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exotica-digest         Saturday, March 6 1999         Volume 02 : Number 339



In This Digest:

(exotica) Re: More on Bruce Haack Cassettes
Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER
Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER
Re: (exotica) ULTRA LOUNGE / XoTiCa
Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER
Re:  Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER
Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER
(exotica) Back issues of Tiki News
(exotica) Tiki Sampler, Part 2
(exotica) Re: Ma(i)s Que Nada
(exotica) About the liner notes...
Re: (exotica) RCA Stereo Action Series
Re: (exotica) Tiki Sampler, Part 2
Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER
Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER
(exotica) Wierdness, Hipness, and Del Close
(exotica) no ms. know-it-all
SV: (exotica) no ms. know-it-all
Re: (exotica) no ms. know-it-all
(exotica) Caddy-isms
(exotica) Fwd: "VOODOO!"
(exotica) HELP!QUICKLY!
Re: (exotica) no ms. know-it-all
(exotica) Playlist For Space Bop, March 7
(exotica) drip drip drip
(exotica) Assignment to Kill
Re: (exotica) Assignment to Kill
Re: (exotica) Assignment to Kill
Re: (exotica) drip drip drip
(exotica) Lee Hazlewood Story

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

Date: Thu, 4 Mar 1999 15:48:27 +0100
From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Re: More on Bruce Haack Cassettes

At 09:53 -0700 99/03/03, BasicHip wrote:

>I received this from Miss Nelson, listing what Bruce Haack albums are
>available:
>
><< The list of cassettes that are available from Dimension 5 are:
> 1. DANCE SING & LISTEN (1963)
> 2. DANCE SING & LISTEN AGAIN (1964)
> 3. DANCE SING & LISTEN AGAIN & AGAIN (1965)
> 4. THE WAY OUT CASSETTE (1968)
> 5. THE ELECTRONIC CASSETTE (1969)
> 6. DANCE TO THE MUSIC (1972)

    these are all Nelson & Haack collaborations. the best is
    "THE WAY OUT CASSETTE", followed by "THE ELECTRONIC CASSETTE"
    and "DANCE TO THE MUSIC". the "DANCE SING & LISTEN" series
    has its moments...

        Johan


        [e-mail]


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





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

Date: Thu, 4 Mar 1999 04:34:38 -0500
From: [e-mail] (Kevin Bonnett)
Subject: Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER

- -----Original Message-----
From: [e-mail] <[e-mail]>
To: [e-mail] <[e-mail]>
Date: Wednesday, March 03, 1999 9:51 AM
Subject: Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER


>And it is exactly as I said.  It does not deal specifically with "Tiki
stuff"
>but continues where the Leopard Skin (which they now call "Fuzzy Skin")
>sampler leaves off.  Namely to drag newbies into ultimately sell Vol. 13
thru
>18 plus the "bonus" track samplings.


It's shameless I know, but I'll be there at the cash register when it comes
out  : )

I love the music and wish to spend quality time listening to it.  Digging
through thrift store record bins to find scratched and carelessly kept
versions of these wonderful pieces just doesn't fit into my schedule
anymore.  I used to do it, but trying to do so with my infant son along soon
broke me of the habit.  Of course, back then I had totally different
treasures to hunt and I now regret passing on many quality items that
would've fit right in on this list.  <sigh>

Kevin  : )



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

Date: Thu, 4 Mar 1999 04:25:29 -0500
From: [e-mail] (Kevin Bonnett)
Subject: Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER

- -----Original Message-----
From: [e-mail] <[e-mail]>
To: [e-mail] <[e-mail]>
Date: Wednesday, March 03, 1999 9:46 AM
Subject: Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER


>this continues to bug me.  the Grammy Award was for the packaging -- not
the
>music, arrangements, etc.
>
>of course the packaging award in hollywood is probably treasured (if at not
at
>least winked at) in the back room meetings and discussions.
>
>"To Hell with the talent --  It's packaging my boys!!!!!"


Robert,

    While I totally agree with your sentiment I must point out that had it
not been for the UL-Leopardskin Sampler package, I would never (or would
have much later) discovered my love of Exotica.  That damned fuzzy sheath
with the glistening retro logo, blew my mind!  Honestly, I bought it solely
because of the package.  At that moment it didn't matter what was on the
disc, but that first glance sold me.  All the talk about first impressions
and Love at first sight apply 100% in this particular case.  (Did I just
make a punny? 'case' as in situation/ 'case' as in CD packaging?  LOL)
    Anyway, I too will praise the packaging gods for bringing my attention
to Lounge/Exotica through this wonderful little sheet of leopard skin print
fuzz covered cardboard.  Blessed be!   ;-)

While we're on the subject of UL Sampler packaging.  Does anyone know how
many different versions of the Sampler there are?  I own the one with White
text outlined in Gold on a Purple background.  I've seen at least two other
variations of the glossy cover plaque but can't recall them at the moment.
Please help, I'm considering getting them all!  Also, mine came with an
Ultra Lounge drink coaster inside, is it possible there are variations of
these as well?

Kevin



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

Date: Thu, 4 Mar 1999 04:52:53 -0500
From: [e-mail] (Kevin Bonnett)
Subject: Re: (exotica) ULTRA LOUNGE / XoTiCa

- -----Original Message-----
From: Charles Moseley <[e-mail]>
To: [e-mail] <[e-mail]>
Date: Wednesday, March 03, 1999 11:47 AM
Subject: Re: (exotica) ULTRA LOUNGE


>I saw all that Ultralounge crap in the CD department of HMV and it looked
>cheap and tacky. I did not investigate further for fear of embarrassing
>myself in front of the sales assistants who had obviously put a rack of the
>stuff there as some sort of wind-up.


