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exotica-digest        Wednesday, April 21 1999        Volume 02 : Number 378



In This Digest:

Re:  Re: (exotica) Life with Eartha
(exotica) Lee Hazlewood interview
(exotica) Black Orpheus and my mother's contribution to Exotica
(exotica) [obit] Sr. Wences
Re: (exotica) bringing new meaning to novelty records
Re:  Re: (exotica) Life with Eartha
Re: (exotica) Satan In High Heels
(exotica) Hey NY: brother cleve, the easy alohas, and michelle boule at in hi-fi this thurs.
Re: (exotica) [obit] Sr. Wences
Re: (exotica) Black Orpheus
Re: (exotica) The forbidden sounds of Don Tiki
(exotica) The Three Ring Circus
(exotica) Johnny Cool Wants To live
(exotica) NYC Dj gigs
(exotica) Yma Sumac songs
(exotica) Yma Sumac songs
(exotica) [obits] John Broome,Flora Carabella,Gordon Hughes,Sr. Wences
(exotica) Oriental Trading
(exotica) Muzak
Re: (exotica) The Three Ring Circus
(exotica) Slut 4 free!
(exotica) organ manuals??
Re: (exotica) The forbidden sounds of Don Tiki
(exotica) Date: Wed, 21 Apr 1999 09:26:35 PDT
(exotica) CD finds....
(exotica) Re: CD finds....
(exotica) VOODOO!

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

Date: Tue, 20 Apr 1999 14:58:18 EDT
From: [e-mail]
Subject: Re:  Re: (exotica) Life with Eartha

In a message dated 4/20/99 2:48:05 PM, [e-mail] wrote:

>I have never like the term Diva.

I loved the term when it was frequently applied to anonymous 70's disco
singers who sang their guts out with virtually no recognition (Lolleata
Holloway and Barbara Roy come IMMEDIATELY to mind), but when I hear it
applied to Mariah,  Cher, Tina, Celine, and Whitney, I know we need a new
word..........Jimmy Botticelli


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

Date: Tue, 20 Apr 1999 21:10:21 +0200
From: "Arjan Plug" <[e-mail]>
Subject: (exotica) Lee Hazlewood interview

5 pages recent interview can be found in the May issue of MOJO.
Plus a not to kind review of his new "Farmisht Flatulence, Origam, ARF!!!
And Me" album


Arjan



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

Date: Tue, 20 Apr 1999 15:22:40 -0400
From: Brian Phillips <[e-mail]>
Subject: (exotica) Black Orpheus and my mother's contribution to Exotica

Jane, in her attempt to make me blush (no easy feat), said:

>While I we are on this, I __also__ thank Brian for suggesting that I watch
>the film, which I did this weekend!  For fans of the Jean Cocteau
>"ORPHEUS", all I can say is in its gorgeousness and colour, it's a
>Brazilian equivalent to the French!  It's funny, because when I got the
>soundtrack , I could just imagine what the film was like, and the music is
>a beautifully illustrative!  Welcome back, Brian, although you were never
>really gone! ;0

Thanks, as always, JF!  Two things I would like to re-point out about this
film (for the newer folks on the list)

1. It has one of the greatest openings of any film I have seen.  The first
shot is of marble friezes and underneath very solemn soothing music is
being played.  After the credits, the friezes shatter and you see and hear
a carnival scene.  Can't be beat.  Took me a year before I got to the rest
of the movie(Gotta see that intro again)!  Jobim and Luis Bonfa did a great
job on the music!

2. My Mother, may she rest in peace (she's not dead, I just would rather
her sleep in some place quiet than a noisy place, if I am given a choice),
taught Marpessa Dawn (Eurydice) dance while they were attending high school
(Marpessa Dawn gossip: her real name was Gypsy and she had a real "stage
mother").  The school had an interesting setup, in the sense that the
faculty saw an exceptional student and had her teach a class in dance!  She
did not pursue her dancing after that and she married.  I was very loved,
even though I was not um, expected by Mom and Dad and one of the most
surprising things she has ever said to me was, "If I continued dancing, I
never would have had you boys [my brother and I]."

