangements of the same song! (Denny humorously pointed this out while being
interviewed for the liner notes!!)
My own personal tastes would have to rank "Quiet Village" higher than "Exotica
2" for the high concisentcy of quality.

 We all would make different choices, this is certainly not a bad collection
by
 any means.

 Also, you mentioned the inaccuracies of the Capitol collection. I'd love to
see
 Denny's notes on all the inaccuracies! :-)  However, I will point out that
the
 Scamp version of Afro-Desia has an error in the liner notes; the Exotica
album
 spent five weeks at #1, not Quiet Village album (at least, according to my
 sources). >>

You are absolutely correct.about "Exotica" being the album. That was an
oversight which was discovered after the print run was done! These notes were
done prior to Denny doing his own notes and the great ammount of researched
pored into the 2 on1 series of Denny CDs.

Ashley


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

Date: Wed, 24 Feb 1999 10:04:13 +0000
From: [e-mail]
Subject: Re: (exotica) Barbarella, Bob Thiele and Bob Crewe

     >Bob Thiele "Do the Love" and Bob Crewe Generation "Music to Watch
     >BIRDS By"

     The Bob Crewe album is one of my favorite LPs, so I'm always
     interested to hear of similar albums.

     So Nat, could you elaborate a little on the Bob Thiele album?


     I still wonder why the lyrics to 'birds of britain' are included on
     the cover but not sung.

     Further trivia: one of the 'birds' on the inside of the gatefold is
     the same as the cover image used for the Smiths album 'Rank'.



     regards
     Jonny


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

Date: Wed, 24 Feb 1999 10:31:39 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) Divas Exotica review

by ENS/Terry Atkinson

    Ever since someone deemed Madonna a ``diva'' back in the 1980s, the
operatic term has been increasingly used to describe pop music's prima donnas.
    However, there's always been something slightly ridiculous about its
application to caterwauling R&B-pop queens Mariah Carey and Celine Dion. So
who can blame Capitol Records for pushing that ludicrous aspect to the limit
by using the word retroactively for female performers from the past?
    That's just what the label has cleverly -- and delightfully -- done for the
new compact disc, ``Divas Exotica.''
    The ``Divas'' part of the title might be highly questionable, considering
some of the chosen artists -- from Marlene Dietrich to Shirley Bassey to,
gulp, Jayne Mansfield. But ``Exotica'' certainly fits this madcap mix of the
seductively sultry and the downright silly.
    The CD producers' aim is clearly not art but campy amusement, even when
involving such legendary vocalists as Billie Holiday, Edith Piaf and Nina
Simone -- and definitely regarding rarely heard singles sung (or, sometimes,
half-talked, half-purred) by '50s sex goddesses Mansfield, Marilyn Monroe,
Sophia Loren, Brigitte Bardot and Mamie Van Doren.
    Scattered among these 19 tracks are a few comparatively serious, standard
recordings -- Piaf's bowl-you-over rendering of ``Jezebel'' (translated into
French by Charles Aznavour), a softly swaying ``So Nice (Summer Samba)'' by
Astrud Gilberto that's as alluring as her hit ``The Girl from Ipanema,'' a
saucier-than-usual Holiday urging her man to ``Do Your Duty,'' Bassey's
always-impressive but too-familiar ``Goldfinger'' and a couple of
high-spirited goodies from the great jazz-blues chanteuse Simone
(``Forbidden Fruit,'' ``Feeling Good''), the only performer represented by
more than one song.
    For the most part, though, ``Divas Exotica'' is frothy celebration of camp.
And while the overall touch is definitely light, it's surprising how
passable (or better) much of the singing is by several actresses who were
certainly more accustomed to a film studio than a recording studio.
    For instance, even though it's almost three minutes into ``Heatwave'' (from
the soundtrack of ``There's No Business Like Show Business'') before Monroe
actually starts singing (before that she merely sighs occasional sweet
nothings to the male chorus), she essays Irving Berlin's witty lines in a
manner that's as solid as it is sexy.
    Even better than Monroe is Ann-Margret, whose ``Let Me Entertain You'' is
smart, sassy and smooth as silk. Likewise, Loren handles the lilting ``Zoo
Be Zoo Be Zoo'' (from a picture she made with Peter Sellers, ``The
Millionairess'') with breezy charm. Brigitte Bardot belts out ``Je Me Donne
a Qui Me Plait'' (which translates as ``I Give
Myself to Whom I Please'') with swinging sureness. And Carmen Miranda sails
with ease through the swift Latin currents of ``Mama Eu Quero (I Want My
Mama)'' -- which won't jolt folks who know she was one of Brazil's most
popular recording artists before moving to Hollywood, but may be revealing
for those who never got past her wild costumes and goofy screen demeanor to
realize what an accomplished singer she was.
    Chiefly chosen for laughs, and sure to get them, are Mansfield's ``That
Makes It,'' a breathy take-off on the Big Bopper's ``Chantilly Lace,'' and
Van Doren's dumbing down of Caribbean music in a piece of fluff called ``Go,
Go, Calypso.''
    More in the category of interesting curiosities are Yma Sumac's ``La
Molina'' and Maya Angelou's ``Since Me (CQ) Man Has Done Gone and Went.''
    Sumac claimed to be a Peruvian descended from Inca royalty, though it was
rumored she was born and raised in Brooklyn. In any case, she gained
considerable popularity in the early '50s because of her four-octave range
and truly exotic recordings. ``La Molina'' perfectly illustrates her
still-vital cult appeal. She starts out by emitting deep, ominous growls,
moves on to flowery declarations, and then soars up to soprano heights.
    It may shock fans of Angelou to know that before she became a
world-acclaimed poet, author, teacher, actor, film director and much else,
she made an album, ``Miss Calypso,'' back in 1957. The acceptable but
unimpressive excerpt included here will make those fans happy she moved on
to other pursuits.
    The Angelou anomaly isn't the only letdown on ``Divas Exotica.''  Dietrich,
once a superb, sensual vocalist, was obviously a prima donna well past her
prime by the time she recorded ``Near You'' in 1947. Same goes for Josephine
Baker's relatively late-in-life ``Don't Touch My Tomatoes,'' though the
risque number's still fairly lively fun. Eartha Kitt is far from being at
her best on a mannered, tiresome rendition of ``Let's Misbehave.'' And April
Stevens, best known for her 1963 hit duet, ``Deep Purple,'' with Nino Tempo
(they were brother and sister -- real names Carol and Antonio LoTempo),
sounds pretty weak on her own ``Teach Me Tiger,'' recorded two years earlier.
    All in all, though, ``Divas Exotica'' is a delicious, if daffy, delight.