While on the subject of packaging, and in light of the recent XTC release of
Apple Venus vol. 1, I picked up issue 25 of Launch today which reviewed a
1998 compilation of early XTC material performed both live in concert and
live in the BBC studios for various programmes.  The Launch reviewer used a
1-7 scale 7 being the high mark and rated this compilation a 5 due to what
he considered poor liner notes and overly 'kitschy' packaging.  Eyes of the
beholder I suppose.  ;-)

Ciao 4 now!
Kevin  : )

XTC - Transistor Blast/The Best of the BBC Sessions
1998 Cooking Vinyl
PO Box 1845
London W3 OZA
(Released by arrangement with the BBC) Made in England

Manufactured and Distributed by TVT Records 1998
http://www.tvtrecords.com




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

Date: Thu, 4 Mar 1999 05:04:00 -0500
From: [e-mail] (Kevin Bonnett)
Subject: Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER

- -----Original Message-----
From: [e-mail] <[e-mail]>
To: [e-mail] <[e-mail]>; [e-mail]
<[e-mail]>
Date: Wednesday, March 03, 1999 1:39 PM
Subject: Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER


>To those of us wishing for something new this is a disappointment.  And
don't
>think that I don't enjoy the UL series.  I have all but a few of them.  I
just
>don't know if I need a sampler of music I already have.


Ahh, now I understand  : )  Thank you Robert.  This discussion occurred
before my arrival on the list.  I agree with this thinking.  I make my own
compilations on tape all the time, just for use in my car.  However, I have
a gut feeling that Lounge/Exotica hasn't reached it's current mainstream
peak yet.  The Tiki Sampler will bring a great many more of us out of the
woodwork.  A scary thought, especially considering that most of them will be
gone when the next fad comes along.

I just thought of something...  I wonder which one of us on the list works
for Capitol and is taking notes?  hee hee  If the answer is NO ONE, maybe we
should invite someone in and help them give us what we REALLY want?  ;-)

Ciao 4 now!
Kevin  : )



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

Date: Thu, 4 Mar 1999 14:32:09 EST
From: [e-mail]
Subject: Re:  Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER

In a message dated 3/4/99 3:21:16 PM, [e-mail] wrote:

>However, I have
>
>a gut feeling that Lounge/Exotica hasn't reached it's current mainstream
>
>peak yet.  The Tiki Sampler will bring a great many more of us out of the
>
>woodwork.  A scary thought, especially considering that most of them will be
>
>gone when the next fad comes along.

Since my arrival on this list this sound has come and gone twice. The first
time it "yielded" to the "Swing" sound which I think many agree is recycled
Jump music that merely talks about swing and zoot suits while it imitates jump
in its own digital way. The second time it "yielded" to Rockabilly which has
allegedly been enjoying a minor re-birth in these parts, itself a second re-
birth following its first re-birth in the early 8T's. Yet there continue to be
MANY listeners of what once was called "Lounge" music and now I just think of
as instrumental pop since it includes SO many genres. (My .02 for you) Jimmy
Botticelli


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

Date: Thu, 4 Mar 1999 14:56:16 EST
From: [e-mail]
Subject: Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER

In a message dated 03/04/99 2:21:16 PM Eastern Standard Time,
[e-mail] writes:

<< However, I have
 a gut feeling that Lounge/Exotica hasn't reached it's current mainstream
 peak yet.  The Tiki Sampler will bring a great many more of us out of the
 woodwork.  A scary thought, especially considering that most of them will be
 gone when the next fad comes along. >>


I hate to say this Kevin, but most of us feel (and are pretty sure) the peak
of Lounge/Exotica "mainstream" interest peaked about 1.5 to 2 years ago.  We
are the weirdos that are holding on (or the weirdos that were here all along).
Anyway, that was about the time that the UL folks stopped keeping their page
up and making "new" releases.  It was also about the time the Swing stuff
started. (bletch)

And if you notice the recent UL "Notice" highlights the "Wild, Cool and
Swingin' " stuff .  Emphasis on "Swingin' ".  It is not as Wild, Swank and
Loungeing as most of us would prefer.  (Don't freak out people I said prefer,
not like.)

This discussion has upset most here in the past:  The days of lots of new CD
releases of Lounge/Tiki/SABP/etc. are gone.

Robert


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

Date: Thu, 04 Mar 1999 12:24:42 -0800
From: "Kevin C." <[e-mail]>
Subject: (exotica) Back issues of Tiki News

Anyone willing to sell or otherwise photocopy any of the following issues of the
Tiki News? #1-4,6-8,9

Am willing to make it worth your while... please let me know. :-)

Kevin Crossman
The Search for the Ultimate Mai Tai
http://www.kevdo.com/maitai/


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

Date: Thu, 04 Mar 1999 15:12:19 -0500
From: Peter Risser <[e-mail]>
Subject: (exotica) Tiki Sampler, Part 2

I was pretty much ignoring the Tiki Sampler thread until someone mentioned
"bonus tracks".
What are those?  Are they from the UL discs as well, or are they Tiki
Sampler only tracks?

Did the first sampler have bonus tracks?


Peter


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

Date: Thu, 04 Mar 1999 15:08:16 -0500
From: Peter Risser <[e-mail]>
Subject: (exotica) Re: Ma(i)s Que Nada

I spoke with a Brazilian exchange student, and she wasn't sure, but she
guessed it was probably Mas Que Nada, which she said was idiomatic and
meant something like, "It's nothing."  She said "Mais Que Nada" would be
approximately "More than Nothing" in Brazilian, but she said it didn't
quite make sense.