I would like all of you on the list to think on that.  She was a great
dancer, yet she raised two sons (partially on her own, when my Father and
Mother divorced) and while she did still enjoy dancing and tried
(unsuccessfully!) to get me to dance a little, what I quoted to all of you
she never told me until I was well into my twenties and out of the house.
Sexual and social mores of the 40's through '60's aside, I think that is a
pretty amazing thing to do for someone.

Thanks for letting me toot my Mother's trumpet, because so few people know
about this and I think it deserves at very least, mention.

One of these days I will tell you about my Aunt Lottie, who taught piano to
one of the Nicholas Brothers.

Oops, just did.

Brian Phillips



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

Date: Tue, 20 Apr 1999 15:39:44 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) [obit] Sr. Wences

    NEW YORK (AP) -- Senor Wences, the master ventriloquist who delighted ``Ed
Sullivan Show'' audiences with his puppet-head-in-a-box, Pedro, and his
falsetto-voiced hand-puppet, Johnny, died Tuesday at 103.
    The Spanish-born Wences, whose real name was Wenceslao Moreno, died at his
home in New York City.
    During the Golden Age of television, Wences bickered and bantered with his
puppets while he drank, smoked and juggled.
    He conversed with Pedro, a head in a box (``S'OK?'' ``S'AWRIGHT). And he
was defeated by Johnny, who boasted, ``Deefeecult for you; easy for me.''
    Wences created Johnny by scrunching up his fist, drawing a mouth where
thumb and index finger met, and draping a blond wig over the top.
    His character Pedro was a gravelly voiced head in a box, born out of
necessity when Wences' ventriloquist's dummy was accidentally damaged and
only the head was spared.
    Pedro wore glasses and a Dali-like mustache and beard. His voice became
clearer as the door to his box opened, and muffled as it closed. Audiences
forgot the sound was really coming from outside the box.
    Wences would talk to his puppets with his face right in theirs, as if
daring the audience to watch his lips, which, of course, never moved.
    He would stuff a hankie in Johnny's mouth and have the puppet speak with a
muffled voice while he himself smoked a cigarette. Then he would give Johnny
a drag, and the puppet -- that is, Wences' hand -- would somehow emit
perfect smoke rings.
    ``Most of us were in awe of Wences,'' ventriloquist Jimmy Nelson once said.
``He could get laughs just by saying, `S'AWRIGHT!' And I still don't know
how he got those smoke rings out of Johnny.''
    There were no jokes, just what one writer has described as ``bizarre,
farcical, Spanish-accented patter.''
    In between his many Sullivan show appearances, he entertained four
presidents, toured with Dean Martin & Jerry Lewis, did a Broadway show with
Danny Kaye, and played every casino in Vegas.
    He had a precise, economical act: 19 minutes with a one-minute encore. He
would ask the promoter for only a card table and a glass of water.
    He continued touring into his early 90s.
    Wences was born in Penarada, Spain, and discovered his gift for mimicry
amusing his classmates in grade school.
    In 1934, when he came to the United States, Wences was conventional --
``another ventriloquist with a dummy,'' as he put it. But two years later,
en route to Chicago, his act was transformed when his dummy, Pedro, was
crushed in a baggage car accident. Wences bought a box, stuck the head
inside, and -- on stage that day -- inquired if he was OK.
    Pedro replied, in a voice as gravelly as Johnny's was squeaky: ``S'AWRIGHT!''
    A memorial service and burial will be held in Spain this weekend.




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

Date: Tue, 20 Apr 1999 15:51:22 -0400
From: Brian Phillips <[e-mail]>
Subject: Re: (exotica) bringing new meaning to novelty records

>Come where my love lies screaming
>The Green grass grew all around
>One for my baby and one more for the road
>Down in the valley
>Ridin high
>and...
>Back in the saddle again

Oof!  I think I may have seen another record like this in Los Angeles.  It
showed two men facing each other (from the calves down and dressed) and the
songs all had double-entendre titles leaning toward homosexual themes.  I
don't remember the titles, but I think this company issued several titles.
Funny post, Nat!



