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exotica-digest        Thursday, April 29 1999        Volume 02 : Number 384



In This Digest:

(exotica) [AP] Rock Beat: XTC
Re:  (exotica) [obits] Bert Remsen,Al Hirt,Kemistry,Roger Troutman
Re: (exotica) Tomita - it's Keane
(exotica) Al Hirt
(exotica) Hirt discography,Schory in mono/stereo
Re: (exotica) Jungle Sounds released from captivity......]
(exotica) Moondog
(exotica) don' wan Tomita nother boring moog album
Re: (exotica) Tomita
Re: (exotica) more swingin' spy tv
(exotica) You Rock! - Song Poem for Kinder?
(exotica) Davie Allan & The Arrows show, not exotic but maybe of interest to some
(exotica) Cocktails With Joey Ballet
(exotica) Spike Jonze - Esquivel
(exotica) Educational film soundtracks
(exotica) Re: Tomita
(exotica) re: A Bullet in the Head
Re: (exotica) A Bullet in the Head
Re: (exotica) Cocktails With Joey Ballet
Re: (exotica) Jungle Sounds released from captivity......]
(exotica) You Rock! - Song Poem for Kinder?
Re: (exotica) Educational film soundtracks
Re: (exotica) (Exotica) Proteus 7 For Your Ears Only
(exotica) [obits] Melba Liston,Walter Settles,Rory Calhoun,
(exotica) [AP] Tony sues Wayne
Re: (exotica) Educational film soundtracks
Re: (exotica) Educational film soundtracks
Re: (exotica) Educational film soundtracks
Re: (exotica) Educational film soundtracks

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

Date: Wed, 28 Apr 1999 14:52:29 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) [AP] Rock Beat: XTC

    NEW YORK (AP) -- Twenty-five years have passed, so Andy Partridge finally
feels comfortable confessing.
    During his teen-age days in England, the singer for the rock band XTC used
to scatter David Bowie and Iggy Pop records around his room when his friends
came over to visit. He had an image to protect, and Bowie and Iggy made him
look cool.
    What his buddies never realized was that before they came over, Partridge
would be listening to his dad's old albums of Herb Alpert and the Tijuana
Brass.
    Now the story can be told.
    ``You get older and more comfortable with yourself and you say, 'Sure, I
like a lot of the music that my parents liked,''' he said.
    It's a telling admission since Partridge and his partner, Colin Moulding,
have emerged from a seven-year exile with an album his dad could probably
appreciate. ``Apple Venus, Volume I'' leaves the traditional instruments of
rock 'n' roll behind for a sound Partridge describes as ``orchustic'' --
orchestral and acoustic.

(And the story continues from there - Lou)




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

Date: Wed, 28 Apr 1999 14:27:01 EDT
From: [e-mail]
Subject: Re:  (exotica) [obits] Bert Remsen,Al Hirt,Kemistry,Roger Troutman

Isn't it time for someone to furnish us with a compleat Al Hirt Disco-Graphy?
Anyone?


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Date: Wed, 28 Apr 1999 14:58:14 -0400
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Tomita - it's Keane

>Tomita is the Dire Straits of electronic music.

That's funny... I saw him more as the Walter Keane of Moog.

Or would that be Margaret Keane?

(not to be confused with Bill "Family Circus" Keane)

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


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Date: Wed, 28 Apr 1999 12:32:09 -0700 (PDT)
From: chuck <[e-mail]>
Subject: (exotica) Al Hirt

I checked out the Al Hirt "Disco-Graphy"  at
http://www.allmusic.com

There were a lot more releases then I imagined.

I met Al Hirt once and we had time to speak alone.  He seemed to be a
very quiet, soft person, almost sad.   The city of New Orleans is
really mourning his death.

Easy listening in the Big Easy
Chuck




- [e-mail] wrote:
>
>
> Isn't it time for someone to furnish us with a compleat Al Hirt
Disco-Graphy?
> Anyone?

_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com



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Date: Wed, 28 Apr 1999 15:38:49 -0500
From: recliner <[e-mail]>
Subject: (exotica) Hirt discography,Schory in mono/stereo

[e-mail] wrote:

> Isn't it time for someone to furnish us with a compleat Al Hirt Disco-Graphy?
> Anyone?

If you grab your handy copy of  Goldmine Standard Catalogue of American Records
1950-1975, you will see about 50 albums  and 40 singles listed. If I had a
scanner I'd get this right to you, but I'm tellin' ya this book is
indispensable.