From that, I'd deduce it's probably Mas.  Still, I'd like to hear from
someone in the know, ya know?

Peter


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

Date: Thu, 04 Mar 1999 15:55:14 -0500
From: Brian Phillips <[e-mail]>
Subject: (exotica) About the liner notes...

>That's right up there with my other favorite Grammy award - best liner notes!

Granted, some of the WINNERS of that category have been pure hokum.
Domingo "Sam the Sham" Samudio won for a heartfelt but not all that great
essay on the "Sam-Hard and Heavy" album and whoever (Pete _______ ?) wrote
the liners for Bob Dylan's "Blood on the Tracks" may have been shocked when
his notes were deleted from the next pressing.

However, if you have written something scholarly, such as the Robert
Johnson box set notes, when there was no information because two
folklorists and two of Johnson's relatives (in other words, one relative
per folklorists) didn't see eye to eye, thus ending a nearly twenty year
embargo of facts AND pictures, I will grant that there is no music in liner
notes but there is information to be had, sometimes even accurate things :^).

Sometimes liners are fun to read, such as Jon Hendricks' notes to a King
Pleasure two-fer reissue on Prestige.  I have no King Pleasure in my
collection, because I am looking for a copy of that reissue, with those
wonderful notes, which go on for quite a while and may not contain much
info about Pleasure, but they rhyme all the way through!  There have been
many threads about the wonderful and unintentionally hilarious notes on the
albums we find in the thrift stores, such as the one that I found that ends
with "...Pow! Zap!".

There are also the touching ones, such as John Coltrane's notes to "A Love
Supreme".

So is it a legitimate category, you bet, in my opinion.  Does Grammy have
taste?  Not always.

As far as packaging goes, doesn't that include artwork, too?  If so, what's
wrong with recognizing album art?  I certainly would once again debate the
winners, but just think if you were as good an artist as David Stone
Martin, wouldn't you like a little recognition for your covers?  And yes,
covers do help sell what is inside, just as much as they can turn us off
from them.  Blow Fly's album covers are aesthetic nightmares and whoever
designed the Narada label albums so they all looked like assembly-line
products may have wanted to think twice, too.  Some of us have galleries of
album covers (some just stick to record labels, uh...hee, hee!) on our
sites, so I cannot be too upset about the category, although I cannot think
of a better name for it.  Packaging does indeed sound like a Clio award,
but if they didn't have that the art would go languishing.

So while I see the point of missing the music when you are lauding the
package, I also see the need to recognize the art, too.  It's better than
nothing, I guess.


Brian Phillips, winner of the 1994 Ondioline "Best Post - Work Category" Award



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

Date: Thu, 4 Mar 1999 16:19:51 -0500
From: "Dom Ciccone" <[e-mail]>
Subject: Re: (exotica) RCA Stereo Action Series

>Can anyone furnish a list of "good" RCA Stereo Action LP's?

Jimmy,

"Brass Laced With Strings" Vic Schoen
"Runnin' Wild" Dick Schory's Percussion and Brass Ensemble

These are pretty good.  BTW my copies are missing the thick die cut jackets.
But I do have the glossy paper inserts.

I also own "It's Magic" (Minus jacket). Marty Gold's music is usually pretty
mello. Here he really cuts loose (for him).

I found a copy of the "Stereo Action Unlimited" LP a few weeks ago. It's the
sampler of the series. I assumed most of the tracks would be on the 3
sampler CD's reissued on RCA.  I was pleasantly surprised to find only one
duplicate track. So I have 4 samplers! A good crossection.

Domenic







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Date: Thu, 4 Mar 1999 17:04:55 EST
From: [e-mail]
Subject: Re: (exotica) Tiki Sampler, Part 2

In a message dated 03/04/99 3:29:35 PM Eastern Standard Time,
[e-mail] writes:

<< What are those?  Are they from the UL discs as well, or are they Tiki
 Sampler only tracks? >>

YES, YES, YES

<<Did the first sampler have bonus tracks?>>

NO, NO, NO


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Date: Thu, 04 Mar 1999 21:48:37 -0500
From: cheryl <[e-mail]>
Subject: Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER

Kevin Bonnett wrote:

> I love the music and wish to spend quality time listening to it.  Digging
> through thrift store record bins to find scratched and carelessly kept
> versions of these wonderful pieces just doesn't fit into my schedule
> anymore.  I used to do it, but trying to do so with my infant son along soon
> broke me of the habit.

I can relate to that.  Children and record stores don't mix well too
often.  It's hard to look through record bins with a two-year-old
swinging from them, or crawling underneath them.  Or leaving a food
trail through the store.  Or trying to take the records from the display
window....

However, there are many CD compilations out there of a similar genre,
that are far superior (IMHO) to the Ultra-Lounge series.  U-L is fine as
a starting point, but that's it.  Unfortunately, they had more
visibility (read: money for in-store displays and promos) than any of
the others, which helps to explain their relative popularity.  For a
much better alternative, I would recommend getting the 3 CDs in RCA's
"Space-Age Pop" series (deleted, but still available) and the 4
"Cocktail Mix" CDs on Rhino.  Then there are the Sound Gallery CDs on
Scamp, and "Easy Project" vol. 1 and 2 on Sequel.  And that's just for
starters. (I won't even get into the Get Easy and Karminsky Experience
compilations...)
Far more varied than the Ultra Lounge compilations, and they don't have
any annoying song medleys on them! Once you've listened to these, you
may begin to understand the relative merits and drawbacks of the U-L
series!

cheryl


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Date: Thu, 4 Mar 1999 19:54:11 -0700
From: Lazlo Nibble <[e-mail]>
Subject: Re: (exotica) ULTRA LOUNGE -- TIKI SAMPLER

On Thu, Mar 04, 1999 at 07:54:23AM -0500, [e-mail] wrote:

>>  "To Hell with the talent --  It's packaging my boys!!!!!" >>
>
> That's right up there with my other favorite Grammy award - best liner notes!

