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exotica-digest          Tuesday, July 6 1999          Volume 02 : Number 439



In This Digest:

Re: SV: (exotica) talent / variety shows
Re: SV: (exotica) talent / variety shows
(exotica) Vinyl tale
(exotica) weekend in Cleveland, part one
(exotica) weekend in Cleveland :intro
(exotica) weekend in Cleveland, part two
Re: (exotica) album covers on the net
Re: (exotica) weekend in Cleveland, part two
Re: (exotica) [obits] Dennis Brown,
Re: (exotica) Electro Lounge
Re: SV: (exotica) SCORE of the DAY!
(exotica) Re: talent / variety shows
Re: (exotica) Electro Lounge
(exotica) Tiki Bar
Re: (exotica) album covers on the net
Re:  (exotica) Jill's Dress au-go-go
(exotica) weekend in cleveland part six (of eight?)
(exotica) weekend in cleveland part five
(exotica) weekend in cleveland part four
(exotica) Morning arrivals
(exotica) Spike Jones
(exotica) [obits] Guy Mitchell,John Stears,Xavier Gelin,Mark Sandman,Victor A. Bonomo
(exotica) [music news] Jimmie Davis,Pat Boone

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

Date: Mon, 05 Jul 1999 11:19:39 -0400
From: Will Straw <[e-mail]>
Subject: Re: SV: (exotica) talent / variety shows

Of course I remember Tiny Talent Time, where every kid
from every ethnic background above the equator came on to
play the accordion.  And Bill Lawrence, the host, seemed to turn
up everywhere on Toronto-area  television.

Does anyone remember Schnitzel House, on Buffalo-area tv,
with an old German host, Grandpa Schnitzler, and a song that
went something like "Inky-dinky, inky-dinky, inky-dinky schnitzel
house."  If anyone does, will they please agree to testify on my
behalf at my sanity hearing?

Will
 -------------------------------------------------
Will Straw, PhD
Associate Professor and Director, Graduate Program in Communications
McGill University

http://www.arts.mcgill.ca/gpc/



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

Date: Mon, 5 Jul 1999 11:30:34 -0400
From: "Brian Tozer" <[e-mail]>
Subject: Re: SV: (exotica) talent / variety shows

Don't worry Will, you're fine!
Schnitzel House really did exist although I had always assumed it
was a Kitchener/Waterloo production due to the Oktoberfest
connection.
Now who remembers Canadian Bandstand with host, Grantly? (and
Big Al's Ranch Party with Larry-O and......)

Brian T


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

Date: Mon, 5 Jul 1999 11:14:25 -0500
From: [e-mail] (Mimi Mayer)
Subject: (exotica) Vinyl tale

A new friend came to Rancho DeLuxe, our ramshackle little place, first time
visit. Young guy -- shares a house with two roommates. Carl had said his
late dad was an audiophile: Stereo Review subscription, thousands of
classical records stored in plastic protective sleeves, the best equipment
he could buy on a Methodist minister's pay, a shelf of record guides and
books on recording techniques. Of course Carl made a beeline to the 50 or
so records stacked upright near our turntable. He picked up a Breakfast at
Tiffany's OST. "I love Mancini!" he said, studying the jacket. Then turning
the record over in his hands, Carl sniffed it. "Oh vinyl. Nothing smells
like vinyl. I grew up with it. It smells like my dad. I can't wait to have
my own house so I can start buying vinyl again."

Mimi




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

Date: Mon, 05 Jul 1999 12:12:10 -0400
From: Nat Kone <[e-mail]>
Subject: (exotica) weekend in Cleveland, part one

It was a pretty easy six hour drive to Cleveland.  We left on Canada's
birthday and were planning to come back on America's.
I wish there was some irony there but in comparison to the others I
experienced that weekend, that one fades to a footnote.
First thing we got there, my friend's wife asked what we were doing there
and why my buddy and I were apparently staying with them for three nights.
It had all been cleared with her of course.  This is not a guy who makes a
move without her approval.  But still, the ritual had to be observed.
Luckily I knew there was no problem.  My friend had told me many times
"You're the only friend of mine that my wife has ever approved of".
I went out on the porch for a smoke.  My friend - let's call him Herb -
followed me out with a pile of records for my approval.
Sure enough, there were the records he'd told me about the last time we'd
talked.  Two copies of Esquivel's "Infinity in Sound", one pretty beat up
but still..
I had this record myself but I was also there shopping for a friend and his
used record store.  "We could probably get ten bucks even for the beat up
one", I thought to myself.
Esquivel's "Four Corners".  That was for me.  Sid Bass "With Bells On".
Had it but still, a cool record.  An Art Van Damme ten inch.  Cool cover.
Sandy Nelson "Teenage House Party".  Great cover photo.  T-Bones "Boss Drag
at the Beach".  I love the T-Bones but there was a guy came to the store
who paid big money for drag-racing covers.
"Al Hirt meets The Green Hornet".  That one's for me!  I'm not a big Al
Hirt fan but there the two of them are, on the cover and I don't have any
versions of this theme.  Let alone the theme for "Run Buddy Run".
So far so good.
Then we go inside and I start to look at his records.  That's when the
ironies start to pile up.



