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exotica-digest         Sunday, August 22 1999         Volume 02 : Number 483



In This Digest:

Re: SV: (exotica) For those so inclined (...)
Re: (exotica) western swing
(exotica) Leeteg of Tahiti
(exotica) Re: finds
(exotica) Ursula 1000
Re: (exotica) Ursula 1000
Re:  (exotica) Leeteg of Tahiti
(exotica) On Holiday
Re: (exotica) western swing
Re: (exotica) Allentown lps?
Re: (exotica) house industries - tiki stuff
Re: (exotica) Ursula 1000
(exotica) Whipped Cream that Goes 'Round and 'Round
Re: (exotica) Whipped Cream that Goes 'Round and 'Round
(exotica) Little Richie Varhola
Re: (exotica) Little Richie Varhola
(exotica) Johnny Cool
(exotica) Gleason and...Como
Re: (exotica) Gleason and...Como
(exotica) Playlist For Space Bop, August 21
Re: (exotica) Gleason and...Como
Re: (exotica) Gleason and...Como & COMO
Re: (exotica) GLEASON and...Como
(exotica) Retro Cocktail Hour
Re:  (exotica) Whipped Cream that Goes 'Round and 'Round
Re: (exotica) western swing
Re: (exotica) Playlist For Space Bop, August 21
(exotica) The death of lounge music / O & B

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

Date: Fri, 20 Aug 1999 23:51:47 EDT
From: [e-mail]
Subject: Re: SV: (exotica) For those so inclined (...)

Nat,
Of these 300 records that are going, will you be offering them sale on the
list, or on eBay perhaps.  I would love to see your for sale list.
Thanks,
Larry


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Date: Sat, 21 Aug 1999 00:11:21 -0400
From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) western swing

At 4:01 PM -0700 8/19/99, Mats 0ljare wrote:

>Fundamental to the creation of"black/white"musical cultures was the fact
>that black people were banned from the places where white bands performed,
>while white people wouldn't put their feet into the black clubs,and there
>was an increasing amount of"profile"among the places.

This really isn't true. Concert halls were generally segregated, i.e.
blacks were allowed in one specific area, often the balcony, or had
specific shows set aside for them (a promoter will always take money any
way he can get it). Night clubs, rural juke joints and the old turpentine
farms (where boogie woogie was born) generally catered to a neighborhood
and/or local worker clientle. But in general, the music of the American
South was a cross cultural pollination of various styles, both white and
black : Appalachian string bands, military band music, German polka,
British folk music, African drumming and chants, and religious hymns, among
them. Radio played a big part in synthesizing it all. There were black
string bands and black country singers as early as the 1920's, as well as
white blues singers around the same time. There was a lot more interaction
between the races than revisionist history would like you to think.

The music of the 60's 'blues revival' was based on the hard urban blues out
of places like Chicago, Detroit, Cincinatti, etc; records that were
released in the 1950's, and which were originally marketed to the folks,
mostly black, who lived in these areas. A small but fanatacal group of
white British teenagers were buying these, as well as American jazz
records; a scene developed, spearheaded by Alexis Koerner in London. Acts
like the Rolling Stones and John Mayalls Bluesbreakers came out of this
scene.

I've studied the history of the music of the South for a number of years,
and recommend the following books to those who'd like to get a better
understanding of it all : "Lost Highway" and "Sweet Soul Music", both by
Peter Guralnick; "Honkers & Shouters" by Arnold Shaw, "Country Music: White
Man's Blues" by John Grissim, "Rhythm Oil" by Stanley Booth. There are a
number of excellent biographys of some of the people who shaped the music,
such as Ernest Tubb, Ray Charles, Hank Williams, Elvis Presley, etc.

br cleve


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Date: Sat, 21 Aug 1999 00:22:16 -0400 (EDT)
From: Lou Smith <[e-mail]>
Subject: (exotica) Leeteg of Tahiti

Here's a book that'll be published in a couple of months by Last Gasp:

Leeteg of Tahiti by John Turner & Greg Escalante
 Breaking through the shlock of his favorite medium, Leeteg created an
oeuvre on black velvet that evokes a paradisiacal time before Club Med when
martinis flowed like ambrosia and cool winds steadied the painting hand.
Conceived as an accompanying volume to a retrospective of Leeteg's work at
the Huntington Beach Art Center, this new book in the Last Gasp Illustration
Library presents a collection of mementos from the soon-to-be previous
century. Leeteg's work cannot be confused with an objective look at Tahiti
in the 40s and 50s but it tells a lot about thetropicalisland fantasies of
the same epoch. Art by Vilia Velour, SC, 96 pg., 12x12, $29.95