My favorite piece of meaningless Liner Note trivia: Rory Guy, "Best Album
Notes - Classical" winner for his work on a 1974 Korngold disc for Angel, went
on to become internationally famous under the name "Angus Scrimm" as The Tall
Man in Don Coscarelli's "Phantasm" movies...

That's a good one to haul out in rental racks at the local video store...

- --
    Lazlo Nibble - [e-mail] - http://www.studio-nibble.com
                                                                           --


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Date: Thu, 04 Mar 1999 19:41:21 -0800
From: Jack <[e-mail]>
Subject: (exotica) Wierdness, Hipness, and Del Close

>Return-Path: <[e-mail]>
>From: [e-mail]
>To: [e-mail]

>CLOSE AND FRIENDS MAKE FINAL DAYS A LAUGHING MATTER
>
>Ellen Warren & Teresa Wiltz
>March 4, 1999
>To celebrate the life of Chicago comedy legend Del Close, show business
>friends from around the country flew in to party at Illinois Masonic
>Hospital with the grievously ill pioneer of improv theater.
>
>At the request of the flamboyant Close, comedian Bill Murray and Close's
>
>partner, Charna Halpern, organized a bash Wednesday night in a hospital
>dining hall.
>
>Close, a Second City veteran and co-founder of ImprovOlympic, was listed
>in
>serious condition with emphysema late Wednesday.
>
>Ordered up for the private party, in a hospital dining hall, were:
>saxophone
>players, catered food and martinis for 40 or so of Close's friends,
>including Second City alums Aaron Freeman, Tim Kazurinsky and Second
>City
>owner Andrew Alexander.
>
>"He wants to die on his own terms," said Halpern. "He wants a party.
>It's
>(for) his 65th birthday as well as his bon voyage party. Del is being a
>comedian to the end."
>
>A crew from Comedy Central was expected to film the event, Halpern said
>


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Date: Fri, 05 Mar 1999 10:44:43 -0500
From: <[e-mail]>
Subject: (exotica) no ms. know-it-all

Hmm...whilst going thru Ebay, today I spy:
ALAKAZAM THE GREAT - Original Film Soundtrack LP record. Vee-Jay LP-6000
[mono-1961]
score by none other than our pal Les Baxter...

Some cartoony soundtrack, with the likes of Jonathan Winters(!) doing
voices
(All OSTs with Jonathan Winters, have to be good, right DJJimmy Bee?)
Can anyone tell me what this album is like?

OOo, Jane Fondle
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Date: Fri, 5 Mar 1999 17:14:25 +0100
From: "SANDBERG MAGNUS" <[e-mail]>
Subject: SV: (exotica) no ms. know-it-all

:
>ALAKAZAM THE GREAT - Original Film Soundtrack LP record. Vee-Jay =
LP-6000
>[mono-1961]
>score by none other than our pal Les Baxter...
>
>Can anyone tell me what this album is like?

Its the cutiest little thang! Its not that spacey or anything but a must =
for soundtrack/Les Baxter collectors.
There is a speaker voice introducing all tracks, telling the stort about =
Alakazaam the little monkey. Alakazaam fights monsters and becomes king =
of all the animals in the world. He even meets a little girl monkey! (I =
wish I would too...). Some are instrumentals but most has vocals. It =
sure swings!
I am thinking of letting it make it to CDr togheter with Milton DeLuggs =
"Gullivers travels beyond the moon". I dont want money for it, because i =
rather trade for another CDr (or an LP). I have more scheduled CDrs so =
please email me if interested.

Magnus






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Date: Fri, 5 Mar 1999 10:46:34 +0000
From: "Darrell Brogdon" <[e-mail]>
Subject: Re: (exotica) no ms. know-it-all

> ALAKAZAM THE GREAT - Original Film Soundtrack LP record. Vee-Jay
> LP-6000 [mono-1961] score by none other than our pal Les Baxter...

I've seen this movie!  It's a Japanese animated film that got
re-dubbed with new songs by Frankie Avalon, Dodie Stevens, et al.
Saw it when I was a kid and it was sooo cool!  I can still sing the
title song--well, the first part of it anyway ("Ala-ki, Ala-ko,
Ala-kazam...").  Then years later it got written up in one of those
"50 Worst Films of All Time" books.  So maybe I shouldn't try to see
it again...?  I'd hate to find out it really does suck.

Darrell Brogdon
Program Director
KANU FM 91.5
Broadcasting Hall
The University of Kansas
Lawrence, KS 66045
[e-mail]
http://kanu.ukans.edu


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Date: Fri, 5 Mar 1999 12:30:24 EST
From: [e-mail]
Subject: (exotica) Caddy-isms

In a message dated 03/05/99 11:18:27 AM Eastern Standard Time,
[e-mail] writes:

<< He even meets a little girl monkey! (I wish I would too...) >>

reminds me of one of my many favorite lines from Caddy Shack when Bill Murry
calls Mrs. Green a "monkey woman".  Makes me laugh every time.

Anybody else for a little low brow (Caddy Shack) humor?  Send 'em on.

Loggins and Messina so it is music related (and damn, could that "Golfer"
dance!)

Robert


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

Date: Fri, 5 Mar 1999 16:46:09 -0600
From: King Kini <[e-mail]>
Subject: (exotica) Fwd: "VOODOO!"