I also looked up to see that Schory's B, B&H  and Esquivel's other worlds were
indeed issued in mono and stereo.

 Frank



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Date: Wed, 28 Apr 1999 15:54:23 -0500
From: recliner <[e-mail]>
Subject: Re: (exotica) Jungle Sounds released from captivity......]

Nathan Miner wrote:

> Well, last night was the Moment of Truth as I sped up the road at 9pm to meet the flea market guy who sold me the Les Baxter "Ritual of the Savage" for $3....

Congrats to Nate for such a concentrated score. I'm feeling equal bits
of envy and pride in a fellow exotica collector filling out his vinyl library.

> 5. Yma Sumac "Legend of the Jivaro": Now, I've never been a big fan of Yma's....er.....singing - but the cover is great.  Liner notes are a howl too.  Does anyone listen to entire LP's of hers in one sitting!?!?!

Coming from the same guy who, albeit jokingly, said that the Three Suns
suck, I'm not sure how serious this statement is. I think Nate needs to
warm up to Yma's voice ...Bow down to the Incan enchantress. We are not
fans of her voice we are mesmerized by it. We bathe in the husky low
vibrato and quake to the piercing upper octaves. Yes, we listen to her
albums in one sitting, we listen to
her entire recorded output whilst in a rapturous haze.

I have a 120 min. tape that is all Yma and it hasn't broke yet....

Frankxtaby


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

Date: Wed, 28 Apr 1999 20:56:41 EDT
From: [e-mail]
Subject: (exotica) Moondog

>4. "Moon Dog" -  A very *weird* LP put out by "Moon Dog" with his Japanese =
>wife on some tracks.  Experimental beats per measure in every track - wide =
>variety from "Frog Bog" with frog sounds and jungle rhythm to a flipped =
>out lullaby accompanied by the couples' crying kid.  The cover has a pic =
>of him in a robe and elf shoes....definitely a 60's kinda thing.......anybo=
>dy else have this?

Yes, Moondog is great!  This was recorded in 1956.  A lot of his material is
available on CD.  You can find a Moondog discography at:

http://www.lesk.demon.co.uk/pages/moondog0.htm

Each Moondog title is a unique experience.  Probably the only characteristic
which unifies his works is his constant use of counterpoint.  He still puts
out an album every now and then.  His latest is called "Sax Pax for A. Sax".
It's all music for saxophone ensembles.

Sean


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

Date: Wed, 28 Apr 1999 22:04:00 +0000
From: "Keith E. Lo Bue" <[e-mail]>
Subject: (exotica) don' wan Tomita nother boring moog album

I've got to agree heartily with Charlie on that count...for sheer
drudgery in the moog milieu, sure don't get much worse than Tomita for
my ($1) dollar.  Yes, yes, yes, you really CAN find his records ANYWHERE
there are more than 100 LP's to be had, usually for $1 to $4.  Even
shrink-wrapped.

I've been seriuosly collecting moog stuff for 2 years, amassed way too
big a collection, and so from having heard the lowest of the low and the
highest (well, hopefully not yet), I feel totally fine laying my neck
out on the line to say:

ISAO TOMITA IS BO-RING!

If you want to hear something to compare it to, just throw on Dick
Hyman's The Age of Electronicus, or in the faux-classical vein, The
Electronic Spirit of Erik Satie.  THEN, you'll trade those cruddy moog
records back in like the person who owned them last did!

Keith

(sorry such a meanie tonight--been working too hard)


- --
+++++++++++++++++++++
 http://www.lobue-art.com
+++++++++++++++++++++
A Virtual Gallery and info site
for the artwork and workshops
of KEITH E. LO BUE



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

Date: Wed, 28 Apr 1999 23:07:44 EDT
From: [e-mail]
Subject: Re: (exotica) Tomita

In a message dated 4/28/99 12:07:47 PM Eastern Daylight Time, [e-mail]
writes:

> While browsing the records at the "flea guys" house, he put on some albums
> by Japanese musician Tomita.  This guy uses the moog to great effect,
> creating ominous, moodyn renditions of Debussy, and Holsts' Planets.........
> interesting.
>
>  Anybody have comments?

Ah yes Mr. Isao Tomita.

In 1979 or '80, while possibly under the influence of some major hallucinogen
or household cleaning product, I recall reaching total Buddhist
enlightenment.  It happened when upon close study of the planet Mars on the
back of Mr. Tomita's album of Holst's "The Planets".  I saw in a flash the
face of the Creator.  The creator of the album. Hidden in the swirling clouds
of Mars is the image of Mr. Tomita's face.  Man, that was like
so....super......super trippy.  Well, it seemed so then.