    (c) 1999, Los Angeles Times Syndicate
    For release Sunday, February 28, 1999
    END





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

Date: Wed, 24 Feb 1999 10:31:41 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) Noam Pitlik obit

                            *Noam Pitlik
    LOS ANGELES (AP) -- Television director Noam Pitlik, who went from acting
in such shows as ``Hogan's Heroes'' to directing ``Barney Miller,'' ``Taxi''
and ``Wings,'' died Thursday of lung cancer. He was 66.
    Pitlik was a familiar face on TV series and commercials,  including Mr.
Gianelli on ``The Bob Newhart Show.'' He also portrayed several Nazi
officers on ``Hogan's Heroes.''
    He had several character actor roles in movies such as ``The  Front Page,''
``The Fortune Cookie,'' ``The Graduate,'' ``The Greatest Story Ever Told''
and ``A Child is Waiting.''
http://allmovie.com/cg/x.exe?USR=9:28:07|AM&p=avg&sql=ENoam|Pitlik
http://us.imdb.com/Name?Pitlik,+Noam




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Date: Wed, 24 Feb 1999 10:32:19 EST
From: [e-mail]
Subject: Re: (exotica) made to order-

In a message dated 2/23/99 11:57:54 PM Eastern Standard Time,
[e-mail] writes:

> Have no fear, the time is here!
>  With the mention of Mp3's earlier last week,
>  this is what we can and will do,
>  make our own comps, on CD of course.
>  To heck with settling for other peoples tastes and biases in our music
>  collection! :P (i am only partly serious)
>  We can hear it and have it with a click of our mouse.
>  (if some collector made it available)
>  like my man Roy G. Biv is starting to do.