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

Date: Mon, 05 Jul 1999 12:12:06 -0400
From: Nat Kone <[e-mail]>
Subject: (exotica) weekend in Cleveland :intro

My friend in Cleveland had been phoning me for at least a year and telling
me that Cleveland was rife with lounge.  The records were cheap and nobody
was buying them.  He himself had started to pick them up for me after I had
amazed him with the knowledge that these records now had value to some
people.  His basement was now full of them.  He read off a couple of names,
things that he'd got when the records were three dollars a bag.  Esquivel
was one of the names.
If I came down, he'd take me to all the stores and sell me all these
records languishing in his basement.  If I gave him a quarter each for
these records, I'd be doing him a favor.
"Doing him a favor" echoed in my head as the weekend wore on.

Nat



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

Date: Mon, 05 Jul 1999 12:12:12 -0400
From: Nat Kone <[e-mail]>
Subject: (exotica) weekend in Cleveland, part two

My friend Herb is a big big jazz fanatic.  He reviews for various papers
and has been doing that for years.  Used to write for the Village Voice and
Downbeat, still does maybe.  What he likes to do is make discoveries and
connections no one else has made before.  Find an old "hot jazz" record
where a guy is playing bebop before bebop supposedly began.  And he's done
it.  And been acknowledged for it.
For about ten years or so, before I rediscovered lounge, I was a bit of a
jazz snob and considered all this stuff - which is now pretty well the
centre of my taste - as at best, guilty pleasures and at worst, pure dreck.
So I walk into Herb's house and we go check out the basement.  There's
records and books everywhere, in piles, on shelves, threatening to fall
over at any moment and in no discernible order.
As I try to get my bearings, I spy a very cool cover.  "Music for a Jet
Age" or something like that.  With a cheesecake babe in an astronaut's
outfit.  I examine it excitedly and it's not only spacey and cheesy
looking.  It's Dave Pike!
I turn it over looking to see if anyone's playing electric sitar.  No.  But
Herbie Hancock is playing organ.  I show it to Herb.  "I'll take this one".
 He shakes his head and takes it back from me.
"That's a good jazz record", he informs me.
We go back upstairs.  First thing I find up there is a pile of Marty Gold
records.  A few of the regular ones.  I'll take them for the store but it's
no big deal.  Then I see this one I've never seen before "Marty Gold Swings
Out West".  Looks to be covering country and western tunes but still, I can
imagine it's a good one.
I put it on the little pile I've started to make.  We're not going to go
through his house for a couple of days yet but after seeing the basement, I
decide that it's good to make a start on the process.
Herb picks up the record and examines it.  "Don't be so sure about this
one".
"What?" I exclaim.  "It's Marty Gold".
And Herb replies with the words that will come to define this weekend.
"There might be some jazz solos on there".
I shake my head in disgust, figuring I'll get it from him in the end and
move on.
Then I spy it.  A record I've been looking for.  Last time I asked a dealer
at the record show about it,  he told me I was the tenth guy to ask him
that day and if he ever had it again, it would be forty five bucks.
"The Party".  The Mancini soundtrack.  I would never pay forty five for it.
 Or twenty five.  Probably not even fifteen.  But here it was and the
records were a buck at most.
I try to contain my delight as I examine it.
Herb sees me and shakes his head again.
What???
"That's a jazz record", he says.
"It's just Mancini", I protest.  "A soundtrack.  If that's not lounge, I
don't know what is".
He turns it over.  "Look who's on it.  Plas Johnson, Jack Sheldon, Ray
Brown.  It's a jazz record".
"They're on half the record made in Los Angeles at the time", I tell him.
"So?", he replies.
"You're the guy who thinks Dave Brubeck barely qualifies as jazz."
"Barely yeah, but it's still jazz".
"If you're going to call it jazz, everytime a sometime jazz musician shows
up, we're going to have a real hard time finding lounge records".
"Maybe I have a spare", is the only consolation he can give me.

As it turned out, he did.  But that was not typical of the weekend's
experience.

possibly to be continued...



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

Date: Mon, 5 Jul 1999 12:53:31 -0400
From: Ross Orr <[e-mail]>
Subject: Re: (exotica) album covers on the net

>I wonder if anyone else here who has album covers or other scanned art on
>their sites has been able to get permission to use this copyrighted material.
>The gist of it is...no matter what the notification is, anything you didn't
>create you don't have rights to reproduce for public consumption.

Byron, I'm not sure what scans you had on your site--but I think you may be
being overcautious about this.