- -Roy G. Biv


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

Date: Wed, 28 Apr 1999 23:16:40 EDT
From: [e-mail]
Subject: Re: (exotica) more swingin' spy tv

I just saw _Modesty Blaise_ - actually weirder and more fun than the Flint &
Matt Helm movies put together. Wild pop art spy au go go action.  Monica
Vitti isn't really right for the character (too Italian flirty, instead of
brit cool), but there are some moments when she's brunette and has her hair
up where she looks *exactly* like the original comic.  Btw, if you're a fan
of Modesty at all you need to own the Direct Hits neo-Mod tribute to her
titled (modestly) "Modesty Blaise."  The lovely Terence Stamp plays her
sidekick Willy, and token-gay-of-the-sixties Dirk Bogarde is hilariously
intentionally fey as the villain.

- --David


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

Date: Wed, 28 Apr 1999 23:28:54 EDT
From: [e-mail]
Subject: (exotica) You Rock! - Song Poem for Kinder?

As my 2 1/2 year old son drags me out of bed on Saturday at ungodly hours
(truly - no god anywhere at 7am), I've been watching ABC's (aka Disneys) One
Saturday Morning.  This is relevant to this list for two reasons. First, the
estimable Pat Irwin, ex of the Raybeats occasionally scores the show Recess
(which I recommend, a somewhat surreal take on elementary school).  This is
not entirely surprising considering that Mark Mothersbaugh does Rugrats, and
Prudence Fenton, ex Animation Supervisor for Pee Wee's Playhouse oversees One
Saturday Morning.

Closer to home for exotikats, is a featue called You Rock.  Kids video tape
themselves singing songs of their own composing.  (My fav was the Cali kid
who did "Hey Dude, whatcha doin'").  ABC then puts a rock band behind their
little ditty and cheap/cool video effects on the original vid.  So if you're
an MSR or kid-rock fan, check it out.  Also, Pepper Ann has a nice, snarly,
nasal riot grrrly theme.  Try taping from 8am to 9:30 if you can't drag your
ass out of bed that early.

- --David


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

Date: Thu, 29 Apr 1999 01:39:24 EDT
From: [e-mail]
Subject: (exotica) Davie Allan & The Arrows show, not exotic but maybe of interest to some

Hi

Anyone in the LA area that likes instro madness should come:
DAVIE ALLAN AND THE ARROWS
Saturday, May 1
Bar Delux
1710 N. Las Palmas Ave
1/2 block north of Hollywood Blvd

Well, they do a Mancini song, does that count?


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Date: Thu, 29 Apr 1999 04:21:07 EDT
From: [e-mail]
Subject: (exotica) Cocktails With Joey Ballet

Apologies to those of you on my list who are not in Los Angeles

Los Angeles, Saturday, May 15, 8 pm

Luckman fine Arts Complex
5151 State University Drive

The long-awaited return of Cocktails with Joey,
a ballet set to the music of Joey Altruda's fabulous lp of the same name
along with a live performance by Joey's 18 piece Mambo Noir Orchestra

this is a truly great merging of lounge and theatre

Attendees are in for an evening they will remember and cherish for years to
come

Anyone who is attending please email me

cheers
Otto


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Date: Thu, 29 Apr 1999 09:47:34 +0100
From: "Casey, Lorraine" <[e-mail]>
Subject: (exotica) Spike Jonze - Esquivel

That fab little film of people dancing on different sides of the street was
on a promo tape for a forthcoming skateboard film which should include more
of the same (it's available on video in skateboard shops by a company called
Chocolate.  (Spike Jones is part owner of Chocolate).  That Fat Boy Slim
video is pretty funny too.


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Date: Thu, 29 Apr 1999 07:53:58 EDT
From: [e-mail]
Subject: (exotica) Educational film soundtracks

I've got a ton (literally) of old 16mm educational films mostly from the
'50s-'70s.   The music on some of them is very cool.  The film credits are
sometimes vague about the source of the soundtracks, but it seems that the
music for some of the films was made and owned by the production companies,
and not just purchased from a library.  Who among us knows more about this
weird little niche of music?  I'm currently researching the music sources
through some of the film companies that still exist.  If anyone else is
interested in this for fun and/or profit drop me a line.