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

Date: Fri, 20 Aug 1999 21:53:38 -0700
From: Paul Penna <[e-mail]>
Subject: (exotica) Re: finds

Michael Toth <[e-mail]> wrote:

>Paul Penna <[e-mail]> wrote:
>
>>Same purchase included another mint Addeo reel, the "Stereo Action"
>>"Music Goes 'Round and 'Round," two of whose cuts wound up on the RCA
>>"History of Space Age Pop" CD compilations. I wonder if they could remix
>>these so as to do away with the annoying stereo gimmickry? In this case,
>>though, I don't think anything could make that ocarina section any more
>>palatable.
>
>Boy, this list is getting apathetic. A statement like that should have
>gotten you flamed into the heart of the sun! ;-D
>
>Seriously, for most of us, the main appeal in that album (and most of the
>Stereo Action line) probably *IS* the stereo gimmickry, here with the
>added bonus of an ocarina section. To me, it's a decent album regardless,
>but those other factors are what make it magical. What is its attraction
>for you?

In all honesty, I can say that at certain times I can enjoy this kind of
thing, at others be annoyed by it, and at still others simultaneously enjoy
*and* be annoyed by it, if that makes any sense. The pure annoyance comes
in when I'm in the mood for a wholly musical experience, I suppose, and the
obvious pan-potting gets intrusive, as do too many ocarina numbers in one
sitting. Maybe my big mistake was listening to this one on headphones.

As far as this particular album's attraction for me, I'd have to say its
musical value is outweighed by its cultural-artifact value, the latter
enhanced by its being a reel, which I think is a cool format generally.




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

Date: Fri, 20 Aug 1999 22:27:02 -0700
From: Matt Hinrichs <[e-mail]>
Subject: (exotica) Ursula 1000

I recently heard a song called "Mambo 1000" by Ursula 1000 on the "Music
for Cubicles" show on GoGaGa internet radio. Cool, exotica-inspired,
sample heavy tune, a la Tipsy or Fantastic Plastic Machine.

Has anybody heard their CD? What's it like?

Thanks,

- - Matt


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

Date: Sat, 21 Aug 1999 01:55:24 -0400
From: cheryl <[e-mail]>
Subject: Re: (exotica) Ursula 1000

Matt Hinrichs wrote:
>
> I recently heard a song called "Mambo 1000" by Ursula 1000 on the "Music
> for Cubicles" show on GoGaGa internet radio. Cool, exotica-inspired,
> sample heavy tune, a la Tipsy or Fantastic Plastic Machine.
>
> Has anybody heard their CD? What's it like?

"The Now Sound of Ursula 1000" is mostly sampled stuff, and (in my
opinion, at least) quite a good CD - it just got an "official" release
on Thievery Corp's ESL label last month.  "Mambo 1000" is one of my
favourite tracks on the CD.  Very exotica-influenced, although a little
more dance-like than Tipsy.  Ursula 1000 also has a web site, with a bit
more info on it:

www.ursula1000.com

I recommend this CD pretty highly - we play it regularly on Space Bop,
and it always gets people calling in to ask about it.

cheryl


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

Date: Sat, 21 Aug 1999 03:27:13 EDT
From: [e-mail]
Subject: Re:  (exotica) Leeteg of Tahiti

and there will be a special booksigning and video night in SF at the Roxie
theatre in mid-October to promote that book

cheers
Otto
tikinews.com


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

Date: Sat, 21 Aug 1999 10:20:13 +0100
From: "Robbie Baldock" <[e-mail]>
Subject: (exotica) On Holiday

Just to say that if anyone sends me an email next week and
wonders why I'm not replying - I'm away on holiday!!!


Robbie


- ----------------------------------------------------------
** ** ** * Spaced Out - the Enoch Light Website * ** ** **
** ** ** * http://www.rcb.easynet.co.uk/light/  * ** ** **
- ----------------------------------------------------------


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

Date: Sat, 21 Aug 1999 13:46:47 +0200
From: "n.e.u. / Moritz R" <[e-mail]>
Subject: Re: (exotica) western swing

Br. Cleve wrote...


thanks for the great final essay on this subject. I think I've learned a lot
in the last two weeks and even if it wasn't always strictly Exotica-related,
it told me a lot about how especially  in America  different branches of
musical history mixed and joined and developed new forms. And of course this
relates to the abstract side of Exotica as well.

Mo




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

Date: Sat, 21 Aug 1999 10:53:40 EDT
From: [e-mail]
Subject: Re: (exotica) Allentown lps?

In a message dated 8/19/99 10:16:12 AM EST, [e-mail] writes:

<< Hello,
   Anyone know a place top look for lps in/around Allentown, PA?