It's true that under the "new" US copyright law (post-1978), protection is
automatic and lasts a gazillion years. Same thing for all you people out
there in Berne Convention countries. But in the US, a lot of album art
would be covered under the "old" laws.

some links:

http://lcweb.loc.gov/copyright/

http://www.benedict.com/

http://lcweb.loc.gov/copyright/circs/circ15a.pdf  [27K]


First of all, I think before 1978 the cover art would only be protected if
the jacket actually had a copyright notice printed on it ("Copyright 1957
RCA," or whatever). A quick check of my records only shows the notice on
about half of them.

The next thing is that for works published before 1964, the record label
would have needed to re-register with the copyright office, to renew
protection beyond the original term of 28 years. If not actively renewed,
all pre-1964 works would have entered public domain by 1992. For labels
that don't even exist any more, I would be willing to gamble that no one
ever bothered to do this. (Renewal is automatic for stuff after '64.)

As far as "being in big trouble," it seems unlikely to me that anyone would
START by sueing you for damages--even if they noticed or cared. More likely
their lawyers would send you a cease-and-desist letter first. Also it would
be very hard to prove actual damages, since in general we are talking about
records where there isn't a reissue available which would be making the
copyright-holders any money.


Now in a more general sense, there is a question of whether traditional
copyright laws will be able to survive in the digital age--where
essentially everyone becomes a lawbreaker. . .  But even on the more
narrow question, I think posting some cover scans is probably legal for
many pre-1964 records.

yours legalistically,

 --Ross

|| Ross "Mambo Frenzy" Orr  <[e-mail]>
|| Ann Arbor, Michigan USA




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

Date: Mon, 05 Jul 1999 12:12:28 -0400
From: Will Straw <[e-mail]>
Subject: Re: (exotica) weekend in Cleveland, part two

Aargh, Nat . . . I can't take any more of this.  How did it end!  I leave
for Australia
in 48 hours, and better have the rest of the story by then, or you're in
big trouble, buddy.

Will

- -------------------------------------------------
Will Straw
Associate Professor and Director,
Graduate Program in Communications
McGill University

http://www.arts.mcgill.ca/gpc/



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

Date: Mon, 5 Jul 1999 19:35:35 +0200
From: "Arjan Plug" <[e-mail]>
Subject: Re: (exotica) [obits] Dennis Brown,

>                           *Dennis Brown
> KINGSTON, Jamaica (AP) -- Dennis Brown, a former child star who became
>known as the Crown Prince of Reggae, died Thursday. He was 42.
> Brown rose to prominence amid a 1970s wave of reggae singers that included
>Bob Marley, who introduced reggae music to listeners worldwide. He released
>a string of hit songs beginning with ``No Man is an Island,'' which he
>recorded in 1969 at the age of 12.
> The singer's most fruitful period came later, when he produced hits
>including ``Westbound Train,'' ``How Could I Leave,'' and ``Ghetto Girl.''
> He earned a Grammy nomination in 1995 for his album Light My Fire.

Sheesh, who's next?  Don't care for his post 80s loversrock (always been
more partial to Gregory Isaacs) at all but his seventies output is high
quality throughout. Of the handfull of albums I own by him, his debut "No
Man is an Island" is a typical Studio One album of that period, lightweight
in songs but rich in singing. It boasts a cover of Raindrops Keep Falling on
My Head inicidentally. "Super Reggae & Soul Hits" on Trojan from a few years
later is excellent, a nice version of Wichita Lineman amongst others.
"Cassandra", cut for producer Niney, must be my favorite song of him., it
just has an infective bouncy rhythm.


Arjan



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

Date: Mon, 5 Jul 1999 14:34:16 EDT
From: [e-mail]
Subject: Re: (exotica) Electro Lounge

In a message dated 6/29/99 8:54:16 PM EST, [e-mail] writes:

<< Oh, I bought it from some dude on Ebay and it was a cut-out.  What do you
 think of that??? >>

What you bought was a promotional copy, believe me no record company is
stupid enough to cut out a record they have just released.

Ashley


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

Date: Mon, 5 Jul 1999 16:31:03 EDT
From: [e-mail]
Subject: Re: SV: (exotica) SCORE of the DAY!

In a message dated 7/5/99 7:58:04 AM Pacific Daylight Time, [e-mail]
writes:

<< I was once issued what amounted to a "restraining order" not to come within
 a hundred yards - or was it feet? - of either Scott Baio or his father.

 True story.  As we say in show biz.

 And no I wasn't stalking him.  Nattie never loved Chachi.
  >>

We need details ! ! ! ! ! !


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

Date: Mon, 5 Jul 1999 15:51:18 +0000
From: "Darrell Brogdon" <[e-mail]>
Subject: (exotica) Re: talent / variety shows

This thread dredged up a favorite childhood memory  of mine --
watching "Danger Room", a wonderfully shlocky local TV show on
KENS-TV in San Antonio, TX.