- -Roy


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Date: Thu, 29 Apr 1999 10:56:17 +0100
From: [e-mail]
Subject: (exotica) Re: Tomita

>I rather like his treatments of Holst and DeBussy.

i 2nd that ... esp the spacey voices at the start of the Holst lp ... quite
spooky

okay i've posted twice this week ... i'm going to go and lie down

friendly

Sem Sinatra




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Date: Thu, 29 Apr 1999 10:53:37 +0100
From: [e-mail]
Subject: (exotica) re: A Bullet in the Head

>While I'm thinking about Hong Kong movies, I watched John Woo's
>excellent A Bullet In The Head recently,  and it started with a cracking
>version of a Monkees tune, that I would imagine to have been recorded by
>a Chinese pop group even though it was sung in English.  Unfortunately
>the credits were all in Chinese characters so I've no idea who it was,
>can anyone help out?

i have a version by a japanese singer called Nana Kinomi, in which she
appears to sing "Hey, hey we're the monkey" ... i love that, though i
suppose it's unlikey to be the one you heard ... it's on CD and also has a
version of "Baby Elephant Walk" and "Go Kart Twist" co-written by a
Morricone ...

friendly

Sem Sinatra




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Date: Thu, 29 Apr 1999 13:50:12 +0100
From: Peter Hipwell <[e-mail]>
Subject: Re: (exotica) A Bullet in the Head

> From: [e-mail]
>
> While I'm thinking about Hong Kong movies, I watched John Woo's
> excellent A Bullet In The Head recently,  and it started with a cracking
> version of a Monkees tune, that I would imagine to have been recorded by
> a Chinese pop group even though it was sung in English.  Unfortunately
> the credits were all in Chinese characters so I've no idea who it was,
> can anyone help out?
>

I dunno. IMDB may not be right: not everything is checked through. The
theme from Bruce Lee's "The Big Boss" is a Peter Thomas track (listen
to that sucker go!!!); it's on the "Easyloungin'" compilation. Yet
IMDB credits someone else with the soundtrack work.

As far as I know, the only Woo film that got a soundtrack release is
"Hard Boiled". I really wanted the music for "A Better Tomorrow" (da
da DAH daaaa... da da da DAH daa daaaa...), but no dice so
far. Possibly there were HK only releases, but I don't know where
you'd go to find out...

While we're on the subject, I do have a couple of HK records, but only
one I stick on regularly: "100% Gold" on Polydor, the top HK hits of
'74. This has a magnificent hard-rockin' tune with outrageously cheesy
synth solo, the theme from "Games Gamblers Play". Also, (bad) cover
versions of "Kung Fu Fightin'" and "You Ain't Seen Nothin'
Yet". Pop-bleedin-tastic, ahem.



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Date: Thu, 29 Apr 1999 10:40:29 -0400
From: "Dom Ciccone" <[e-mail]>
Subject: Re: (exotica) Cocktails With Joey Ballet

>The long-awaited return of Cocktails with Joey,
>a ballet set to the music of Joey Altruda's fabulous lp of the same name
>along with a live performance by Joey's 18 piece Mambo Noir Orchestra
>
>this is a truly great merging of lounge and theatre



Otto,

Lets hope they take the show on the road someday so those of us on the other
coast get a chance to see it.

Or it gets on TV.

BTW, Played Cha-Cha #69 from the album last night on WJUL. when my punk rock
friend Allison and I subbed on Soul Power.




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Date: Thu, 29 Apr 1999 09:30:44 -0400
From: "Nathan Miner" <[e-mail]>
Subject: Re: (exotica) Jungle Sounds released from captivity......]

Ahhh, Frank perhaps you're right. =20

Now mind you - I haven't actually heard Yma's record so I might be raving =
about it next week.....!  I guess turning down the lights and firing up =
the candles will help me endure those vibratos and octaves.

Don't be envious!  I've been picking fruitlessly through the bargain bins =
for YEARS without much to show for it.  I figure I was about due for a =
reward!

So no comments about that Moon Dog LP huh??  I'll post a review once I =
listen to it.

- - Nate




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Date: Thu, 29 Apr 1999 09:50:57 -0400
From: Brian Phillips <[e-mail]>
Subject: (exotica) You Rock! - Song Poem for Kinder?

>Also, Pepper Ann has a nice, snarly, nasal riot grrrly theme.

...as well as a good sense of humor.  One episode has her volunteering at a
senior-citizen's home, at which time she announces, "Attention, old people!
 I have bran!"