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

Date: Tue, 20 Apr 1999 15:55:53 -0400
From: Brian Phillips <[e-mail]>
Subject: Re:  Re: (exotica) Life with Eartha

Re: Diva

>but when I hear it applied to Mariah,  Cher, Tina, Celine, and Whitney, I
know we need a new
>word..........Jimmy Botticelli

OK.  How about "Xtabay"?

(Juuuuuuuuuuuuuuust kidding!)

Xrian Xhillips



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

Date: Tue, 20 Apr 1999 15:56:29 -0400
From: <[e-mail]>
Subject: Re: (exotica) Satan In High Heels

>Jane should be a writer besides a music star!  I couldn't agree with her
assssessment
of this cd any more then what she said.  Its definitely not a boot and its
available
cheap.
I like this cd alot.


Thanks, Chuck-truck, but __my__ money's on Brian Phillips as the writer for
Y2K...with that lovely essay on his mum!  Now gang, isn't that nicer than
all this,uh, crepitation?!?
Jane Fondle, Mr. Clean






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

Date: Tue, 20 Apr 1999 14:51:09 -0400
From: <[e-mail]>
Subject: (exotica) Hey NY: brother cleve, the easy alohas, and michelle boule at in hi-fi this thurs.

In Hi-Fi is pleased to announce that in addition to our regular guest DJ,
Michelle Boule, of WFMU's "Incorrect Music," we will be featuring several
special guests from out of town.
This Thursday, April 22, Combustible Edison's Brother Cleve (Boston) and
the
Easy Alohas
(Amsterdam) will be joining Jack Fetterman at New York City's Bar d'O.
The music begins at 7:00 p.m. There is no cover charge. Bar d'O is located
at 29 Bedford Street, at the corner of Downing Street, just a block away
from the intersection of Houston and 6th Avenue. Telephone is 212-627-1580.








http://www.inhi-fi.com

In Hi-Fi presents Exotic Cocktail Music

every Thursday Evening

at Bar d'O

29 Bedford Street
New York City





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

Date: Tue, 20 Apr 1999 16:00:07 -0400
From: <[e-mail]>
Subject: Re: (exotica) [obit] Sr. Wences

Sigh...I am sure many a boy lost his virginity to Sr. Wences...
I'M SORRY-COULDN'T LET THAT ONE GO BY!!
That Naughty Eartha Fondle
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this in error, please contact the sender and delete the material from any
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------------------------------

Date: Tue, 20 Apr 1999 17:06:49 -0400
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Black Orpheus

>While I we are on this, I __also__ thank Brian for suggesting that I watch
>the film, which I did this weekend!

Beautiful music and a wonderful (full of wonder) film. It feels like a
dream, not a movie.

Now *I've* gotta see it again.

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


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

Date: Tue, 20 Apr 1999 15:21:45 -0700
From: "Kevin C." <[e-mail]>
Subject: Re: (exotica) The forbidden sounds of Don Tiki

[e-mail] wrote:
>
> In a message dated 04/20/99 11:09:01 AM Eastern Daylight Time,
> [e-mail] writes:
>
> << Would
>  Martin Denny grace his presence on a bunch o' village posers?!??  COME ON!
>  Denny beautifully updates himself on "Exotica '97 >>
>
> You betcha!!!!  I just love this cut.  I have just about wore it out (if that
> is possible with a CD)

Would it be blasphemous to say I actually prefer the Don Tiki version over the
Denny original???