I'm not alone. There are other list subscribers (I won't mention any names)
who are as into the idea as I.  Not to mention that they have more extensive
music collections then I do.

I see it as a public library of exotica (Space Age Pop, Now, etc.), if there's
something you want to hear you should be able to check it out, so to speak.

With the potential of fitting 75 to 100 mp3ed albums on a DVD-rom disc you
could have the record collection of Mickey McGowan, of Unknown Museum fame,
(15,000+ albums),  you could have the entire collect on about 150 DVDs.  How
would you like to check one of those babies out of the library?  Take it home,
pop it in your computer, hit the shuffle button on your mp3 player.  You'd
have the party mix of the century for your next month long Love-in.  It's mind
boggling.

More realistically 8-10 albums on a CD-R, is still a pretty nice idea for
those of use who are mass consumers of music.  Take a few songs from each and
fry up a compilation audio CD to fit your many moods. Plus with a little
scanning, and OCR software you can tuck the album art and liner notes for each
album on the CD-R, too.  It takes a little work,  but as the technology gets
faster, cheaper and more compact, it really isn't that much work.

That's it from Moon Base Alpha,
- -Roy G. Biv







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

Date: Wed, 24 Feb 1999 08:36:53 -0800
From: Jack <[e-mail]>
Subject: (exotica) Desco et al

Subject: (exotica) Desco/Wagram Records
Can anyone provide reviews for any of these reissues released by Desco
Records/Disques Wagram: "The Other Side", "The Daktaris", "Sugarman Three",
"Nino Nardini & the Pop Riviera Group", "The Revenge of Mister Mopoji"
(soundtrack) or "Junior Jet Set" ??
Thanks in advance...
Allan

Personally, I'm not crazy about any of these in their entirety, except
"Revenge of Mister Mopoji", but that's just me!

One that is soooooooooooper terrific release though, not mentioned (which I
have for sale on CD.) is the "Dave Pike Set-Got the Feelin'".  A true
original rarity released in Holland, circa 1969, of a limited pressing of
1000 copies, vinyl. It's Jazzy Go Go Sounds featuring Vibes (Dave Pike),
Elec. Gtr, Fender Bass, Drums and Organ.  SOOPER COOL! with "Spooky",
which someone heard me play on my show and bought fro me on the spot.
5 Stars.

Desco has also just released (which I carry) "Spike's Choice", which is a
22 track collection of ALL of the limited to 1000 pressings, which by the
way are ALL out of print of their 45's, which include 4 Sitar funk go go
instrumentals.  5 Stars!

It's im-poss-i-ble to get closer to that authentic 70's funk sound from
anywhere in THIS modern world, than from Desco.  PURE FUNK, NO BULL.

Both are $14 each plus shipping, if you're interested
Jack



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

Date: Wed, 24 Feb 1999 16:52:39 +0000
From: "Charles Moseley" <[e-mail]>
Subject: Re: (exotica) Desco et al

Sugarman Three is a nice boogaloo LP - Sounds authentic but it could easily
be new dressed as old. Not really exotica at all but not bad if you're into
that sound: James Brown in the mid sixties meets R&B/hammond grooves.
Cool-ish.
The Revenge of Mr Mopoji is definately new music - not an original
soundtrack. Average JBs style funkiness with no outstanding tracks -
nothing special.
Dave Pike's Got the Feeling is an outstanding LP though, although I didn't
realise it was on the same label. Euro-jazz collectors go mad for this one
- - the original has a very hefty price tag - very cool.





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

Date: Wed, 24 Feb 1999 13:33:08 -0500
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) The City! (23-Skidoo!)

>Even if this is the true origin of the word: I heard the band took the
idea from
>Robert Anton Wilson's "Illuminatus!" , where a fictitous band with this
name is
>mentioned.

"Illuminatus!" includes further conjecture on the sources of "23 Skidoo" in
Appendix Tzaddi.