After a suitably Les Baxter-ish opening theme, the camera would
dissolve to a cheesy set crowded with huge tikis, potted palms,
African spears and other exotic paraphernalia.  There, in an enormous
wicker chair, sat one Colonel Hawk -- one of the TV station
announcers decked out in safari jacket, bush hat, fake goatee and eye
patch. In a phony British accent, the Colonel introduced daily
chapters from old Republic serials like "Radar Men from the Men",
"Panther Girl of the Congo" and "Zombies of the Stratosphere".

Between chapters the Colonel related important bits of jungle lore --
like how to save yourself if you're ever trapped in quicksand.  For
years I roamed the neighborhood hoping to fall into quicksand just so
I could put the Colonel's advice to good use!  Oh, well.

A bit off-topic perhaps, but I never hear "Quiet Village" without
thinking of the old Colonel.

Darrell Brogdon
[e-mail]
The Retro Cocktail Hour
KANU FM 91.5
Broadcasting Hall
The University of Kansas
Lawrence, KS 66045
Visit The Retro Cocktail Hour at:
http://kanu.ukans.edu/retro.html
Listen to The Retro Cocktail Hour at:
http://kanu.ukans.edu/retro/retrolisten.htm


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

Date: Mon, 5 Jul 1999 16:54:36 EDT
From: [e-mail]
Subject: Re: (exotica) Electro Lounge

In a message dated 7/5/99 11:34:16 AM Pacific Daylight Time, LTepedino writes:

<< In a message dated 6/29/99 8:54:16 PM EST, [e-mail] writes:

 << Oh, I bought it from some dude on Ebay and it was a cut-out.  What do you
  think of that??? >>

 What you bought was a promotional copy, believe me no record company is
stupid enough to cut out a record they have just released.

 Ashley >>

Sorry for my poor choice of words.  I realized that this was a promo.  I just
lumped it in the "cut out" category (mistakenly) because it has the little
cut out area.  I also bought a Combustible Edison Comp that was done the same
way.

I guess these people are just selling their promos.

Tiki Bob


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

Date: Mon, 5 Jul 1999 17:08:13 EDT
From: [e-mail]
Subject: (exotica) Tiki Bar

Michele asked me to pass along this site that has a good deal on an authentic
tiki bar.

It is as www.pineapplehead.com and is listed for $950.00

It can be viewed directly at:

http://www.pineapplehead.com/images/50'srttnbr.jpg

Any questions please send them to [e-mail].

She is taking an Exotica List break and assures her return is predicted in
the tea leaves.

Tiki Bob


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

Date: Mon, 05 Jul 1999 23:41:25 +0200
From: Moritz R <[e-mail]>
Subject: Re: (exotica) album covers on the net

Byron & Ross Orr wrote:

> >I wonder if anyone else here who has album covers or other scanned art=
 on
> >their sites has been able to get permission to use this copyrighted ma=
terial.
> >The gist of it is...no matter what the notification is, anything you d=
idn't
> >create you don't have rights to reproduce for public consumption.
>
> As far as "being in big trouble," it seems unlikely to me that anyone w=
ould
> START by sueing you for damages--even if they noticed or cared. More li=
kely
> their lawyers would send you a cease-and-desist letter first. Also it w=
ould
> be very hard to prove actual damages, since in general we are talking a=
bout
> records where there isn't a reissue available which would be making the
> copyright-holders any money.

And even if there is a reissue, it doesn't make more sense to sue someone=
 who
publishes a record cover, because he's a fan of the record. All web-sites=
 that I
know function as promotion for records and don't make money with their we=
bsite.
Sueing them would be contraproductive from the point of view of the right=
 owners,
not to speak of the bad image they would gain by doing so.

Those "fan" web-sites should be paid for the work they do.

- -Mo

=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=
=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=95=
=95=95=95=95=95=95=95=95=95
http://home.munich.netsurf.de/Moritz.Reichelt/mastermoritzr4.html
(violating the copyright of the Kopyright Liberation Front)




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

Date: Mon, 5 Jul 1999 22:24:54 EDT
From: [e-mail]
Subject: Re:  (exotica) Jill's Dress au-go-go

In a message dated 6/30/99 4:29:19 PM, [e-mail] wrote:

>Dom, Jane is getting fashion advice on another list that she is on.

I personally lobbied Ms Fondle to instruct her band to don Michael Bolton
tee-shirts while they ply their trade. Her reply is unprintable EVEN in this
medium..Jimmy/whose wife went to high school with Michael Bloton (now known
as Bolton)


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

Date: Tue, 06 Jul 1999 02:48:55 -0400
From: Nat Kone <[e-mail]>
Subject: (exotica) weekend in cleveland part six (of eight?)