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


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

Date: Tue, 20 Apr 1999 17:46:51 -0700 (PDT)
From: Fish Wich <[e-mail]>
Subject: (exotica) The Three Ring Circus

At a local record store I spotted a record by a group called The Three
Ring Circus called Groovin' on the Sunshine on RCA from 1968.  It's got
a sort of scary psychedelic picture of a clown on the front cover.  The
arrangers listed are Ray Ellis and Robert Allen.  According to the
track listing, side 1 is vocals and side 2 is instrumentals.

Anyone know anything about this album?  Thanks.

Mark
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com



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

Date: Tue, 20 Apr 1999 18:59:12 -0700
From: James G <[e-mail]>
Subject: (exotica) Johnny Cool Wants To live

The Johnny Cool OST clocks in at just under 32 minutes of IMHO
relatively lightweight cocktail-style music that I have plenty of. The
two Sammy songs are ok, but if you want good Sam try the 20 song
mid-price Cd on the canadian Pair label: some hits(thankfully not
Bojangles or Candyman) but a killer version of The Tender Trap.(I used
to live across the street from an SF bar called The Tender Trap - the
italian bartender would get a heat on and croon Sinatra and Bennet songs
through a mike and an amp, karaoke style - in 1971 !!)

Meanwhile Johnny Mandel's I Want to Live RYKO OST is MUCH more bluesy
crime jazz percussive weirdness with the bonus of the companion Gerry
Mulligan small group jazz album based on the score, and clocks in at a
wild and crazy 59 minutes. So now you know in case you forgot to ask.

JB
 (looking at the Johnny Cool pics and remembering that Henry Silva was
one weird lookin dude - think it was those beady eyes)


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

Date: Tue, 20 Apr 1999 23:19:50 EDT
From: [e-mail]
Subject: (exotica) NYC Dj gigs

Thursday, April 22 (this) at In Hi-Fi, we are pleased to present the "more
better half" of WFMU's Incorrect Music program, Michelle Boule, providing
subtle yet barbed musical pleasantries.

Following, Brother Cleve (trudging all the way from Cambridge,
Massachusettes) graces In Hi-fI
with his brand of traditional and contemporary neo-subgenial combustible
tone poems.

How would we have anticipated that the blessing of Cleve's visitation
would intersect with DJ friends
from Amsterdam, the Easy Alohas? We couldn't, but that's the case...

Michelle Boule, Brother Cleve, and the Easy Alohas

this Thursday

                         only at

                                           I n    H i  -  F i .

(the alohas will be at Mondo 107 on Wednesday, April 21, as well!)


Jack
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Date: Wed, 21 Apr 1999 09:12:34 -0400
From: cheryl <[e-mail]>
Subject: (exotica) Yma Sumac songs

Can anyone tell me what LP these two Yma Sumac songs come from -
"Gopher" and "Bo Mambo"?

thanks,

cheryl


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Date: Wed, 21 Apr 1999 09:40:41 -0400
From: Brian Phillips <[e-mail]>
Subject: (exotica) Yma Sumac songs

>Can anyone tell me what LP these two Yma Sumac songs come from -
>"Gopher" and "Bo Mambo"?


"Mambo", orchestra conducted by Billy May.



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

Date: Wed, 21 Apr 1999 09:59:31 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) [obits] John Broome,Flora Carabella,Gordon Hughes,Sr. Wences

                            *John Broome
    NEW YORK (AP) -- John Broome, a DC Comics writer whose 25-year career
included the popular superheroes Green Lantern and Flash, died March 14 of a
heart attack. He was 85.
    He died while traveling through Thailand with his wife Peggy.
    Broome, who wrote under his own name and the pseudonyms John Osgood and
Edgar Ray Merritt, was responsible for the colorful writing in The Justice
Society of America. The comic depicted the first team of superheroes, and
Captain Comet, a character with great mental powers.
    Other comics Broome wrote included Detective Chimp, about a chimp who
worked with a sheriff in a small town to solve crime. It was written from
the chimp's viewpoint. He also wrote the comic Atomic Knights.
    Green Lantern, first created during the Golden Age of Comics in the 1940s,
was revised by Broome in the '50s and '60s. He also wrote most of the
stories of Flash, during the same period. Both comic characters survive into
today.
    After retiring in 1970, Broome moved to Paris and later to Tokyo, where he
taught English.