For another peppy theme, for those who have the Disney Channel, "Flash
Forward" is a good 'un.  I am told the show isn't.



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Date: Thu, 29 Apr 1999 10:12:18 -0400
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) Educational film soundtracks

At 07:53 AM 4/29/99 EDT, [e-mail] wrote:
>
>I've got a ton (literally) of old 16mm educational films mostly from the
>'50s-'70s.   The music on some of them is very cool.  The film credits are
>sometimes vague about the source of the soundtracks, but it seems that the
>music for some of the films was made and owned by the production companies,
>and not just purchased from a library.  Who among us knows more about this
>weird little niche of music?

I don't really know anything except to say that I assume that then I assume
it was like it is now and that is, there are "stock music" companies which
sell music for films of this type.  Some stock music seems to come from
pre-existing recordings  but some of it is recorded specifically for the
purpose of being stock music... if you get the distinction.  There are some
"famous" musicians making that stock music; Rick Wakeman rings a bell for
some reason but I may be confused.
A friend of mine who works for one of these companies told me about how
they literally dumped tons and tons of vinyl stock music records at the
city dump a few years ago.
I don't want to get into that soundtrack debate again but as disdainful as
the idea of stock music is - generic music made to work in as many
different contexts as possible - I think that for many films, it works just
fine.  Even when composers are hired specifically for a project, they end
up doing their own version of stock music anyway.

Nat



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Date: Thu, 29 Apr 1999 10:04:36 -0400
From: "Dom Ciccone" <[e-mail]>
Subject: Re: (exotica) (Exotica) Proteus 7 For Your Ears Only

From: Lou Smith


>Is that the one with EXTREME dynamics and sound effects? Is it all musical,
>or a bit gimmicky and goofy?


Yep. the descriptions are a throwback to when LP's started getting better:

"WARNING! This disk contains Wide Dynamic-Range Music and Digital 3-D Sound
Effects, some at extreme dynamic levels. please exercise GREAT CAUTION when
listening to protect your hearing and your equipment."

Also recorded on Dorian's own xCD technology. you can email them for a
description at [e-mail]


I listened to it again. the Bond suite has all the spy action sound effects.
Helicopters, speed boats, guns, people fighting, girls moaning 'Ohhhh
James!!!!" and at the end a computer countdown to a self-destruct explosion
which was more a low rumble. Almost anti-climatic.

On my second listen not as goofy as I originally thought. Maybe just got
used to it.

Have to borrow the Sounds Orchestral Bond disk from a friend for comparison.

Domenic



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Date: Thu, 29 Apr 1999 10:26:46 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) [obits] Melba Liston,Walter Settles,Rory Calhoun,

                           *Melba Liston
    LOS ANGELES (AP) -- Melba Liston, a jazz trombonist, composer and arranger
who worked with bands led by Dizzy Gillespie and Quincy Jones, died Friday
after suffering a series of strokes. She was 73.
    The New Grove Dictionary of Jazz called Ms. Liston ``one of the most
accomplished trombonists of her generation.''
    Ms. Liston was forced to stop trombone playing in 1985 after a stroke left
her partially paralyzed, but she continued to arrange music with longtime
friend and pianist Randy Weston. The two shared billing in 1993 on their
critically acclaimed album ``Volcano Blues.''
    While in her teens, Ms. Liston played in youth bands and joined Gerald
Wilson's band as a trombonist and arranger. When the group disbanded in
1948, she joined Gillespie.
    She briefly left jazz for a job at the Los Angeles Board of Education, but
joined Gillespie again in 1955 for a State Department tour of the Middle
East and Asia. She also worked with one of Gillespie's trumpeters, Quincy
Jones.
    In the 1970s, she taught in Jamaica at the University of the West Indies
and the Jamaica Institute of Music. She returned to the United States in the
early 1980s and worked with bands until she suffered the stroke.

    NASHVILLE, Tenn. (AP) -- Walter Settles, former lead and tenor singer for
the Grammy-winning gospel group The Fairfield Four, died Sunday from
complications related to a stroke and diabetes. He was 71.
    The Fairfield Four, founded in 1921 at the Nashville Fairfield Baptist
Church, is known for the songs ``Born Again'' and ``My God Called Me This
Morning.''
    Settles began his career as a soloist. He sang with the Golden Harp Jubilee
Singers and later the Spiritual All-Stars and the Olive Branch Singers
before joining the Fairfield Four in the early '90s.
    Settles suffered a stroke in 1995 after a performance in Boston. Although
he was unable to sing, the Fairfield Four continued to regard him as a
member. His voice is on the group's Grammy-winning 1997 album ``I Couldn't
Hear Nobody Pray.''