>> "VOODOO!"
>> MCE LIVE WITH  3 LEGENDS OF L.A. MUSIC:
>> ROBERT DRASNIN, SKIP HELLER, AND D.J. BONEBRAKE
>>
>> Fine Line Music Cafe -April 23rd - Doors open at 8PM
>> Tickets $13 advance - $15 day of show - all Ticketmaster outlets
>>
>> Minnesota Contemporary Ensemble (MCE), called "one of the country's leading
>> advocates of the new in music" by the Dallas Morning News and "a 70 minute
>> blast of brilliance" by Pulse, will present three living legends of the Los
>> Angeles music scene accompanied by 14 members of MCE.
>>
>> Robert Drasnin, you have heard his music a million times!   He was the head
>> of music at CBS Television for 17 years and scored episodes of Twilight
>> Zone, Mission Impossible, Man from UNCLE, Wild Wild West, I Spy, and many
>> MANY more! The 1959 album "Voodoo" is his only recorded work released under
>> his own name and is considered a masterpiece of the "exotica/lounge" genre.
>> With Robert Drasnin conducting, MCE will present the first ever live
>> performance of "Voodoo" in its entirety, a once in a lifetime opportunity!!
>>
>> If Robert Drasnin is California's old master, Skip Heller is it's new
>> vision!  His set will focus on his patented 50's Hollywood noire and
>> feature his new release "Couch Los Angeles", a baffling eclectic overview
>> of vintage and contemporary space age pop. A journalist, composer,
>> guitarist, arranger, and producer,  Skip Heller is the only living
>> contemporary composer to have worked with "exotica" masters Les Baxter, Yma
>> Sumac, Korla Pandit, and Robert Drasnin.  His work shows influences of such
>> progressive figures as John Zorn, Frank Zappa, Gustav Mahler, and Don Byron
>> as well as works by American composers Johnny "Guitar" Watson, Allen
>> Toussaint, and Reverend James Cleveland.
>>
>> D.J. Bonebrake is the drummer of the seminal and legendary Los Angeles punk
>> band "X".  He also performs with the Heller, Drasnin, Bonebrake combo and
>> is a percussionist with the Palisades Symphony Orchestra.
>>
>> In between sets,  audience members will be treated to Minneapolis' own
>> "lounge/exotica" expert, King Kini, spinning vinyl from his truly unique
>> and unmatched collection of vintage recordings.
>>
>> Please contact MCE by phone, fax, or email for photos, interviews,
>> or questions.
>>
>>
>> *************
>> MCE
>> classcial music that doesn't suck
>>
>> 515 Ontario St. SE
>> Minnepaolis MN 55414
>> www.newmusicmce.org
>> [e-mail]
>> [phone]
>> fax [phone]




visit...

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
          King Kini's  C L U B  V E L V E T
             http://www.tamboo.com
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++



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

Date: Fri, 05 Mar 1999 13:28:04 -0500
From: <[e-mail]>
Subject: (exotica) HELP!QUICKLY!

Could someone please provide me an opinion of the following:

The Love Machine Soundtrack, featuring Dionne Warwick

I need it in a few hours(it's noon EST here!)
xoxox-Jane Fondle, who owes you a back rub for your trouble
- ----------------------------------------------------------------
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------------------------------

Date: Fri, 5 Mar 1999 21:48:35 EST
From: [e-mail]
Subject: Re: (exotica) no ms. know-it-all

laura taylor writes:

<< Hmm...whilst going thru Ebay, today I spy:
 ALAKAZAM THE GREAT - Original Film Soundtrack LP record. Vee-Jay LP-6000
 [mono-1961]
 score by none other than our pal Les Baxter.. >>

In that same group (KEYWORD: Baxter) is Hell's Belles.  Despite the seller
advertising that this is not an original (which tops out around $30) and is a
"later" release, it is at currently at 45 bucks with a number of days to go
before closing.  I'm 99.9% sure it is the same record that was recently
reissued and can be had for $8.99.










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

Date: Fri, 05 Mar 1999 21:51:24 -0500
From: cheryl <[e-mail]>
Subject: (exotica) Playlist For Space Bop, March 7

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, and very soon to be on RealAudio! All comments and questions
welcome.

Space Bop #38    Aloha Oe


The Ventures:  Hawaii Five-0  "Hawaii Five-0"
Laika & The Cosmonauts:  Oahu Luau  "Zero Gravity"
Easy Aloha's:  Aloha  "Easy Tune Vol. 3"
Werner Muller:  On The Beach At Waikiki  "Hawaiian Swing"
X-Ray Tango:  The Hero Of Waimea Bay  "Spy Fidelity"

Caterina Valente:  Itsy Bitsy Teenie Weenie Honolulu-Strand-Bikini  "Die
Grossen Hits"
Roberto Delgado:  Sun Of Hawaii  "Blue Hawaii"
Tiki Tones:  Kon Tiki  "Play Songs For The Suburban Savage"
Galaxy Trio:  Surficide  "In The Harem"
Laika & The Cosmonauts:  O.C.C.C. (Oahu Community Correctional Center)
"The Amazing Colossal Band"

Martin Denny:  Quiet Village  "Exotic Moog"
Martin Denny:  The Queen Chant  "Exotica"
Don Tiki:  Hot Like Lava  "The Forbidden Sounds Of..."
Johnny Pineapple:  Hawaiian War Chant  "Hawaii"

Arthur Lyman:  Taboo  "Shaken Not Stirred"
X-Ray Tango:  Tanqueray Sunset  "Spy Fidelity"
Arthur Lyman:  Hawaii Five-0  "Sonic Sixties"


Thanks for reading.