 Thanks

 Heavy Kevy >>


After living some several formative tennage years in Allentown and
continually making regular trips to see the folks, I can say without
reservation there is no place worth looking. If good used records are water,
then Allentown is a true Sahara.

Ashley


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

Date: Sat, 21 Aug 1999 10:57:26 EDT
From: [e-mail]
Subject: Re: (exotica) house industries - tiki stuff

In a message dated 8/19/99 10:30:36 AM EST, [e-mail] writes:

<< I have to agree with Mo, there has yet to be a Tiki font that comes close
to
 what I think a Tiki font should be.

 And House Industries does have some neat stuff but if I remember correctly
 their "Tiki" fonts are expensive.

 For what it is worth,

 Tiki Bob >>


I don't know what all the fuss is about, these are great fonts. These are the
very same fonts that have been used on countless Hawaiian/South Pacific
themed restaurants. Plus add the cool images that are thrown in and you have
a do it yourself kit to make menus, drink recipies or whatever look
strikingly authentic.

Just think about how intricate and hard to read a true tiki font would be! We
should be grateful for what House has given us.

Ashley


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

Date: Sat, 21 Aug 1999 11:07:38 EDT
From: [e-mail]
Subject: Re: (exotica) Ursula 1000

In a message dated 8/21/99 0:19:18 AM EST, [e-mail] writes:

<<
 I recently heard a song called "Mambo 1000" by Ursula 1000 on the "Music
 for Cubicles" show on GoGaGa internet radio. Cool, exotica-inspired,
 sample heavy tune, a la Tipsy or Fantastic Plastic Machine.

 Has anybody heard their CD? What's it like? >>

Pick this one up now.....what are you waiting for, hurry up!

Ashley


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

Date: Sat, 21 Aug 1999 13:52:09 -0700 (PDT)
From: Peter Risser <[e-mail]>
Subject: (exotica) Whipped Cream that Goes 'Round and 'Round

Speaking of "Whipped Cream", I saw the CD for this in Best Buy for 12
bucks.  Why would you pay 12 bucks for it, when you can get a perfectly
mint copy in every thrift shop around the country for under a buck.

Last time I was thrifting I was at a store that had seven copies.  I
lined them all up, side by side, and it was truly a beautiful sight.
Fifty cent day, I could have had them for 3.50.  At that point I
thought, maybe I'll just buy every mint cover version of this I see,
and paper my "office" with them.

Huzzah!

As for doing away with Addeo's ocarinas (and the stereo gimmicks?),
what would be left?  Why not just by some Montavoni records and be done
with it?

Peter, who LOVES a good ocarina trio rekkid, when he can get one.


__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com



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Date: Sat, 21 Aug 1999 22:14:48 +0100
From: m h jemmeson <[e-mail]>
Subject: Re: (exotica) Whipped Cream that Goes 'Round and 'Round

Peter Risser wrote:
>
> Speaking of "Whipped Cream", I saw the CD for this in Best Buy for 12
> bucks.  Why would you pay 12 bucks for it, when you can get a perfectly
> mint copy in every thrift shop around the country for under a buck.
>
> Last time I was thrifting I was at a store that had seven copies.  I
> lined them all up, side by side, and it was truly a beautiful sight.
> Fifty cent day, I could have had them for 3.50.  At that point I
> thought, maybe I'll just buy every mint cover version of this I see,
> and paper my "office" with them.
>

Perhaps I've just been incredibly unlucky, but over the past 4 years I've
never found a single copy of 'Whipped Cream...' in a UK charity shop. I think
i've seen it four times in total, ranging from a completely trashed copy for
2.50 up to a stupidly high 15 quid...

Now Herb's 'Going Places' - that's a different story, although it would make
pretty nasty wallpaper...


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

Date: Sat, 21 Aug 1999 18:19:38 EDT
From: [e-mail]
Subject: (exotica) Little Richie Varhola

Wondering if anyone on this list has any audio or video of Little Richie
Varhola, (Louis Prima's insane Hammond Organ player in the late '60s) or Wild
Bill Davis ?

- - - Ed
a swanky Hammond Organist from the City of Brotherly Love


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Date: Sat, 21 Aug 1999 18:57:41 -0400
From: Citizen Kafka <[e-mail]>
Subject: Re: (exotica) Little Richie Varhola

i've got his album, and a louis prima album with him as featured
soloist...

ck

[e-mail] wrote:

> Wondering if anyone on this list has any audio or video of Little Richie
> Varhola,

Citizen Kafka, Producer, "The Secret Museum of the Air"
NEW!: every Tuesday 6 to 7 PM EST WFMU 91.1 FM
& WXHD (Hudson Valley) 90.1 FM
http://www.megasaver.com/page2/smradio.html
http://wfmu.org/ then go to 'listen to wfmu'


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Date: Sat, 21 Aug 1999 20:08:12 -0500
From: recliner <[e-mail]>
Subject: (exotica) Johnny Cool

I had a chance to check out the CD issue of the soundtrack of Billy
May's music to "Johnny Cool".
Two questions come to mind:
1) Why on earth is this movie NOT available on video??!
2) In the liner notes it mentions that in the fifties May lead "a series
of latin dance records" under a pseudonym. Any one have any clues on
this one? The Rico Mambo orchestra IS accredited to May but, could he
also be the mysterious Chuy Reyes?