 BURBANK, Calif., April 28 (UPI) -- Rory Calhoun, discovered as he was
horse-back riding one day and who went on to appear in dozens of movies and
television shows, has died. He was 76.
    Calhoun died tonight after being hospitalized 10 days ago suffering from
emphysema and diabetes. His rugged good looks and outdoor image had made him
a popular actor in westerns on both the large and small screens.
    A one-time real-life cowboy, Calhoun said he happened to be horse-back
riding one day in 1943 when a man asked him if he was an actor, when Calhoun
said no, the man -- who turned out to be actor Alan Ladd -- asked him if he
wanted to be in films.
    Calhoun went on to appear in dozens of movies beginning with 1944's
``Something for the Boys.'' Other film credits include ``The Great John L,''
``How to Marry a Millionaire,'' ``River of no Return'' and ``Call Me
Bwana.'' Many of his later films were low-budget and low-profile projects.
    He starred in the television series ``The Texas'' and also worked on
programs such as ``Zane Grey Theatre'' and ``Death Valley Days.'' Most
recently he had a role on the CBS television show ``Capitol'' from 1982-87.
    He also produced, directed and wrote movies and TV shows.
    Born Francis Durgin in Los Angeles in 1922, Calhoun grew up in Santa Cruz,
Calif. He was married in 1948 to entertainer Lita Baron, but divorced in
1970. He was married to Susan Langley from 1971-76. Calhoun had three children.

    BURBANK, Calif. (AP) -- Rory Calhoun caught his first acting break while
riding a horse, and his rugged image and handsome face propelled him from
there.
    Calhoun, the lanky lumberjack and a stalwart hero of Western
movies and the TV series ``The Texan,'' died Wednesday at age 76. He had
been hospitalized for 10 days with advanced stages of emphysema and
diabetes, said his longtime friend, Paul Dean.
    Calhoun often told the story of how he was discovered in 1943 while he was
horseriding in the Hollywood Hills. Alan Ladd, then a top star, happened to
be out riding, too.
    ``I met this fellow up in the hills and stopped to talk,'' Calhoun
recalled. ``He asked me if I was an actor, and I said, `Hell, no!' We talked
some more and he asked, `How would you like to be in films?'''
    His face and sturdy physique won him lesser roles in ``Something for the
Boys,'' ``Sunday Dinner for a Soldier,'' ``The Bullfighters'' and other
wartime films. His most important early role came as boxer James Corbett in
``The Great John L.''
    The actor, whose real name was Francis Timothy Durgin, saw his career
accelerate after a meeting with agent Henry Willson, who discovered and
invented names for Rock Hudson, Tab Hunter and Troy Donahue.
    He was considered ideal for such Westerns as ``Massacre River,'' ``Rogue
River,'' ``Yellow Tomahawk'' and ``Four Guns to the Border.'' In the late
'40s and early '50s, he also appeared in ``The Red House,'' ``Ticket to
Tomahawk,'' ``How to Marry a Millionaire,'' ``Meet Me After the Show'' and
``With a Song in My Heart.''
    From 1958 to 1960, Calhoun starred in a CBS television Western, ``The
Texan.'' He played Big Bill Longley, a fast gun who traveled from town to
town helping those who were victimized by bad men.
    In his later career, Calhoun appeared in lower budget films, many of them
made abroad. Among the titles: ``The Treasure of Pancho Villa,'' ``Flight to
Hong Kong,'' ``Marco Polo,'' ``The Colossus of Rhodes,'' ``Young Fury,''
``Black Spurs'' and ``The Adventures of Marco Polo.''
    In 1982-87, he appeared on the CBS soap opera ``Capitol,'' playing Judson
Tyler, head of one of the two feuding families in the show. He also was host
of reruns of ``Death Valley Days'' in the syndicated ``Western Star Theater.''
    Calhoun was born in Los Angeles and grew up in Santa Cruz, Calif. He
dropped out of high school to wander the West.
    ``I'd read about Tombstone (Ariz.) and all of the bad men,'' he recalled.
``I was a wild kid for adventure. So I went to Tombstone, but I arrived 50
years too late.''
    He hired out as a bronco buster and mined silver near Reno before returning
to Santa Cruz.
    In 1948, Calhoun married Latin entertainer Lita Baron, and they had three
children. They divorced in 1970. In 1971 Calhoun married former journalist
Susan Langley. They had a daughter before divorcing after five years.
    Funeral arrangements were incomplete late Wednesday.
- ------------
Happy 100th Birthday, Duke Ellington!