The next day, Saturday, I was supposed to do Herb's house. But first there
was one more place I needed to go.
"Herb, what about that Records place you told me about?"
Herb made a face and groaned.
"I can't take you there".
"What do you mean?  You've been telling me about that place for four years".
"I'll tell you how to get there.  But I can't go with you and wait while
you go through all those records".
Herb had told me about this place since I first met him.  An old guy.  An
old store.  Records piled everywhere.  A buck each.  The guy has no idea
what he has.  You just have to look.
And the name of the place:  "Records".
"You start going through that guy's place", Herb complained, "and you'll
never get back here".
I promised to be back by the afternoon and not to spend too much money.
I'd have plenty left to buy Herb's records, I assured him.
It was so hot that by the time I got there, I didn't mind that it was
locked up.  All I cared about was getting a picture of the place.
It was better than my wildest fantasy.  In the middle of nowhere.  A small
wooden house with faded green paint.  And nailed above the door, a wooden
sign with the word "Records" painted on it.
I have to get a website just to put a picture of that place up on it.
There was a sign on the door with the address of two other locations.  They
were both around the corner so what the hell.  Herb told me that the old
guy only came in when he wanted to but maybe he just decided to go to the
other places today.
First place we looked, he was there.
This time a brown wooden shack with a slightly smaller wooden sign.
I bought forty records for a buck each and it took me about fifteen minutes
to find them.  The place was had about eight shelves, floor to ceiling, in
a space of about 150 square feet.  Plus some stuff on the floor.
To find those forty records, I only looked at half of one shelf.
It was a bit like going to a store and placing your order in order to fill
out your collection.  You want Command records?  There they are, six feet
of them.
He didn't have every single one but he had a few that I didn't have and a
few I'd never heard of.
It was more "lounge" than "exotica" but still it was easy pickings.
I should add that I mostly was picking up the Command stuff for my friend's
store.  I sort of figured I had most of the Commands I wanted.
Which is why I'm now kicking myself.
I gave my friend both of the "Dimension Three" records I found.
We played them first off today.
And damnit if that "third speaker in the middle" thing doesn't work.  Like
a charm. It's one of the best audio tricks I've ever heard.
And to add insult to injury, most of the time that middle speaker is
playing these absolutely wacked-out Dick Hyman organ parts.
I'm going to have to get that record back.  The best Command thing I've
heard in ages.

Anyway, when I got back to Harvey's and told him about what happened, he
told me that I'd only scratched the surface.
The guy also had a warehouse.  Ten times bigger than the store I'd been in.

I just hope I get there again before one of you guys on the list goes and
cleans it out.

parts seven and eight - "Herb's house" - later maybe...

But have you ever heard this record by Phil Moore "Fantasy for Girl and
Orchestra"?  I had to fight for that one.



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

Date: Tue, 06 Jul 1999 02:48:52 -0400
From: Nat Kone <[e-mail]>
Subject: (exotica) weekend in cleveland part five

Next we hit the highway and got out of town.  We were going to hit every
branch of this one Cleveland store.  "CD exchange" or something like that
with eight or so branches.
Actually it was two different stores. The store had once been owned by two
brothers but they fell out and took a few branches each.  Not that you
could tell.  They all looked the same, all had the same Dan Fogelberg
records.  But each branch had slightly different pricing policies.
Sometimes they were all a quarter.  One guy looked at the Temptations
record and demanded fifty cents but let a Curtis Mayfield and a McCoy Tyner
go for a quarter.  And one guy just let me have the pile of ten records for
free, as if he couldn't even bother with the vinyl.
It was hot as hell and up until the end, I looked through a lot of crappy
records for little payoff.  And as I drove, I kept slipping in the snide
comments, trying to soften up Herb for the next day at his house.
There were a couple more Goodwills, with one memorable one that priced the
records individually, asking three and four dollars for records that
someone for some reason thought valuable.
It's amazing how much outrage you can summon up when someone asks for three
dollars for a record.  Especially at a Goodwill store.  Especially for a
record you've seen before.
At the last CD exchange branch, I did score a bit.  Thirty six records for
a quarter each.  Herb had promised me that this was always the best branch
and he was right.  I could have saved a lot of sweat and just gone there
but then I wouldn't have driven through "the belly of the beast" as Herb
called it, and seen all those rotting steel mills.
Which I like too for some reason.

That night I slept a bit better.  I also had a caesar salad with oil and
vinegar dressing.  I thought it was a Cleveland thing but the waitress told
me that other places in Cleveland made a caesar with actual caesar dressing.



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Date: Tue, 06 Jul 1999 02:48:49 -0400
From: Nat Kone <[e-mail]>
Subject: (exotica) weekend in cleveland part four