Frank



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Date: Sat, 21 Aug 1999 20:43:38 -0400
From: "Brian Tozer" <[e-mail]>
Subject: (exotica) Gleason and...Como

Just picked up "Music for Lovers Only" and "Music, Martinis &
Memories" by Jackie Gleason for 50 cents. (both mono)  I
remember a bit of heated discussion on this list when the Capitol
Gleason set came out, but not the details.  I like both of these
LP's, but I do wonder...are all his others pretty much the same?
Did Gleason ever do anything a little bit different? (There's 3 or 4
others back at the store, same price)
I also picked up Perry Como's "Saturday Night with Mr C" (RCA
living stereo-basically mint, 50 cents again).  It too, has some
interesting moments, bongos, and swings nicely.  Did Mr C do
basically the same thing throughout his career, or is there any
"stranger stuff"?
Brian T
Remember, even if you win the rat race, you're still a rat.


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Date: Sun, 22 Aug 1999 01:49:32 +0100
From: m h jemmeson <[e-mail]>
Subject: Re: (exotica) Gleason and...Como

Brian Tozer wrote:
>
> Just picked up "Music for Lovers Only" and "Music, Martinis &
> Memories" by Jackie Gleason for 50 cents. (both mono)  I
> remember a bit of heated discussion on this list when the Capitol
> Gleason set came out, but not the details.  I like both of these
> LP's, but I do wonder...are all his others pretty much the same?
> Did Gleason ever do anything a little bit different? (There's 3 or 4
> others back at the store, same price)

I always had imagined Jackie Gleason to be a singer. Was quite surprised when
I got 'Music for Lovers Only' the other week and, when listening, realised
no-one was going to sing... oh well, call me stupid.


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Date: Sat, 21 Aug 1999 20:50:55 -0400
From: cheryl <[e-mail]>
Subject: (exotica) Playlist For Space Bop, August 21

Beyond kitsch, Space Bop is one hour of full galactical wonder, and can
be heard every Sunday from 4 to 5 pm on CKUT 90.3 FM in Montreal,
Canada, and on RealAudio (real time only, for now) at:=20

http://www.ckut.ca
=20
As usual, all comments, questions, and feedback welcome.

Space Bop #62     Music That Defies Classification

Dragibus:  Chers petits amis  "Papriko"
Dragibus:  Domotor  "Papriko"
Die Trip Computer Die:  Ugly Deadly Music  "Stadium Death"
Max Goldt:  D=FCrrenmatt  "Restaurants, Restaurants, Restaurants"
Max Goldt:  Ein Kopf wird durch die Stadt getragen  "Restaurants,
Restaurants, Restaurants"
Charles Wilp:  Beautiiful Bald Woman  "Charles Wilp Fotografiert Bunny"
Les Biberons Batis:  Tequila  "Attaboy on meurt!"=09
    =09
Mami Chan Group:  Dondoko  "Otonamop=E9e"=09
Mami Chan Group:  Pachinko 67  "Otonamop=E9e"
Dauerfisch:  Hihihihahaha  "Tausend Ganz Legale Steuertricks"
Arling & Cameron:  Ein Abend in Wien  "All In!"    =09
    =09
Montefiori Cocktail:  Theme from Star Trek  "Raccolta No. 1"
Frat Shack All-Stars:  Buggered Bunny  "Pervirella"
Stan Ridgeway/J.E.D.:  Excuse/Booker Tease  "Eyesore - A Tribute to the
Residents"=09
    =09
Solid Eye:  Great Garloo  "Fruits of Automation"
Pierre Bastien:  Eloj du piqueupe  "Musiques parallo=EFdres"                =
=09
Adi Zehnpfennig:  Geisterreiter  "Nymphomania"


Thanks for reading.