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Date: Thu, 29 Apr 1999 10:26:49 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) [AP] Tony sues Wayne

    KANSAS CITY, Mo. (AP) -- Tony Orlando sued Wayne Newton on Wednesday for
more than $15 million, accusing his former friend of wrongly throwing him
out of the theater they once shared and damaging his reputation.
    The performers last year shared what was then the Talk of the T.O.W.N.
Theatre in the country music mecca of Branson, until Newton, whose company
held the lease on the building, locked Orlando out, saying Orlando owed him
more than $2 million.
    Orlando denied it and was evicted by Newton, his wife and Newton's
management company, the lawsuit charged.
    That not only cost Orlando $125,000 from 11 canceled shows last year, but
millions more in earnings he would have made over the next two seasons, the
lawsuit said.
    Orlando would not comment. Newton spokesman Howard Cotner said he was
flabbergasted.
    ``Are you serious? Are you sure it's not the other way around?'' he asked.
``This guy walked out of town owing the Newtons $800,000.''




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Date: Thu, 29 Apr 1999 10:35:48 -0400
From: "Nathan Miner" <[e-mail]>
Subject: Re: (exotica) Educational film soundtracks

To add to what Nat already wrote, a few years ago I interviewed someone =
who used to work for Filmack, a company who produced (and is still in the =
business of selling them) snack bar advertisement trailers for drive-in/har=
d-top movie theaters.

They had a library of stock music to use, and shot a lot of the "made to =
order" advertisement requests (for things like "Glass give-away night" =
etc.) using hand-crank silent movie cameras and glass overlays (static =
(usually GREAT art deco artwork) over which lettering was flipped).

The guy at the Filmack library hated to go back and fetch, say, reel #47 =
when #21 was right out in the front of the rack. Soooooo, you got a whole =
bunch of different ads using the same music due to a lazy worker!

Lots of these ads are on the Something Weird Drive-In comps.....

- - Nate




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Date: Thu, 29 Apr 1999 11:21:36 -0400
From: <[e-mail]>
Subject: Re: (exotica) Educational film soundtracks

>I don't want to get into that soundtrack debate again but as disdainful as
the idea of stock music is - generic music made to work in as many
different contexts as possible - I think that for many films, it works just
fine.  Even when composers are hired specifically for a project, they end
up doing their own version of stock music anyway.
Nat

Why on Earth would you call that notion disdainful?  Stock and library
music have changed my life(I want you to hear me, Ashely Warren!)  This
tapping into production music has fostered my love of a whole new field
that I never consciously knew existed, except for just liking it in the
back-ground!  Now, it's in the foreground of some of the music I listen to
the most! I dare say AstroSlut's sound(and I realize 99% of you haven't
heard us) is VERY much influenced by stock, production, sound library
music, etc.
With a tooth-paste grin,
Jane Fondle :)





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Date: Thu, 29 Apr 1999 09:01:26 -0700
From: Pea Hicks <[e-mail]>
Subject: Re: (exotica) Educational film soundtracks

>
> >I don't want to get into that soundtrack debate again but as disdainful as
> the idea of stock music is - generic music made to work in as many
> different contexts as possible - I think that for many films, it works just
> fine.  Even when composers are hired specifically for a project, they end
> up doing their own version of stock music anyway.
> Nat

as someone who has been on both sides of the fence with this, i have to
agree. a few years ago i was hired to write music for a video series
designed to train lawyers how to "read" people (ie body language, etc)
in court. very dull stuff, but i figured that this was my opportunity to
really write some "good" industrial (no, not THAT kind of industrial!)
music for a change, and i anguished over the project for much longer
than i should have trying to come up with something that was emotionally
and artistically valid without being so "artsy" as to call undue
attention to itself. bottom line- i couldn't bear the thought of
consciously writing HACK music, whether something more "artisically
valid" was actually called for or not! well, maybe it's just that i'm
not talented enough, but try as i might, the ONLY kind of music i could
come up with that worked AT ALL was stuff that sounded like it came
straight out of a production library. i know this all to well now
because i work at a voice-over production studio, and we use modern
production music every day. and believe me- it's very easy for me to sit
there auditioning cuts saying "oh my god this music is so CHEESY it's
not even so-bad-it's-good it's just so-bad-it's-AWFUL!" but then when i
think back to my attempt at writing industrial music, i remember how
difficult it was and realize that my results were probably much cheesier
(again, NOT in a good way!) than most of the stuff in our production
library. so, as a composer, i've developed a definite appreciation for
the folks who write that production music, because even though it may
sound cringe-worthy on the surface, for the most part they do their jobs
incredibly well.