That first night, trying to sleep in Herb's house, was rather harrowing.
First of all, I hate futons.  I guess it's possible if you're the first
person ever to sleep on a futon that it might mold itself to your body.
But if you're the second person, you're shit out of luck.
Second of all, I had to pee a lot.  But I didn't want to deal with the one
washroom upstairs.  For lots of reasons.  All leading somehow back to
Herb's wife.
So every half hour I had to go outside.  Where I'd have a smoke for the
hell of it.
And finally, this "room" I was staying in, like all rooms in the house, was
full of great records.  Great records I wouldn't get to take.  Like this
other Dave Pike record with some kind of title like "Dave visits the third
dimension".
A record made for me.  A record made to taunt me.
I didn't so much fall asleep as eventually pass out.  Two hours later it
was light and finding Herb outside on the porch, I began my campaign to
free up as many of these so-called "jazz records" as possible.
But on this day, we were going to hit the record stores of Cleveland.  We
were also going to try and squeeze in a tour of "urban decay highlights".
The guy I came down with was a particular fan of abandoned steel mills and
other signs of industrial waste. Cleveland was the perfect place for him.
First place we went was some kind of Sally Ann store.  Herb warned me there
wasn't much there and the records were a bit expensive at a buck.  But he
had done a little reconnaisance and put away a few for me.
I picked up the records Herb had cached away.  I remember a Jack Jones but
not much else.  I also picked up that album of Xavier Cugat Rhumba 78's
that I'd once seen at a friend's house and always wanted, mostly for the
cover.  Four 78's, four bucks.
Next up was a Goodwill store.  It was supposed to have thousands of records
but they'd just changed their policy and only had about a hundred.
I only found one that I wanted.  But what a one.
George Cates "Polynesian Percussion".  Never seen it before, only heard
about it on this list.  And having returned home and played side one, I
have to agree with the assessment.  A true exotica classic.

(Is anybody still reading this?  What do I care?  Will wants to read it,
that's good enough for me.)





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

Date: Tue, 6 Jul 1999 09:36:19 +0100
From: "Charles Moseley" <[e-mail]>
Subject: (exotica) Morning arrivals

What a satisfying morning it is when some nice pieces of vinyl arrive at
one's door!

This morning I received:

Mannix soundtrack - Lalo Schifrin
De Sade soundtrack - Bill Strange
Gatur soundtrack - Charles Bernstein & Leroy Holmes
Beautiful Love - Jane Birkin and Serge Gainsbourg

All LPs which I can't play until I'm back at work this evening.

Charlie

PS. I know I keep asking but does anybody know where 'Ripped Open By Metal
Explosions' by Galt Macdermot comes from? Thanks.





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Date: Tue, 6 Jul 1999 14:35:58 +0100
From: Peter Hipwell <[e-mail]>
Subject: (exotica) Spike Jones

Just picked up a copy of Spike Jones "Fun In Hi-Fi" EP. The liner
notes by Dimitri Tiomkin suggest that this be used for demonstrating
high fidelity equipment... oh yes! A list of instruments used is
given. Liked this one so much, I'm going to type it out below.

Damn, I'm looking forward to getting home. I got a whole armload of
cheapo singles/EPs today. Seems like I'm having more joy in charity
shops recently by leafing through the 45s; they don't seem to be as
much picked over.

* Spike Jones' Legitimate Instruments heard on this record.

Space Ship Landing
Glugs
Pbrts
Skks
Assorted Sneezes
Snore
Bird (Un-Feathered kind)
Whistle
38 Calibre Pistol
Burpaphone
Kissing Trumpet
Ratchet
Trombone Fonk
1911 Blackhawk Stutz
Airplane dropping bomb in river
Living Coo-Coo
Birds (Feathered Kind)
Tweets for your Tweeter
Dying Coo-Coo
Champagne cork popping
Poontangaphone
Brick through window
Klaxon
Electric Auto Horn
Police Whistle
Cough
Emptying Wash-Tub full of cowbells and assorted Kitchen Utensils
Two Bulb Horns
Slide Whistle
Clinking Bottles (hard and soft drinks)
Anvil




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

Date: Tue, 06 Jul 1999 10:14:52 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) [obits] Guy Mitchell,John Stears,Xavier Gelin,Mark Sandman,Victor A. Bonomo

                           *Guy Mitchell
    LAS VEGAS (AP) -- Guy Mitchell, a country-pop artist from the 1950s whose
recordings of ``Singing the Blues'' and ``Heartaches by the Number''
skyrocketed to the top of the charts and became standards of the era, died
Thursday. He was 72.
    He also appeared in movies, on Las Vegas stages and had his own television
show in the late 1950s.
    In 1950, after Frank Sinatra declined to record ``My Heart Cries For You,''
famed band leader Mitch Miller offered it to Mitchell and he not only had a
million-seller with that Columbia Records recording, but another
million-seller with the B-side of that record, ``The Roving Kind.''
    It launched a career that made Mitchell a household name in the '50s. He
followed it up with ``My Truly Truly Fair,'' in 1952. He would go on to have
16 million-selling recordings.
    In 1953, Mitchell starred with Rhonda Fleming in the movie ``Those Redheads
From Seattle,'' and a year later starred with Rosemary Clooney in ``Red
Garters.'' From 1957-58 Mitchell starred on television in ``The Guy Mitchell
Show'' and appeared on all the major TV shows of that era.
    In 1957, he released the No. 1 recording of ``Singing the Blues,'' and a
year later topped the charts again with ``Heartaches by the Number.''
    LAS VEGAS, Nev., July 5 (UPI) -- Novelty song hit-maker Guy Mitchell has
died at Desert Hot Springs Hospital in Las Vegas. He was 72.
    Mitchell died of complications from surgery on Thursday. His wife revealed
the death today.
    Between 1950 and 1960, Mitchell had nearly 40 hit records, most of them
novelties, folk tunes and country songs. In 1956, Mitchell's cover of Marty
Robbins' country hit ``Singing the Blues'' was the No. 1 pop single for 10
weeks.
    When Frank Sinatra refused to record two songs for Columbia Records in 1949
while the band was waiting in the studio, producer Mitch Miller called in
Mitchell as a last-minute substitute.
    Those two songs were ``My Heart Cries for You'' and ``The Roving Kind,''
which became back-to-back Top 5 hits.