                          *Flora Carabella
    ROME (AP) -- Actress Flora Carabella, the widow of Marcello Mastroianni,
died Monday night after a long illness, Italian news reports said. She was 72.
    ``Flora was not just (Marcello's) wife. She was a joyful, committed,
independent woman, always lively,'' said actress Sophia Loren. ``In the end,
she couldn't bear the pain of Marcello's loss. Marcello was the man of her
life.''
    Carabella worked with the famed director Luchino Visconti at the beginning
of her career. She married Mastroianni in 1948.
    They separated in 1970 but never divorced and remained friends until his
death in 1996.

                           *Gordon Hughes
    SANTA BARBARA, Calif. (AP) -- Gordon Hughes, a director-writer who worked
with such entertainers as Ronald Reagan, Frank Sinatra and Lucille Ball
during a half-century stage, radio and TV career, died Monday of heart
failure. He was 89.
    Hughes began his entertainment career in 1933 with stage productions in the
Midwest and East Coast. He also directed Reagan in Des Moines, Iowa, at the
Little Theatre.
    Hughes was the first radio director to receive NBC national credits on the
air while directing Arch Obler's ``Lights Out.''
    He later moved to Hollywood and directed the radio soap opera ``The Guiding
Light.'' He also did shows for Sinatra, Miss Ball, Gene Autry and Steve
Allen on the CBS radio network.
    Hughes then moved to television, where he produced, directed and wrote such
shows as ``My Little Margie'' and ``Charlie My Boy.'' He wrote ``This is
Your Life'' and ``Truth or Consequences'' shows.

In alt.obituaries, [e-mail] (Lawrence Person) wrote Senor Wences
Memorial Haiku:
>Senor Wences Dead
>Lived to One Hundred and Three
>Health Fad: Talk to hand
>
>Wences 'snot awright:
>Handy ventriloquist gone
>Long life for old schtick
>
>Talking to own hand:
>"I call that a cry for help."
>MST3K
>
>Ed Sullivan, fame
>Vaudeville, TV, Presidents
>Johnny now silent

April 21, 1999
Senor Wences, Ventriloquist Who Was a TV Regular, 103
By RICHARD SEVERO, NYTimes
NEW YORK -- Wenceslao Moreno, who started his career as an unsuccessful
bullfighter in Spain and then became Senor Wences, a gifted ventriloquist
who was able to transform his thumb and forefinger into a convincing dummy
that endeared itself to millions of American television viewers in the 1950s
and '60s, died Tuesday, his 103rd birthday, at his home in Manhattan.

He and his wife, Natalie, had lived on Manhattan's West Side for more than
60 years. They also lived in Salamanca, Spain, Wences' hometown.

In a career that lasted more than eight decades, Wences repeatedly proved
himself a stellar part of the tradition that included Edgar Bergen, Paul
Winchell and other popular ventriloquists who delighted audiences from the
1920s well into the television age.

What set Wences apart from everyone else was that his main character was not
carved out of wood, as were Bergen's Charlie McCarthy and Winchell's Jerry
Mahoney. Johnny, Wences' dummy, was simply formed by his right hand. He
painted lips on his thumb, draped a ridiculous orange wig across his fist,
stuck eyes on the side of his hand, just below the wig, and let the hint of
a body dangle below. As soon as he began his act, this unlikely creation
came to life as Johnny, a lovable, impertinent little boy, not unlike the
boy Wences had been.

It was shortly after the turn of the century in Spain that Wenceslao Moreno
found that he could imitate others and throw his voice. In school, when one
of his classmates was absent, he would answer for him, and the teacher would
mark the missing student present.

In those days, he had a friend named Paulo who lived next door. The friend's
mother would appear at an upstairs window and call for her boy to come home.