[e-mail]
[e-mail]


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Date: Sat, 21 Aug 1999 21:08:57 EDT
From: [e-mail]
Subject: Re: (exotica) Gleason and...Como

In a message dated 8/21/99 7:50:18 PM EST, [e-mail] writes:

<< I always had imagined Jackie Gleason to be a singer. Was quite surprised
when
 I got 'Music for Lovers Only' the other week and, when listening, realised
 no-one was going to sing... oh well, call me stupid. >>


The only polace where you can find Gleason singing (in the style of the
characters he playes on the Honeymooners and his variety show) is on the CD
"And Awaaay We Go"

Ashley


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Date: Sat, 21 Aug 1999 21:26:37 EDT
From: [e-mail]
Subject: Re: (exotica) Gleason and...Como & COMO

I highly recommend "Como Swings".  In addition to having a great cover (Como
swinging a golf clug infront of an intentional fake painting of a golf
course), the album kicks.  I forget who did the arrangements but they are all
cool.  "You Came A Long Way From St. Louis" is a standout with a very
space-age arrangement.

Como started out as a radio ballad singer in the 40's.  He had an early TV
show that was on 3 times a week, each time for 15 minutes, right after the
news.  He always sand 2 or 3 songs that were hot that week, and the Fontaine
sisters sang a song.  I have some old kinescopes of these and they rule!

Another favorite Como LP is "We Get Letters" which is with a small jazz
ensemble with great arrangements.

Como also recorded a lot of novelty tunes.  My favorite is a love song to a
store mannequin.  Name escapes me now.  It is so great.  "Glendora"  It's on
a couple of different hits comps, and worth getting.

Como's mid 60's thru the end of his working days recordings are really bland
MOR.  I don't care for them at all.

Best wishes,
Larry


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Date: Sat, 21 Aug 1999 21:28:07 EDT
From: [e-mail]
Subject: Re: (exotica) GLEASON and...Como

My personnal 2 cents is that the Gleason records are only useful for the
covers.  Montovani style strings.  All the same.  No surprises.  In a word
BORING.

Best wishes,
Larry


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Date: Sat, 21 Aug 1999 22:44:14 -0500
From: "Darrell Brogdon" <[e-mail]>
Subject: (exotica) Retro Cocktail Hour

This week's Retro Cocktail Hour webcast takes a brief detour into the
swing scene as we chat with Steve Knopper, editor of "MusicHound
Swing: The Essential Album Guide".

Musically, we'll hear from Duke Robillard, Royal Crown Revue, Louis
Prima, Sam Butera and the Witnesses and other swingers.  Plus, you
can win a free copy of "MusicHound Swing" (and the accompany swing CD
sampler) at the Retro Cocktail Hour website.

Also on the show this week -- "Incense and Peppermints" from Martin
Denny's "A Taste of India";  crime jazz by Kenyon Hopkins and Billy
May;  the John Evans Orchestra's exotic take on "An Occasional Man";
a Rat Pack salute by Big Kahuna and the Copa Cat Pack;  plus
Esquivel, Brass Impact, Les Baxter and Tony Hatch.

To listen, you'll need at least a 28.8 Internet connection and
RealPlayer.  Then just go to:

http://kanu.ukans.edu/retro.html

Your comments, requests and suggestions are always welcome.

Thanks for the space!

Darrell Brogdon
[e-mail]
The Retro Cocktail Hour
KANU Radio
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/retrolisten.html


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Date: Sun, 22 Aug 1999 02:10:28 EDT
From: [e-mail]
Subject: Re:  (exotica) Whipped Cream that Goes 'Round and 'Round

In a message dated 8/21/99 4:53:03 PM, [e-mail] wrote:

>Speaking of "Whipped Cream",  last time I was thrifting I was at a store
that had seven copies.  I lined them all up, side by side, and it was truly a
beautiful sight. Fifty cent day, I could have had them for 3.50.  At that
point I
thought, maybe I'll just buy every mint cover version of this I see,
and paper my "office" with them.

See Cool and Strange Music's story about the guy in Oklahoma (I think) who
"papered" his car with them and drove from yard sale to yard sale each
Saturday with his Gyrrrrrl-Fren on the hood adorned with whipped cream


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

Date: Sun, 22 Aug 1999 10:46:08 EDT
From: [e-mail]
Subject: Re: (exotica) western swing

In a message dated 8/20/99 9:13:35 PM Pacific Daylight Time,
[e-mail] writes:

<< There were black
 string bands and black country singers as early as the 1920's, as well as
 white blues singers around the same time. There was a lot more interaction
 between the races than revisionist history would like you to think. >>

I agree with Cleve wholeheartedly.  This was particularly evident in the
world of Ragtime.  I do think that the modern films of the last 30 years tend
to depict a more segrated idea of music than really was.

I think that many today do not realize, not just particular to music but in
general, that white Southerners in the 1920s and 30s interacted more with
blacks than their Northern counterparts.  Black and whites in the South lived
in closer proximity -- especially in regards to commerce.

This may sound funny, but there is probably more of a stratification (or
segregation) of music now between blacks and whites than there was then.
Particularly in the South.