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


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Date: Wed, 24 Feb 1999 13:30:46 -0500
From: "Brian Karasick" <[e-mail]>
Subject: (exotica) Schlager & film soundtracks

Nat writes:
> As long as I don't get cheryl angry at me, I'll be happy.  She and Brian
> have  promised me an evening of Schlager music and some kind of
> complementary food  - perhaps fondue??? - in the near future and I don't
> want to jeopardize that.
Got the accordian primed up and the lederhosen and Heino glasses ready...
along with that great LP Allan sent me of the singing waiters from the centennial
project of Winnipeg's German communty in 1970.  A real crowd pleaser!!!
Seriously though, I do intend to take this opportunity to sell Nat on Schlager and I
do think some of it would be of serious interest to fellow exoticans but for the fact
that here in Canada at least, it is not easy to find.  I've never been able to give the
term an adequate translation into English but maybe Moritz can help.  I'm discovering
what is kind of the French equivalent of Schlager (they use the term "Ye-Ye" which is
equally untranslateable) at a feverish rate as there is a massive amount of reissue
material coming out which we find everywhere here in Montreal.  Looks
like the presure is now on us!

I think Moritz wrote this:
> I think good film music never illustrates a movie 1 to 1; it rather adds
>the things that you cannot see, sometimes to an extend that it literally
>becomes  the opposite of what you see.
I've had similar discusssions with both Nat & Moritz on the role of soundtracks within
films and we all had differing opinions somehow. I still feel many soundtracks stand
up by themselves alone and just the same, many films stand away from their
soundtracks.  But sometimes they just click!  Nat mentions biker films but what better
marriage of film and music but Peter Fonda on his chopper with Born to be Wild playing
in the Background in Easy Rider!

Brian Karasick
Physical Planner
McGill University
Montreal, Canada


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Date: Wed, 24 Feb 1999 15:01:28 -0500
From: <[e-mail]>
Subject: (exotica) Scores Du Jour...

On my lunch break, I got:
William Holden presents "Far Away Places" by Warren Barker (of 77 Sunset
Strip
Fame) on Warner Brothers

Jacques Dutronc...no title, but it could be questionable, as he looks like
Iggy Pop smoking a cigar...Is this just one of those CDS where the pic is
bad, but the music is good?
You can answer me off list, as I get the digests!
Jane "happy ears" Fondle
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Date: Wed, 24 Feb 1999 13:03:33 -0800
From: Ron Grandia <[e-mail]>
Subject: Re: (exotica) made to order-

[e-mail] wrote:

>
> > Have no fear, the time is here!
> >  With the mention of Mp3's earlier last week,
> >  this is what we can and will do,

I have been wondering if CD player manufacturers could build in MP3 support so a
body could conceivably have a 300-track mp3 CD or conventiononal one run on in
the same box. I can't imagine the music industry beig the LEAST bit interested in
such a feature. One thing to keep in mind - There is fidelity loss with
compression, however minute.

Speaking of exotica made to order, let me remind you all that Johan DaDa Vis's
FANTASTICA #5 in a highly compressed MP3 format is still available for
download/streaming at http://www.xtabay.com

It's one of my favorites - it's cut together with some Stan Freeberg bits and
WILD ASS piano along with other musical bisquits that will make you jump for
joy!  I have no idea if the stream works with anything but Microsoft Netshow, but
theoretically should stream to Winamp as well. Mac users will have to save the
stream and play it with Macamp or Quicktime AFTER it has Dl'ed. It's a one-hour
program and takes about as long to DL with a 28.8 modem.

If this is something people are interested in, I will continue to post things on
the site for your enjoyment.

Ron

>






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Date: Wed, 24 Feb 1999 17:11:08 -0600
From: Lou Smith <[e-mail]>
Subject: (exotica) one way to spent y2k new year's