"No, Mama," a voice sounding like Paulo would say. "I refuse to come into
the house." When the mother demanded that her son obey, the voice would
continue in defiance: "Mama, you attend to your own business, and I will
attend to mine."

Poor Paulo got the dickens on several occasions, until it was discovered
that he had not been the culprit.

Other times Wences successfully imitated the voice of the mailman, telling
the tenants of his apartment house that the mail was there and ready for
distribution. (There were no mailboxes.) All of the tenants would dutifully
come down the stairs and assemble at the front door, only to find that no
mailman was there. In one instance, an angry tenant dumped a pail of water
on the real mailman's head to teach him not to trifle with the residents of
that building.

The little sprite of a voice and impish personality emerged to a widespread
audience decades later, in the United States in 1948, when Wences made his
television debut and introduced Johnny to virtually the nation's entire
television audience, which assembled on Tuesday nights to watch Milton
Berle's variety hour.

Shortly thereafter he made the first of 48 appearances on Ed Sullivan's
show. Neither Sullivan nor his audience ever tired of Wences.

Wences' Johnny was not a rake or a wise guy, like Charlie McCarthy. He was a
disembodied insurrectionist whose single-minded purpose was to nettle Wences
in little ways, as small boys are wont to do. And so, if Wences announced to
his audience that a certain trick was going to be "very difficult," Johnny's
little voice would insist that it was "easy." If Wences gave Johnny a dirty
look, Johnny would add, "Difficult for you, easy for me."

In the conversations that ensued, Johnny would seem to be a completely
separate being from Wences, quite capable of saying anything. There were no
jokes, per se. Just snippets of silly but strangely eloquent conversation.
And the exchanges were always polite, gentle; segments ended with kisses
between Johnny and Wences.

Johnny was not the only star Wences developed. The other was Pedro, a
talking head in a covered box. Pedro was grouchy, imperious, raspy. He
almost did not become part of the act. Originally, Pedro had a body that was
crushed in a train wreck near Chicago. Wences, salvaging the head, put it in
a box. At first, those who booked the act resisted; they did not think
people would relate to a head in a box. Wences prevailed and Pedro proved
almost as big a hit as Johnny.

Whatever happened in the act, whatever pandemonium there might be, Wences
would always open the box and say to Pedro, "You all right?" Pedro would
always respond, "S'all right," to which Wences would say, "Very good." If
Wences presumed too much and opened the box when Pedro preferred privacy,
Pedro would demand, "Shut the door!"

When Pedro and Johnny were simultaneously in action, it seemed a wonder that
Wences could get through his shows in full control. He had a palpable
Spanish accent and there were times when some found it difficult to
understand him. The laughs came just the same; his timing and the gentleness
of his message were such that he transcended the bounds of language.

Wences, who was also a formidable juggler, started out as a young torero in
local bull rings near Salamanca. After several bulls got the best of him, he
turned to ventriloquism and juggling. By the 1920s his renown in both fields
was such that he was in demand in Europe and Latin America. He first came to
New York in 1935, where he appeared at the Club Chico in Greenwich Village.

But it was not until he got on television that he became truly famous. In
addition to his appearances on the Berle and Sullivan shows, Wences also
appeared with Jack Paar, Steve Allen, Perry Como and Jack Benny. He was seen
in a specialty act in the 1947 movie "Mother Wore Tights," starring Betty
Grable and Dan Dailey. In 1963 he toured with Danny Kaye's International Revue.

In 1996, Wences received the Lifetime Achievement Award from the National
Comedy Hall of Fame for his devotion "to entertaining generations of
audiences and bringing countless hours of joy and happiness to millions
throughout the world." He was also honored by New York City, which erected a
blue street sign alongside the Ed Sullivan Theater designating a block of
West 54th Street from Eighth Avenue to Broadway as Senor Wences Way.