[e-mail]
[e-mail]


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

Date: Fri, 05 Mar 1999 22:37:54 -0500
From: Nat Kone <[e-mail]>
Subject: (exotica) drip drip drip

I haven't bought any records recently so I don't have any thrift store or
record purchase report to post.
But I wish I did.
It's pretty quiet here on the list lately.
I pretty well ignored all those UltraLounge posts but now I wish they'd
return because it's better than nothing.
Then again, maybe it's good to say nothing when you have nothing to say.
(If it is good, it's also clearly something I haven't learned.  And this
post isn't the only example of that.)
I'm just wondering if maybe we've said all we can say about this stuff and
we need a bunch of new people so we can engage in the annual "Cugat vs.
Ros" debate or so that I can tell them why Arthur Lyman is truly a "poor
man's Martin Denny".
Alternatively maybe we should recruit some people and some threads from the
Lawrence Welk mailing list or some such parallel group.
Or maybe someone can find a way to include Star Trek and Star Wars in their
posts and then things would really start hopping.

I need a fix.

If I don't get one soon, I'm going to have to talk about this Cozy Cole
record I have or these two Sam the Man Taylor records which kind of sound
like exotica.

Nat



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

Date: Fri, 5 Mar 1999 23:05:46 EST
From: [e-mail]
Subject: (exotica) Assignment to Kill

I've been watching this movie on the Mystery Channel called "Assignment to
Kill" made in 1968. So far it is utterly hip with an equally cool soundtrack.
The Internet Movie Database does not list the soundtrack's composer.  Does
anyone (Ratso perhaps?) know who penned this very groovy soundtrack?

Sean


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

Date: Fri, 5 Mar 1999 23:33:33 -0500
From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) Assignment to Kill

At 11:05 PM -0500 3/5/99, [e-mail] wrote:
>I've been watching this movie on the Mystery Channel called "Assignment to
>Kill" made in 1968. So far it is utterly hip with an equally cool soundtrack.
>The Internet Movie Database does not list the soundtrack's composer.  Does
>anyone (Ratso perhaps?) know who penned this very groovy soundtrack?

According to the All-Movie Guide (www.allmovie.com), the composer is
William Lava, who wrote his first score in 1937, and continued into the
early 80's. He evidently did music for the 'Zorro' TV series produced by
Disney in the 50s/60s.

br cleve


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

Date: Sat, 6 Mar 1999 00:11:11 EST
From: [e-mail]
Subject: Re: (exotica) Assignment to Kill

Didn't Bill Lava replace Carl Stalling as the Warner Bros. cartoon composer in
the sixties?

- --Didn't


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

Date: Sat, 06 Mar 1999 06:51:30 +0000
From: Hugh Petfield <[e-mail]>
Subject: Re: (exotica) drip drip drip

Nat wrote (with simmering angst, one detected....)
>
>I need a fix.
>
>If I don't get one soon, I'm going to have to talk about this Cozy Cole
>record I have

Please do!  I've often wondered if it was Cozy himself who sort of moaned
quietly in odd places on his records.

Hugh.


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

Date: Sat, 06 Mar 1999 10:45:33 +0100
From: Moritz R <[e-mail]>
Subject: (exotica) Lee Hazlewood Story

Received this yesterday... (Couldn't get those quote characters away, sor=
ry,
Netscape is a very unperfect programm)