Tiki Bob


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Date: Sun, 22 Aug 1999 17:05:10 +0200
From: Marco \"Kallie\" Kalnenek <[e-mail]>
Subject: Re: (exotica) Playlist For Space Bop, August 21

cheryl wrote:

> Beyond kitsch, Space Bop is one hour of full galactical wonder,
>
> Charles Wilp:  Beautiiful Bald Woman  "Charles Wilp Fotografiert Bunny"

Good choice! :-)

Marco



- --
 Marco "Kallie" Kalnenek
+------------------------------------------+
 Record Collector's Heaven
 http://weirdomusic.freeservers.com/
+------------------------------------------+




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Date: Sun, 22 Aug 1999 11:25:42 EDT
From: [e-mail]
Subject: (exotica) The death of lounge music / O & B

The following is a letter from a reader of Organs & Bongos to Micheleflp=20
regarding her article where she basically explained why the record industry=20
jumped from Lounge to Swing.  Michele's rebuttal follows.

I know these are often discussed issues but I thought the List may enjoy the=20
read.

Tiki Bob

Subj:   Re: the death of lounge music
 Date:  8/20/99 9:16:51 PM Pacific Daylight Time
 From:  Micheleflp
 To:    Velaires, [e-mail]
 To:    [e-mail]
 BCC:   Rcbrooksod
=20
 In a message dated 8/19/99 9:35:57 PM Pacific Daylight Time, Velaires write=
s:
=20
 > The Death Of Lounge Music? An Open Letter To Organ & Bongos
 >      Russ asked if I would write my reaction to some stuff that ran in th=
e=20
last O&
 > B.  None of my views claim to be definitive -- they=92re just observation=
s.
 >      I have read, with interest, the various postings on the exotica list=
,=20
 > columns and interviews in such magazines as Organ & Bongos, and kept my=20
 > ears open to people=92s conversations about this =93death of lounge music=
=94=20
 > business.
 >      It is my considered opinion that forms of music do not die.  The=20
record=20
 > business may not pump cash into certain forms after they have failed to b=
e=20
 > big money-makers, but that doesn=92t mean that music -- or the people who=20
love=20
 > it -- are no longer active in the pursuit of the feeling that can only be=20
 > generated by that style.
 >      As for this outcry about the music business =93abandoning lounge=94, =
I=20
ask,=20
 > =93What did you expect?=94 The music business is run by MBA=92s, not by=20
musicians. =20
 > The corporate thinking is =93If =91X=92 doesn=92t sell, we must find =91Y=
=92=94, and, as=20
a=20
 > result, we have an industry that rivals national defense as a money-maker=
.=20
=20
 > In short, very little about this business has to do with whether or not=20
the=20
 > music style in question is any good -- just if it can be driven to the=20
bank.
 >      No trend in pop music has ever occurred without a fashion trend to=20
 > accompany it, and lounge was no different.  It seems that part of the=20
 > =93marketing mortality=94 factor lies with the bands themselves, who made =
sure=20
 > they fashion-accessorized their CD covers and video appearances to the=20
hilt,=20
 > as if to scream =93fad=94.  Using fashionable buzzwords like =93cocktails=
=94,=20
 > =93bachelor pad=94, or =93swinger=94 in your album title is cheeky for th=
e short=20
run,=20
 > but such fad-inspired lingo does horrible things to your shelf life.  If=20
you=20
 > want to be taken seriously, don=92t wear a fez or a smoking jacket.  If=20
you=92re=20
 > militant about wearing this accoutremon, get ready to make your living=20
 > outside the mainstream.  And there is nothing wrong with doing things tha=
t=20
 > way.  Major-label money is not a factor as to whether your music (or=20
wardrobe)
 >  deserves an audience.  Building something brick-by-brick by your own han=
d=20
is=20
 > a good way to make sure it stands for a while.  Next point: Anyone who=20
thinks=20
 > a major label will give you job security had better talk to such enduring=20
 > acts as the Knack, A Flock Of Seagulls, or the fabulous Right Said Fred,=20
both=20
 > of whom enjoyed blockbuster success but who no longer can get major label=20
 > record deals.
 >      There was a time in recent history where there was no major label=20
 > participation in lounge music.  People found records by Martin Denny, Les=20
 > Baxter, Esquivel, or whomever, and they cherished these records.  The=20
style=20
 > was alive for them, even before it had a name.  Whether or not a major=20
label=20
 > would ever put a marketing campaign behind such silly music made no=20
 > difference.  The records stood on their own merits, and weird people in=20
their=20
 > respective hometowns were happy to listen to it.  Of course, the one-two=20
 > punch of Livin=92 Lounge and the first I, Swinger disc made this =93trend=
=94 a=20
 > natural for pop culture critics to analyze, write about, and collect=20
 > paychecks from.  Then came the Esquivel disc, and its success signaled th=
e=20