    LOS ANGELES, July 5 (UPI) -- Motion picture special-effects wizard John
Stears has died at UCLA Medical Center. He was 64.
    The man who created R2-D2, the lovable ``droid'' of ``Star Wars'' fame, and
the deadly Aston Martin car used by James Bond in the 1960s fell victim to a
stroke on April 28.
    Friends revealed the death only today, saying they wanted to keep the news
quiet until after services were held in May in Pacific Palisades and London.
    Stears, a Briton, had homes in Pacific Palisades and Beaconsfield, England.
    He earned an Oscar in 1965 for ``Thunderball,'' which starred Sean Connery
and featured an underwater battle scene. He also shared an Academy Award in
1977 for his work on ``Star Wars.''

                           *Xavier Gelin
    PARIS (AP) -- Xavier Gelin, a French actor and a mainstay of popular French
cinema for more than three decades, died Friday of cancer. He was 53.
    Gelin was the son of French film stars Daniel Gelin and Daniele Delorme.
    He played supporting roles in more than 20 films, including Gerard Oury's
1973 comic hit ``The Adventures of Rabbi Jacob'' with Louis de Funes.
    He also starred in Claude Lelouche's ``Adventure, It's Adventure'' and
``The Devil by the Tail'' by Philippe de Broca.
    Other hits include Claude Pinoteau's ``The Slap'' and ``The Party-2'' and
``A Simple Story,'' directed by Claude Sautet.

                           *Mark Sandman
    ROME (AP) -- Mark Sandman, the lead singer of the Boston rock band
Morphine, died Saturday of a heart attack at a concert outside Rome. He was 46.
    Sandman collapsed on stage in front of several thousand spectators at a
music festival just before midnight. He was not known to have a heart
condition or any other major health problems.
    Sandman, known for his deep, murky baritone, played bass and wrote all of
Morphine's songs. Morphine is a guitar-less trio that includes Dana Colley
on saxophone and Billy Conway on drums.
    The group started out playing loft parties and bars around Boston and
Cambridge, Mass., in the early 1990s and built a solid cult following.
Morphine released five albums: ``Good,'' ``Cure for Pain,'' ``Yes,'' ``Like
Swimming'' and ``B-Side.''
    Morphine has gotten heavy airplay on college radio, and its songs have
appeared on soundtracks for the films ``Get Shorty,'' ``Beautiful Girls''
and ``Postcards From America,'' as well as on the TV series ``Homicide: Life
on the Street.''

Victor A. Bonomo died at the age of 100 on June 26 in Bal Harbour, Florida.
He created and marketed Bonomo's Turkish Taffy, the brittle candy bar whose
wrapper instructed buyers to smack it and crack it into many edible pieces.

Forest Mars AGE 95

Victor Bonomo age 100.

Who said candy is bad for your health?




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

Date: Tue, 06 Jul 1999 10:57:48 -0500
From: Lou Smith <[e-mail]>
Subject: (exotica) [music news] Jimmie Davis,Pat Boone