He remained vigorous well past his prime and was still working in 1986, when
he toured with Mickey Rooney and Ann Miller in "Sugar Babies." His wife, who
is his only survivor, said he got that job because she was able to convince
the producers that he was a mere 75 years old, 15 years younger than he
really was.








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Date: Wed, 21 Apr 1999 10:16:45 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) Oriental Trading

I just received the Summer catalog from Oriental Trading Co. You can request
a copy of your own at:

http://www.oriental.com/cgi-bin/otc_cat_rqst.cgi

At least 16 pages of the catalog have tropical and Luau-related items. They
carry stuff like Tiki light strings, plastic Tiki mugs, coconut-bodied
ukuleles, grass skirts, tropical drink umbrellas and straws, decorations, etc.

- -ls




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Date: Wed, 21 Apr 1999 11:48:46 -0400
From: "m.ace" <[e-mail]>
Subject: (exotica) Muzak

Last night I finished Joseph Lanza's book, "Elevator Music" (worth a read).
And thought, hey, I really should check for Muzak on the web.

Here it so obviously is:
http://www.muzak.com/

And a surprisingly hip looking site it is. I'm surprised no one here has
linked it before -- perhaps Muzak is too scary even for us?

Here's the less spiffy looking site of competitor AEI:
http://www.aeimusic.com/

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


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Date: Wed, 21 Apr 1999 12:11:21 -0400
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) The Three Ring Circus

At 05:46 PM 4/20/99 -0700, Fish Wich wrote:
>
>At a local record store I spotted a record by a group called The Three
>Ring Circus called Groovin' on the Sunshine on RCA from 1968.  It's got
>a sort of scary psychedelic picture of a clown on the front cover.  The
>arrangers listed are Ray Ellis and Robert Allen.  According to the
>track listing, side 1 is vocals and side 2 is instrumentals.
>
>Anyone know anything about this album?  Thanks.

I don't know anything except that it's one of the "best", most curious
records of that kind that I own.  I say "of that kind" but I'm not sure
what I would compare it to.  The instrumental cuts have the feel of spacey,
electronic psychedelia and the vocal cuts are mostly the same tunes sung in
a kind of "Fifth Dimension" style, which almost seems inappropriate but
somehow works.  I love the vocal version of the song "Lovin Machine", even
the lyrics.
I'm glad I own this record is really all I can say.  I brought it home
hoping it was a certain kind of record and lo and behold, it was.  I
haven't listened to it straight through that often but a few of the cuts
have made it onto a whole load of mixed tapes and they always get the
reaction of "What is this???"

Nat



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Date: Wed, 21 Apr 1999 12:19:42 -0400
From: <[e-mail]>
Subject: (exotica) Slut 4 free!

Should you happen to be in the teaming theatre district of Boston this
Saturday night, April 24th, AstroSlut would LOVE to have you!  We are doing
a free show around 10pm, at the Charles Playhouse Lounge, a swank 'lil
spot.
Also, I will be soon using a new email address on these lists:
[e-mail]...although I haven't converted my subscriptions
yet!  Somebody test this out, please! :)
xoxo
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Date: Wed, 21 Apr 1999 15:05:36 -0400
From: Nat Kone <[e-mail]>
Subject: (exotica) organ manuals??

I need help from the musicians on the list, particularly the keyboard players.
The composer for my film has bought this not-that-old organ, a Technics U-50.
(I pray I got that right)
Anyway, it looks like we'll be using it extensively for the film but the
problem is that he can't figure out all the stuff it probably does and what
all those buttons do.
Even though it has that old organ "look",  I don't think it's that old and
there are indications it could even be from the eighties.
We went to the Technics website but couldn't find a manual for it.
Can anyone help?  Anyone actually have a manual for this or any Technics
organ? Do you know some mammoth music store that might have stuff like this
catalogued?  Anything online?
Or does anyone actually know how to play this thing?

It shouldn't surprise you that we're looking for the cheesiest sounds we
can get. Right now our model for the soundtrack is the Three Suns version
of "Third Man Theme" from "On a Magic Carpet".  Actually we're trying to
get the rights but probably won't.