by ENS/    Steve Hochman

        The Y2K doomsayers are warning people not to fly next New Year's
Eve, lest airline computer controls fail due to the millennium bug.
    But a concert promoter is hoping to coax an international roster of pop
stars into chartered 747s over the South Pacific.
    The idea: Hold a celebratory festival in New Zealand, which will be one of
the first places on Earth to greet the year 2000, and then head for Hawaii
in time to do it all over again. The plan is to have two linked events in
each locale -- a concert featuring major pop acts and native New Zealand and
Hawaiian artists, and a special edition of the Warped tour, the annual
youth-skewed trek featuring punk and ska bands with an extreme sports theme.
    The former is being organized by Michael Chugg, head of Australian booking
agency Frontier, to be held on a plot of sacred land owned by the Maori
tribe overlooking Auckland Harbor.
    ``The idea is to have one big act on at midnight, and another on at 5:20
a.m., which will be first light, coinciding with a flotilla of ships coming
through the harbor,'' says Chugg. ``And then we'd throw everyone on a plane
and go to Hawaii and do it again.''
    Chugg says he's in negotiation with several artists, but he won't say who.
One focus of speculation, though, has been Sting -- an artist with global
appeal and an interest in the tribal culture and spiritual elements meant to
be underscored in this event.
    Sting's publicist, Kathy Schenker, says that the singer, currently working
on a new album, has expressed an interest in staying home with his family at
New Year. Schenker says she has no knowledge of an offer for the Pacific
events.
    Warped organizer Kevin Lyman has been approached by Chugg and is
considering the prospect. The tour usually heads down under that time of
year anyway.
    ``Everyone's trying to talk me out of it, worried about the airlines,''
says Lyman. ``But I was very high on the idea. It was a grueling tour this
year, though, and adding something like that might be too much. So I'm not
sure what I'll do at this time.''
    (c) 1999, Steve Hochman
    Distributed by Los Angeles Times Syndicate





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Date: Wed, 24 Feb 1999 17:23:12 -0500
From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) Desco/Wagram Records

At 5:27 PM -0500 2/23/99, telstar wrote:
>Can anyone provide reviews for any of these reissues released by Desco
>Records/Disques Wagram: "The Other Side", "The Daktaris", "Sugarman Three",
>"Nino Nardini & the Pop Riviera Group", "The Revenge of Mister Mopoji"
>(soundtrack) or "Junior Jet Set" ??

They aren't reissues..........they're new recordings trying to look and
sound like old records. Most of the material is in the funk and groove
styles. The Sugarman 3 perform regularly in New York City, and have been
playing a number of festivals in Europe over the last few months
(especially in Italy and England). Check 'em out if they come to your town.

br cleve


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Date: Wed, 24 Feb 1999 17:48:06 -0500
From: "Rajnai, Charles, NPG" <[e-mail]>
Subject: (exotica) Sheet Music

Anybody on the list know of a decent (or indecent) legit fake book for all
the exotica and loungesque tunes we love?  My old piano teacher used to call
some of these songs "standards".  I wonder if anyone (on or off list) has
put together a decent compilation of sheet music from this era.

I have only a few sheets of old Sinatra and some 40's swings stuff.  Its all
the slow songs though.  I would be willing to trade copies of out-of-print
stuff....

Br. Cleve, got any leads?  Any other musicians out there?  I was going to
call the Colony in NYC, but I would need a title first, o'course.

Maybe a script for Denny's Exotica album was printed at one time???

I wish I knew a retired lounge organist....who liked Lenny Dee.

Or has somebody made a fake book....?(wink, wink...nudge, nudge)  Please
mail me off list....thanx.

surfing the chaos,
Charlieman


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Date: Wed, 24 Feb 1999 19:21:38 -0500
From: "Brian Tozer" <[e-mail]>
Subject: (exotica) UL Bonus Tracks

Ok, I give up!!

What/Who are those undocumented "Track 19's" on the latter Ultra
Lounge CD's?

Brian Tozer


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Date: Wed, 24 Feb 1999 22:01:12 -0500
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Sheet Music

>Anybody on the list know of a decent (or indecent) legit fake book for all
>the exotica and loungesque tunes we love?

I've thought of asking that very question for a while now.

I can report the "The Hal Leonard Real Jazz Book" and "The Ultimate Jazz
Fakebook" (also from Hal Leonard Corp.) both include pretty good helpings
of exotica/ space-age/ now-sound standards. I guess they should hit a
decent amount purely statistically, with 1125+ songs between the two of
them. No duplication between the books (they say). I only have the "Real
Jazz" volume, which among many gems includes "Caravan", with the complete
original lyrics. Hey -- I just noticed "Wives & Lovers" is in here! A dozen
Jobim tunes too. And "Mission Impossible". And many more...

But no "Quiet Village". If anyone knows of a book that's really heavy on
the list-centric material, I'd like to hear about it too. Thanks.

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


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End of exotica-digest V2 #331
*****************************