 > arrival of the =93next punk rock=94.  The arrival of a book about all the=
se=20
 > records from no less a subterranean pop culture arbiter of hipness than R=
E/
 > Search signified a =93movement=94.  The second volume of Incredibly Stran=
ge=20
 > Music  only solidified the notion that all this was a force to be reckone=
d=20
 > with in a big way.
 >      Major labels were sending street-smart employees into the vaults to=20
get=20
 > some  compilations out, quickly, and the market was soon flooded with mor=
e=20
 > compilation discs -- =93lounge=94 this, =93cocktail=94 that, =93bachelor=
=94 the other=20
 > thing -- than any market could bear, especially one trying to find its se=
a=20
 > legs in the immense  marketplace ocean.
 >      The result: More records than people to buy them, and the industry=20
need to=20
 > put out records that would sell.  Next stop, swing. =20
 >      (As for the notion that swing has captured what was once the lounge=20
 > demographic, it doesn=92t appear that way.  The swing audience is much=20
younger,=20
 > at least in Los Angeles.)
 >      Many people blame many different things for the failure of lounge to=20
find a=20
 > large commercial audience -- the shortsightedness of young artists, the=20
greed=20
 > of labels putting out too many comps of old material, that Four Rooms (th=
e=20
 > first film with an all-lounge soundtrack, including new music by=20
Combustible)=20
 > tanked at the box office, and, finally, that all the really ultra-hip=20
records=20
 > were cut by guys who were either no longer active (or, in some cases,=20
alive).
 >      But has that =93killed=94 the music? It does indeed seem to be livin=
g on=20
in=20
 > commercials, film scores, as samples on rap records, and other things as=20
well.
 >   Also, and no less important, that the style had its fifteen minutes of=20
 > glory means that Esquivel, Les Baxter, Martin Denny, and others of the il=
k=20
 > have finally been accepted to the Canon Of American Music (although how=20
they=20
 > escaped serious consideration in the first place is a mystery to me).
 >      Bottom line -- for the most part, no style of music ever dies.  It=
=92s=20
 > practitioners may grow into another style, record companies certainly mov=
e=20
on=20
 > to =93the next big thing=94, and media attention may shift elsewhere.  Bu=
t=20
there=20
 > will always be a core audience for the music we=92re talking about here, =
and=20
 > those people will always listen to, turn their friends on to it, and so=20
forth.
 >=20
 >      Remember -- Les Baxter was fantastic even when all his records were=20
out of=20
 > print.  Now that the attention has shifted from lounge music to swing=20
bands,=20
 > Les Baxter is still great.  Those who feel the most strongly about the=20
 > availability of discs should start their own label, run their own DJ nigh=
t=20
at=20
 > a club, print their own fanzines, or form their own groups and mount=20
 > performances.  None of these things is all that hard to do.=20
 >      The music is alive and in the air.  It will remain so now that peopl=
e=20
know=20
 > it=92s there to be heard.
=20
=20
 A Response To Skip Heller's Open Letter:
=20
 Mr. Heller has made many good points about the media, the future of lounge,=20
etc.  However, there appears to be a fundamental misunderstanding of the=20
essence of my thesis and what the subsequent interview with Brother Cleve wa=
s=20
all about:
=20
 Misunderstanding #1:
=20
 "(I have read, with interest, the various postings on the exotica list,=20
columns and interviews in such magazines as Organ & Bongos, and kept my ears=20
open to people's conversations about this "death of lounge music" business. =20
It is my considered opinion that forms of music do not die...... But has tha=
t=20
"killed" the music? It does indeed seem to be living on in commercials, film=20
scores, as samples on rap records, and other things as well.)"
=20
 I thought I had made it clear in the interview and in my column that what I=20
was discussing was the death of the MEDIA-CREATED mainstream lounge/swing=20
movements - not the UNDERGROUND lounge/swing scenes - and I think that was=20
stated in so many ways in my questioning of Brother Cleve.  I totally agree=20
with Mr. Heller, that the underground lounge and swing scenes continue to=20
exist regardless of what happens in the MAINSTREAM music scene and I think w=
e=20
all understand that.  And certainly just because the media has moved onto=20
swing, does not mean I or anyone else on the Exotica List threw out their=20
lounge CDs and started taking swing lessons.  Furthermore, I dont think=20
anyone on the Exotica List has ever suggested that the lounge music "scene"=20
(and whether or not you can say lounge has a "scene" has also been debated o=
n=20
the list) is dead.
=20
 Also, in terms of the "lounge is dead" message that the record industry has=20
created:  I think I spent a good portion of my "Angry White Lounge Woman"=20