i guess the main difference between what i'm talking about here and
generally what this thread is referring to is the fact that i'm dealing
with up-to-date, modern production music vs. stuff from the 50s-80s, but
hey- in a few years this stuff will be joining those ranks for sure. we
do have older libraries at the studio, and THAT stuff is GREAT for
so-bad-it's-GOOD purposes!! those 4 second tag stinger versions of
upbeat music cues are especially nice for sampling and using as
between-song filler during live shows!!

pea


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Date: Thu, 29 Apr 1999 17:11:28 +0100
From: Peter Hipwell <[e-mail]>
Subject: Re: (exotica) Educational film soundtracks

> From: Nat Kone <[e-mail]>
>
> At 07:53 AM 4/29/99 EDT, [e-mail] wrote:
> >
> >I've got a ton (literally) of old 16mm educational films mostly from the
> >'50s-'70s.   The music on some of them is very cool.  The film credits are
> >sometimes vague about the source of the soundtracks, but it seems that the
> >music for some of the films was made and owned by the production companies,
> >and not just purchased from a library.  Who among us knows more about this
> >weird little niche of music?
>
> I don't really know anything except to say that I assume that then I assume
> it was like it is now and that is, there are "stock music" companies which
> sell music for films of this type.  Some stock music seems to come from
> pre-existing recordings  but some of it is recorded specifically for the
> purpose of being stock music... if you get the distinction.  There are some
> "famous" musicians making that stock music; Rick Wakeman rings a bell for
> some reason but I may be confused.

But isn't this the stuff that is "just purchased from a library",
rather than being made specifically by the film production company
itself? Stock music a.k.a. library music a.k.a. production music
etc. etc.

I don't recall there being much discussion of this stuff on the list,
although I don't always follow closely. So, a few words from me.

This (library music) is the source for much of the music on the Sound
Gallery compilations, as well as a whole slew of later compilations
(Blow Up's "Executive Blend", the "Bite Hard" De Wolfe sampler,
Trunk's "Bosworth" releases, Virgin's "Hotel Easy" set as well as the
Jack Arel disc, Amphonic's "Ready Steady Boogaloo", the recent Jean
Jacques Perry disc, stuff from Peter Thomas's "Moonflowers and
Miniskirts", etc. etc. etc. etc. etc.). There's a lot of it
about.

It's hard to find the original discs; they were only pressed in small
numbers, and were never comercially available to the public. Some
library discs are now collectors "holy grails". Especially ones done
by people otherwise famous (e.g. De Wolfe's "Electric Banana" are in
fact The Pretty Things).

> I don't want to get into that soundtrack debate again but as disdainful as
> the idea of stock music is - generic music made to work in as many
> different contexts as possible - I think that for many films, it works just
> fine.  Even when composers are hired specifically for a project, they end
> up doing their own version of stock music anyway.

Sure, a lot of the music is deliberately "generic"; just like most
stuff labelled "easy listening", "heavy metal", or WHATEVER. But there
are weird and cool things to be found. It is EXACTLY like soundtrack
music. It's not really made to work in as many contexts as possible
(it's not muzak), but rather it's a whole range of music designed for
highly specific contexts, plus some more undefineable things.

I've picked up about 80 original library music discs going through
charity-shop stuff. A few examples of "wayer-outer" stuff: fantastic
"crime jazz" by German composers, including Gert Wilden, which is at
least the rival of anything else in the genre; a disc by some maniac
called "Archie Gunn" which has some really wacked out combined sound
effect/music tracks; freaked out rampaging wordless chorus music;
pounding cod-funk with grooving flute; 1950s-style light orchestral
music for gameshows, beauty parades, rocket launches, etc.;
synthesizer music by Dave Vorhaus; children's music including songs
made from belch/fart noises; an entire disc of percussive links
lasting a few seconds for flash-back, mounting tension, whatever; and
so on and so on.

In fact, some of these things are "generic" in the sense that you will
recognise them as TV/film background music (e.g. music to put behind
footage of "a busy housewife"), but has probably never been found on
any kind of commercial release.



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End of exotica-digest V2 #384
*****************************