    BATON ROUGE, La. (AP) -- The 20th century hasn't been all sunshine for
Jimmie Davis, but as the singer, songwriter and former segregationist
governor approaches his 100th birthday, sunshine is what he's best known for.
    After a lifetime of hit tunes, movies and politics, the simple song ``You
Are My Sunshine'' is Davis' best known legacy.
    ``There are a lot worse things to leave behind,'' says Davis, due to
celebrate his 100th birthday Sept. 11. ``I'm glad to claim it as mine.''
    Almost 60 years since Davis first recorded the song, people send it to him
in music boxes, he hears it on answering machines and he can find it in more
than 300 versions and 50 languages.
    ``Along with 'Happy Birthday,' it's the most valuable music copyright
ever,'' says Kevin Fontenot, a doctoral candidate at Tulane University, who
is writing a book about Davis.
    For a man who left so many marks on the century, the century has left
relatively little mark on Davis. He uses a walker now but every morning
still dons a freshly starched dress shirt and tie. He performs several times
a year, works in his home office daily and monitors his royalties.
    ``I came up expecting to work hard for everything I got, and I never saw
anything that persuaded me that wasn't true,'' Davis says.
    The son of a sharecropper, Davis was the oldest of 11 children raised in a
two-room house. By age 7, he was plowing behind the family mule and picking
cotton. The hard work and lean living taught values Davis says he still has.
    ``The first Christmas present I ever got was a dried hog's bladder and a
plucked blackbird,'' he says. ``We ate the blackbird and played ball with
the bladder, and I thought we were pretty well off.''
    Davis began his professional singing career at Louisiana College --
crooning on street corners. After graduation, the money he earned singing,
even when added to his teacher's pay, wasn't enough to pay off school debts.
For a steady salary, he entered politics -- first as clerk of court in
Shreveport, then the state Public Service Commission.
    By the time he was elected governor in 1943, Davis was already becoming
famous in music and films, playing the singing cowboy in a number of horse
operas. But politics did not flow as sweetly through Davis' life as his music.
    Davis served two terms as Louisiana governor -- 1944-48 and 1960-64. In his
first term, he set a record for absenteeism, traveling frequently to
Hollywood to further his movie career.
    ``I should have done more movies,'' Davis says with an air of defiance. ``I
turned down a chance to make millions to take a job that paid $1,000 a month.''
    In 1959, Davis ran on a ``Peace and Harmony'' platform but was unable to
deliver either in those turbulent times.
    ``I am unqualifiedly in favor of segregation,'' Davis wrote in a campaign
pamphlet. ``The best way to maintain our historic way of life, as well as
harmonious relations between the races, is to provide separate and equal
facilities.''
    As governor, Davis called five straight special legislative sessions to
resist federal desegregation orders and, when the courts prevailed, set up
grants to aid private school pupils.
    His views reflected those of most whites at the time, says historian
Michael Kurtz, dean of the graduate school at Southeastern Louisiana: ``On
the whole, he was a middle-of-the-road individual who supported keeping the
status quo. He didn't want to rock the boat.''
    But when things changed, Kurtz adds, so did Davis. Under Davis, Louisiana
strengthened its schools, instituted teacher pensions, invested idle state
funds and took early environmental action.
    He made a halfhearted bid for a third term in 1971. One of 19 candidates,
he lost.
    ``It was the best thing that ever happened to me,'' Davis insists. ``It was
after that I got to do what I really wanted -- sing, perform, live my life.''
    Davis is a member of the Country Music Hall of Fame, the Gospel Music Hall
of Fame and the Louisiana Hall of Fame.
    He started off singing blues. Early on, he worked with two black sidemen.
In the 1930s, he had an integrated band, practically unheard of then.
    ``He was really ahead of his time in appreciating the blues,'' Fontenot
says. ``And when you listen to those records, he's one of the
blackest-sounding white men I've ever heard.''
    But it was the sad, nostalgic songs, first called hillbilly, later
country-western, that Davis became known for. His rich voice spun out
ballads about lost love, lost times and unforgotten dreams.
    By 1929 Davis was recording for RCA Victor and singing at any juke joint
that would pay. He says his parents ``worried because I wasn't making steady
money. I had a song I really liked, and I promised them that if it didn't
make it, I'd give it up.''
    ``Nobody's Darling But Mine'' was his first big hit. Since then, by his own
count, Davis has written better than 400 tunes and recorded more than 60
albums.
    Davis first recorded ``You Are My Sunshine'' in 1931 but was so unhappy
with the studio band that he refused to release it. Eight years passed
before he recorded it again. It became a smash hit that eventually sold
millions.
    Recorded by dozens of artists from Bing Crosby to Gene Autry, ``You Are My
Sunshine'' was a favorite of King George VI. It was played on Armed Forces
Radio during World War II, and GIs landing in Japan found it already a
favorite there.
    Davis says he has recorded ``Sunshine'' dozens of times, just last year
with a children's choir. Others have tried to lay claim to the song. There's
no question he wrote the lyrics, but Fontenot says there's some debate
whether he was solely responsible for the tune.
    ``That's still the million-dollar question,'' Fontenot says. ``The tune may
have had its roots in traditional folk songs, but there's no question now
that it's Jimmie Davis' song. He owns the copyright.''

    HUNTINGTON BEACH, Calif. (AP) -- Singer Pat Boone said he loves appearing
at Fourth of July parades because it gives him a chance to sing ``Happy
Birthday'' to the United States.
    ``I feel like a human roman candle or firecracker,'' the 65-year-old
performer said Sunday, waving the tassle-covered sleeves of his red, white
and blue jumpsuit as he broke into song: ``Happy Birthday to you! Happy
Birthday to you! Happy Birthday, dear America. We thank God for you!''
    Boone was the grand marshal at the 95th annual Huntington Beach parade, one
of the oldest Independence Day celebrations in Southern California.
    The entertainer said his new video album ``American Glory'' will feature
only patriotic songs because be believes American melodies promote respect
for the country and good behavior.
    ``We need something like this in every American home,'' he said. ``If we
don't sing those songs, and if our kids don't learn them, we're going to
lose them all.''





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End of exotica-digest V2 #439
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