column disputing the media-created notion that "lounge is dead" by discussin=
g=20
the constant usage of "lounge signifiers" in radio opening/closing music,=20
lounge themed television shows, lounge usage by Nick At Nite/TV Land as well=20
as advertisements on television - and this point was re-iterated by Brother=20
Cleve at the end of his interview.=20
=20
=20
 Misunderstanding #2:
=20
 "(As for the notion that swing has captured what was once the lounge=20
demographic, it doesn't appear that way.  The swing audience is much younger=
,=20
at least in Los Angeles.)"
=20
 Which brings me to Mr. Heller's other dispute: that I was suggesting that=20
the lounge scenesters switched to swing when that media-created craze=20
"happened."  This is not what I was saying, nor do I believe anyone on the=20
Exotica List has suggested such a silly notion.  What I said was that the=20
record industry "moved on" to the swing scene and totally "dumped" the loung=
e=20
scene because the record industry for whatever reason, is incapable of=20
dealing with or promoting two underground scenes at the same time.  It is=20
much easier for them to declare one scene dead (and thus all the lounge=20
record bins back east started disappearing - as per a statement made by Ross=20
in my introduction to the interview with Br. Cleve), than it is to continue =
a=20
campaign to sell records on two fronts - which is what they would have had t=
o=20
do.  Perhaps their promotional budgets weren't big enough - or they decided=20
the lounge sales were weak and therefore they declared that scene "over",=20
thus moving onto swing music.  I don't know - I am only a novice observer an=
d=20
not a music industry insider.  It is only a theory I threw out there because=20
it was obvious from observers such as Ross Orr (Exotica list), myself and=20
others such as Brother Cleve that no new lounge CDs were going to be issued=20
and the record industry had moved onto their big "swing" campaign.  Neither =
I=20
nor Br. Cleve ever suggested that lounge fans stopped liking lounge and=20
jumped onto the swing bandwagon.  I think Brother Cleve tried to clarify the=20
demographics of the swing scene and the lounge scene with some detail in the=20
interview. =20
=20
 I enjoyed your DIY approach to what we should all do if we want to be able=20
to continue buying CD re-issues of Lounge music:=20
=20
 ".... Those who feel the most strongly about the availability of discs=20
should start their own label, run their own DJ night at a club, print their=20
own fanzines, or form their own groups and mount performances.  None of thes=
e=20
things is all that hard to do."
=20
 Most of the people on the Exotica List who have talked about the=20
availability of CD re-issues - Ross Orr - who's comments I opened up my=20
interview with is a good example - want to be able to continue to buy CD=20
re-issues of some great lounge classics, such as "Man From Uncle," Rugulo's=20
"Music from Richard Diamond" etc. - which we won't be able to do, now that=20
the music industry has dumped the lounge scene for the swing scene.  Your DI=
Y=20
assertion leads to the following litmus test: =20
=20
 How many of the lounge music fans out there:
=20
 #1)  Have the technical know-how and equipment to record their vinyl onto=20
CD, and/or=20
 #2)  Have the know-how to deal with record companies, obtain the rights,=20
etc. to get these records re-issued on CD legitimately. =20
=20
 It's not hard?  Come on!  I think the average Exotica list member is just a=20
music fan with a wife, kids, a job, etc. collecting vinyl on the weekends=20
from thrift stores and is not a "musician" nor do they want to start a band=20
to make their own lounge music to listen to.  They just want to own some of=20
the old lounge music on CD.  That was the entire point of my tirade in my=20
column and which led to the interview with Br. Cleve: THAT THE RECORD=20
INDUSTRY HAS ABANDONED LOUNGE TO FOCUS ON A NEW FAD - "SWING"  - AND THUS,=20
THERE WON'T BE ANY MORE LOUNGE COMPS OR RE-ISSUES FOR THE LOUNGE FAN TO=20
PURCHASE.
=20
 Please re-read my column in the last issue, Brother Cleve's interview, or=20
the Exotica List discussions (now in archive) under the thread, "Brian Setze=
r=20
and the sick punk rockers" or even "thrifts" threads, of which there are man=
y=20
where we go on and on arguing between those of us who like to score at=20
thrifts and those of us who prefer to buy our music on CD.  It should then b=
e=20
clear that the concern over the "death of lounge" has to do with the=20
availability of this music on CD for those of us who prefer buying CDs.=20
=20
 You missed my entire thesis completely, but I did enjoy reading your=20
comments.
=20
 Sincerely,
=20
 Michele Galassi
 Organ and Bongos


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End of exotica-digest V2 #483
*****************************