>
>
> > A Brief Introduction to Lee Hazlewood
> >
> >Born on 9 July 1929, in the town of Mannford, Oklahoma, Barton Lee
> >Hazlewood spent his early years moving with his family between there a=
nd
> >towns in Arkansas and Texas, where they settled long enough for Lee to
> >attend high school and meet his future wife, Naomi Shackleford. After =
a
> >stint at SMU in Dallas, Lee was called into service in Korea.
> >
> >After his discharge, Lee attended broadcasting school in California, a=
nd
> >upon graduation was hired by KCKY in tiny Coolidge, Arizona. It wasn1t
> >long before his eccentric on-air performances, which consisted of
> >conversations between an elaborate dramatis personae with all the voic=
es
> >done by Lee himself, garnered him a local following. One devotee, a
> >teenage guitarist named Duane Eddy, began dropping by to rid the stati=
on
> >of its excess country records. Lee befriended Duane and, along with
> >Duane1s pianist buddy James 3Jimmy Dell2 Delbridge, they began fleshin=
g
> >out some songs Hazlewood had written, recording them at a local studio.
> >The trio also began driving to Phoenix for country music shows, where
> >they came to know the house band, particularly the young guitarist Al
> >Casey, forging some important alliances for the years to come.
> >
> >By 1955 Lee had moved to KRUX in Phoenix (where he was the first DJ in
> >town to play Elvis), and started the Viv label as an outlet for his
> >productions. Using Ramsey Recorders as his home studio, and a phalanx =
of
> >talented local players including Eddy and Casey, Lee finally struck
> >paydirt in 1956 with his tune 3The Fool2, sung by Casey1s high school
> >chum Sanford Clark, birthing the Phoenix music scene in the process. I=
n
> >1957, Lee gave up DJing for writing and producing full-time when he
> >accepted a job as staff producer with Dot Records, and moved to LA.
> >
> >Soon after, Hazlewood hooked up with producer Lester Sill, forming a
> >partnership that would alter the course of American music. Still makin=
g
> >regular pilgrimages back to Phoenix, where he continued to explore the
> >sounds he was hearing in the now-familiar context of Ramsey and his
> >erstwhile group of session players, Lee finally broke through when he
> >suggested that Duane play the simple, repetitive melodic riffs they ha=
d
> >written on the lower strings of his guitar. It was a radical departure
> >from the searing, high pitched runs of the Chet Atkins style. Although
>
> >the sound had its genesis in Lee1s head, he couldn1t possibly have bee=
n
> >prepared for how sublimely it tumbled from Duane1s amplifier, and just
> >how far the two would be able to take it.
> >
> >Knowing they had the makings of something bigger, Hazlewood and Sill
> >began liscencing the Eddy masters to Philadelphia-based Jamie Records =
in
> >1958, and enjoyed a huge string of international instrumental hits whi=
ch
> >helped define what people were just beginning to call 3rock and roll2.
> >
> >Hazlewood was obsessive about acheiving new sounds, and this pursuit l=
ed
> >to the installation of a gigantic grain tank onto the side of the
> >building which housed the studio. The tank was outfitted with a mike a=
nd
> >speaker setup, and became a truly monstrous echo chamber, heard to gre=
at
> >effect on those early Eddy sides. Another of Lee1s many innovations in
> >this period was the 3stacking2 of bass players; Fender bass for crispn=
ess
> >on top of an upright bass for depth of tone underneath.
> >
> >What most people don1t know is that observing these sessions, and no
> >doubt absorbing most of Lee1s techniques, was a young wannabe producer
> >newly recruited by Sill, by the name of Phil Spector. And it1s also no
> >coincidence that many of Lee1s hand-picked session players, including =
Al
> >Casey, Steve Douglas, Jim Horn and Larry Knechtel, went on to become p=
art
> >of the legendary 3Wrecking Crew2, Hollywood1s most in-demand group of
> >session musicians, and the interpreters of countless milestones of
> >American music from the 60s and 70s.
> >
> >The early 60s saw Hazlewood establish a new label, LHI (Lee Hazlewood
> >Industries), and branch out into new territory both as writer/producer
> >and as a performer, with his first solo albums, 19631s Trouble Is A
> >Lonesome Town and The N.S.V.I.P.s, the following year. In 1967 LHI
> >released the first album by Gram Parsons1 short-lived group, the
> >International Submarine Band.
> >
> >By the mid-sixties, Lee had acheived some significance with mega-hits =
and
> >artistic milestones, and had garnered the respect of his peers (not to
> >mention a swimming pool and a nice little stockpile of Chivas Regal). =
So
> >with the advent of the British Invasion (which was itself profoundly
> >fueled by those pioneering Duane Eddy records), and the sea-change
> >brought upon the Industry by more self-contained artistic projects lik=
e
> >the Beatles et al, he had become quite taken with the idea of
> >3retirement2 from the music business. That is, until he met Nancy.
> >
> >The young daughter of the Amercian icon, Nancy Sinatra was an aspiring
> >diva with a string of disappointments even her father1s usually
> >indomitable influence couldn1t make into hits. Thus she was delivered =
to
> >Hazlewood by fellow producer and Reprise bigwig Jimmy Bowen. The resul=
t,
> >to almost everyone1s satisfaction, was wall to wall hits for about the
> >next 5 years.
> >
> >Described by detractors as a tuneless drone, Nancy1s voice was more
> >importantly a tough and life-wisened instrument, and certainly not
> >lacking in a canny sexuality which, inadvertently or not, anticipated
> >liberated, strong female singing from Nico and Pat Benatar to Kim Gord=
on
>
> >and Joan Jett. Hazlewood, naturally, saw these elements for the streng=
ths
> >that they were, and knew exactly how to highlight them sonically. He
> >sculpted, again with the help of his now famous session men, a
> >countryfied pop brew to bathe tunes which, though not without their
> >3novelty2 aspects, were more 3novel2 in the literary sense: concisely
> >constructed layers of sophisticated artifice operating on several leve=
ls
> >of meaning, depending on how deep you were willing to go.
> >
> >The first string of hits, 3These Boots Are Made For Walking2, 3Sugar
> >Town2, 3How Does That Grab You Darlin1?2, made Nancy Sinatra a worldwi=
de
> >star, and is perhaps what gave her the confidence to  begin sharing th=
e
> >mike with Lee. The duet hits that followed include the hardcore C&W
> >rollick of 3Jackson2, and the sublime 3Some Velvet Morning2, perhaps
> >Lee1s finest moment as a lyricist. It1s important to note that Lee was
> >stalking the very top of the pops with vaguely cloaked S&M and drug
> >references, amid other implications of miscellaneous naughtiness, yet
> >because of the context in which he worked was the epitome of unhip. By