Any help appreciated and to the rest of you, this could have been a record
acquisition report, so what does "relevant" really mean?

Nat



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Date: Wed, 21 Apr 1999 15:09:30 EDT
From: [e-mail]
Subject: Re: (exotica) The forbidden sounds of Don Tiki

In a message dated 04/20/99 6:22:57 PM Eastern Daylight Time, [e-mail]
writes:

<< Would it be blasphemous to say I actually prefer the Don Tiki version over
the
 Denny original???  >>

If you have to ask . . . . . . . . .   yyyyyyyyyyyyyyeeeeeeeeeeeeeesssss!


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Date: Wed, 21 Apr 1999 13:15:42 -0600
From: "Albert Fish" <[e-mail]>
Subject: (exotica) Date: Wed, 21 Apr 1999 09:26:35 PDT

 Hello,
  I found an lp called "Voodoo" by R. Hayman. It's $20, which is
about $19 more than I like to spend on serrendipitous lp finds. Does
anyone recommend this lp? Is it worth $20?

Also, I'v been looking for Monique Van Vooren's lp. Anyone know if
it's worth the trouble to find?

Thanks heaps

KDjr.
(I've always wanted to use "serrendipitous" in a sentence. Forgive my
posing).

_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com


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Date: Wed, 21 Apr 1999 15:33:32 -0400
From: "Nathan Miner" <[e-mail]>
Subject: (exotica) CD finds....

Went on a very rare excursion out of the Hopkins confines to the local =
used CD joint and came across a couple of interesting titles......

1. Los Amigos Invisibles - "The New Sound of the Venezuelan Gozadera"

I haven't read the liner notes, so have no idea what "gozadera" is but =
it's probably something like "club music" or "disco."  Interesting mix of =
jazzy/latin sound with the expected dance rhythm.  Fast and slow songs, =
some sounding very "loungy." =20

2. "Tune in Turn On to the Hippest Commercials of the 60's w/Benny Golson"

On the Verve label, I guess these are all theme songs from various =
commercials (duh!  really?) used as a springboard for cool jazz interpretat=
ion by Benny.  Wordless vocals and upbeat tempos abound.  I guess you =
would call this the "now sound?" I'm not versed in all of these sub, sub =
categories.  Some songs are "Fried Bananas, Cool Whip, and No Matter What =
Shape (Your Stomach's In).

The cover is a pic of a barren, cracked, earthen landscape with a wildly =
painted "hippy" TV set sitting  in the center.

- - Nate




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Date: Wed, 21 Apr 1999 14:50:02 -0600
From: [e-mail]
Subject: (exotica) Re: CD finds....

both of these are great...

i couldn't stop listening to Los Amigos Invisibles last summer!!

and you check out the golson LP cover here:

http://www.tamboo.com/clubvelvet/lp/Selections134.html

- - kk


>1. Los Amigos Invisibles - "The New Sound of the Venezuelan Gozadera"
>2. "Tune in Turn On to the Hippest Commercials of the 60's w/Benny Golson"

visit...

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



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Date: Wed, 21 Apr 1999 15:45:29 -0400
From: <[e-mail]>
Subject: (exotica) VOODOO!

Depends on where you live...I once lived in FL, where my brother got that
record for $1, vg+..I now live in Boston, and was given that as a gift, for
under $20..but not much less.  Is it primo-exotica-YES!  Will you be
disappointed and feel ripped-off, NO!  Is it mint-y?  Those are some
considerations for you...from Ms. Consideration herself, Jane Fondle

 Hello,
  I found an lp called "Voodoo" by R. Hayman. It's $20, which is
about $19 more than I like to spend on serrendipitous lp finds. Does
anyone recommend this lp? Is it worth $20?





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entities other than the intended recipient is prohibited.   If you received
 this in error, please contact the sender and delete the material from any
computer.




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End of exotica-digest V2 #378
*****************************