> >contrast, Lou Reed was addressing similar subjects in his eventually m=
ore
> >celebrated style, but within the hermetic confines of Warhol1s Factory=
,
> >an association which inevitably made his 3vanguard2 work infinitely le=
ss
> >assailable.
> >
> >Lee1s other Hollywood (mis)adventures included producing Frank and Nac=
y1s
> >hit duet 3Somethin1 Stupid2, writing and producing the Dean Martin hit
> >3Houston2, and the record The Cowboy And The Lady, a hilarious duet LP
> >with the actress and singer Ann-Margaret. He also contributed music to
> >the films Tony Rome and Sweet Ride, and even acted in the latter and i=
n
> >The Moonshine Wars, alongside Richard Widmark.
> >
> >Newly minted from this second wave of success, Hazlewood began traveli=
ng
> >abroad, landing in Sweden in 1970, where he met director Tobj=F6rn Axe=
lman.
> >The two embarked upon a collaboration which would produce several film
> >and music projects, beginning with Cowboy In Sweden, and continuing
> >through Smoke and A House Safe For Tigers. The Swedish Viking label al=
so
> >issued two very rare but strong Hazlewood solo albums. Requiem For An
> >Almost Lady, released in 1971, is an aching meditation on love lost (w=
ith
> >some harrowing narration), while 13, from the following year, is a
> >horn-laden departure from the Hazlewood formula that succeeds on the
> >strength of its exuberantly dazed mania.
> >
> >It1s during this period that Hazlewood emerged as a singer and perform=
er
> >inseperable from his writing and production. After hearing these 70s
> >albums, one gets the feeling that Lee is perhaps the best interpreter =
of
> >his own ideas, and without a doubt the albums benefit from everything =
he
> >had developed up to that point: a singular signature sound synthesizin=
g
> >swinging cowboy shanties, the rhythmic heat of rockabilly, and soaring
> >symphonic pop, punctuated by dark, poetic lyrics at once esoteric, wit=
ty
> >and honest.
> >
> >Towards the end of the 70s Lee gradually retired (again) from music,
> >taking up short residences in different locales across the globe and
>
> >working only sporadically. By the 90s, the first compact disk issues o=
f
> >Lee1s solo work - most of them illegal - began to appear on shady
> >European labels, while his original LHI LPs steadily began fetching
> >higher prices in the collector1s market. All of this, combined with hi=
s
> >reclusive lifestyle and the enigmatic nature of his available oeuvre,
> >afforded quite a mythology.
> >
> >After Rhino Records reissued their hit 60s duets on CD as Fairytales &
> >Fantasies, Lee and Nancy reunited in 1995 for a small-scale world tour=
 to
> >rave reviews. Backstage at the Limelight in NYC, the members of Sonic
> >Youth were able to meet the man, and two years later drummer Steve
> >Shelley managed to track down the elusive Hazlewood and sell him on a
> >reissue project, to be released on his own Smells Like Records label. =
It
> >was decided that six old titles would be reissued: Trouble Is A Loneso=
me
> >Town (=8C63), The N.S.V.I.P.s (=8C64), The Cowboy And The Lady (=8C69)=
, Cowboy
> >In Sweden (=8C70), Requiem For An Almost Lady (=8C71), and 13 (=8C72).
> >Additionally, an album of old pop standards titled Farmisht Flatulence=
,
> >Origami, ARF!!! and me, recorded between 1996 and 1998, and featuring =
Lee
> >backed by his old pal Al Casey, will be Hazlewood's first domestic
> >release in over two decades. A CD compilation of 45rpm singles origina=
lly
> >released on LHI will round out the series.
> >
> >Lee1s music has been covered over the years by the likes of Einsturzen=
de
> >Neubauten, Petula Clark, Lisa Germano, Roland S. Howard and Lydia Lunc=
h,
> >Dusty Springfield, The Jesus and Mary Chain and Billy Ray Cyrus. 3Boot=
s2
> >and the Duane Eddy tracks continue to make appearances in films, some
> >recent ones including Full Metal Jacket, Forrest Gump, Ready To Wear,
> >Fargo, Natural Born Killers, Feeling Minnesota and Austin Powers. Ther=
e
> >has always been a small but loyal group of Hazlewood fanatics, but wit=
h
> >seemingly more and more music lovers discovering and appreciating Lee'=
s
> >place in the history of American music, now is finally the time for hi=
s
> >solo work to be made widely available on CD.
> >
> >NYC1s Anthology Film Archives to screen Lee Hazlewood films
> >Smells Like Records, in association with Anthology Film Archives, is
> >proud to present 3 unique films featuring the talents of the endearing=
ly
> >iconoclastic singer/songwriter/producer Lee Hazlewood, produced in
> >collaboration with the Swedish director Torbj=F6rn Axelman. Known prim=
arily
> >for his work as a songwriter and producer for Duane Eddy and Nancy
> >Sinatra, Hazlewood was also a performing and recording artist in his o=
wn
> >right, releasing a string of sterling solo albums throughout the 60s a=
nd
> >70s.
> >Cowboy In Sweden, released in 1970, sets a suite of Hazlewood
> >compositions to Axelman1s footage of various Swedish landscapes; a
> >long-form music video made well before the advent of MTV. A critical a=
nd
> >commercial success in Sweden, the soundtrack, performed by Lee with th=
e
> >help of singers Nina Lizell and Suzie Jane Hokom, went gold in that
> >country.
> >In The N.S.V.I.P.s, a Swedish television special from 1973, Hazlewood
> >sings and stars in a sentimental series of vignettes based upon songs =
by
>
> >the late Harry Chapin. Directed again by Axelman, it won both the Gold=
en
> >Rose of Montreux and the International Press Prize at The Montreux
> >TV-Festival in Switzerland.
> >Nancy & Lee in Las Vegas, from 1972, intertwines a vintage performance=
 by
> >this incomparable duo at Frank Sinatra and Dean Martin1s Riviera with
> >backstage/behind the scenes shenanigans as seen through the eyes of
> >co-director Axelman. Hazlewood1s verit=E9-style editing manages to cap=
ture
> >both the surreal glitz and the lighter side of the Vegas experience.
> >The screenings will take place on the 22nd of April 1999, and will
> >coincide with the re-release of two Hazlewood albums on CD: the album
> >Cowboy In Sweden, and Farmisht, Flatulence, Origami, ARF!!! and me (th=
e
> >first new Hazlewood album in two decades). These will be the first in =
a
> >series of Hazlewood re-issues by Hoboken based Smells Like Records, an
> >independent label run by Sonic Youth drummer Steve Shelley.
> >
> >
> >
> >=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
> >smells like records  pobox 6179 hoboken nj 07030
> > 201.659.1556 fax      <smellslikerecords.com>
> >
> >available now: CDs by Bluetile Lounge, Scarnella,
> >Two Dollar Guitar and the Rondelles
> >
> >coming soon: music from Lee Hazlewood, Robert Gordon,
> >and the Clears
> >






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End of exotica-digest V2 #339
*****************************