stylishness and taste stand the test of time. However ingenuous or quirky
the electronic patches may sound, they never draw attention to themselves,
but rather illuminate the music's structure and emotional quality. For the
new 'SWITCHED-ON BACH SET' (East Side Digital ESD, out now), all the music
has been painstakingly remastered from the original source tapes. Two
extensive booklets tell you everything you need to know about how these
recordings came about, the evolution of Carlos' studio, and much more. The
fourth disc in this deluxe box set is an enhanced CD including MIDI files
of Carlos' Bach performances and a virtual analog synthesizer for home
computers. In sum, a delight for ears and eyes, and an ideal holiday gift
for music loving tekkies. (Distler)
5. ELECTRONIC CD OF THE WEEK:
The album's cover art is a picture of a naked action figure, photographed
at a close proximity that simultaneously exaggerates the imperfections of
the plastic mold (a distinct head seam, a replicant's complexion) and yet,
somehow, seems uncomfortably lifelike: this is a "boy toy" in two very
different ways. As a result, don't be embarrassed if you mistook, at first
glance, the packaging of DEEPFRIED TOGUMA's album 'THE HI-FI COMPILATION'
(Plasma/Pagoda, out now) for yet another CD souvenir of some hedonistic
globetrotting house party. Don't let the title confuse you either; despite
the word "compilation," this is a singular effort. Deepfried Toguma is the
unfortunate name of an otherwise stylishly accomplished Danish trio that
specializes in loungey electronica: somnolent beats supporting romantically
inclined melodic cues. The group consists of producers Frithjof Toksvig and
Martin Lind, plus vocalist El Dub -- not that there's much vocalizing on
'The Hi-Fi Compilation,' aside from a William S. Burroughs sample that's
been slowed down so much that although his gargle remains familiar, his
words are almost indiscernible. (On the rare occasion that a voice does
appear -- the track "Mellow Pitbull," for example -- it's a bit of a shock,
as though someone suddenly turned on the light in a club.) From the punchy
keyboards and understated guitar of "Suiso" to the pulsing rhythm of "Merci
Simca," this is the sort of lush background music that often gets ignored
by electronic-music fans in favor of aurally abrasive experimentalism. But
there's no absence of rigor here -- only a resolute aesthetic could form so
distinct a sound from such varied sources. (Weidenbaum)
This week's epulse8 contributors: Jed Distler, Marc Weidenbaum. [!]
___________________________
SUBSCRIBING, RULES, ETC.
Who, what, where, when, how and more boring, legal stuff
epulse is the weekly ezine published by Tower Records/Video.
To subscribe to epulse, send the message "subscribe epulse-L" to the
address: majordomo@sna.com.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 22 Nov 1999 09:43:34 -0000
From: G.R.Reader@bton.ac.uk
Subject: (exotica) FW: Angus
From a friend, thought it would interest some people on the list.
> This looks interesting, it is from the mailing list of a record shop =
in
> the
> states that I get all my TG stuff from.
>=20
> * Angus Maclise "Invasion of the Thunderbolt Pagoda" CD=20
> $12.99 "The late percussionist and poet Angus Maclise was=20
> pure '60s free spirit all the way. A founding member of the Velvet=20
> Underground (who quit as soon as he found out they were being paid to =
> play their first gig), Maclise's collaborators and compadres read=20
> like a Who's Who for the Halana generation: LaMonte Young, Marian=20
> Zazeela, Terry Riley, Tony Conrad, Henry Flynt, Jack Smith, Andy=20
> Warhol, Gerard Malanga and Ira Cohen. His intricate, India-influenced =
> drumming propelled any number of tranced-out jams in New York's lofts =
> of the era (a Milford Graves for the psychedelic set, if you will).=20
> Though he was meticulous about his recording, very little of=20
> Maclise's music has ever been made available. The vaults have been=20
> opened, and Invasion is the first authorized collection of Maclise's=20
> work to appear, with other volumes to follow. The 45-minute opening=20
> track, 'St. Marks Epiphany', provides an incredible glimpse of=20
> Maclise's music-his unstoppable cross-rhythms, his wife Hettie's=20
> droning organ and tamboura, and the crazed echoing flute and vocals=20
> from an ensemble known as the Mutant Repetoire Company, whose=20
> cacophony is rather like an unholy marriage between Amon D=FC=FCl 1 & =
Taj=20
> Mahal Travellers. Part of this piece was used as the soundtrack for=20
> Invasion of The Thunderbolt Pagoda (from which the CD's photos are=20
> taken), the masterful psychedelic film by Ira Cohen, photographer of=20
> Spirit's Twelve Dreams of Dr. Sardonicus and John McLaughlin's=20
> Devotion. The complete version of 'The Joyous Lake' - released long=20
> ago in excerpt form on a flexi-disc with an issue of Aspen magazine - =
> is heard here for the first time. There's also a wild piece for=20
> shortwave radios from one of Maclise's India excursions, a couple of=20
> other manic flute-and- drum workouts, and the delerious 'Lullabye',=20
> featuring Maclise on chimes with harmonium and guitar. What else is=20
> there to say? This is a remarkable and long overdue celebration of an =
> overlooked and necessary figure of the New York avant garde." - label =
> press release. Siltbreeze U.S. SB78
>=20
>=20
> sg
>=20
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 22 Nov 1999 11:44:16 +0100
From: Mo <exotica@munich.netsurf.de>
Subject: Re: (exotica) Tape echo
Kristjan Saag wrote:
> Mo wrote about echoing grooves on records:
>
> > It happens when the record is pressed: Before the hot soft
> > vinyl cools down, the parts pressed aside by the male groove of the matrix >move back a bit and transfer a bit of information to the neighbor grooves.
> ---
> Charlieman wrote:
>
> >This is exactly how it was explained to me. Like vinyl under
> >pressing-pressure oozing where it shouldn't.
> ---
> Still I can't figure this. Oozing vinyl doesn't contain sounds, the sounds are the waveforms that are cut in the grooves. When vinyl starts to ooze it has already lost shape and is unintelligible for the stylus.
Not oozing; it is trying to move back to its original form. Imagine the vinyl when it is hot and soft; the pressing matrix is pressing its male waves into it and is hereby not only compressing the vinyl into the
deep but also between the grooves. When the matrix moves out of the still warm and soft vinyl, this material between the grooves relieves the pressure by moving back to both sides in the direction of both grooves
before it gets cold and hard. The amount of pressure it still has and therefore the distance it moves back in this moment depends on the form of the grooves on both sides; if a neighbor groove for instance is
nearer, the pressure will be higher and the vinyl will move back further - in both directions! this way information is transferred from one groove to its neighbor groove.
The difference between a tape echo and a vinyl echo should be that one is stereo and the other mono.
Mo
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 22 Nov 1999 11:51:20 GMT
From: Peter Hipwell <petehip@cogsci.ed.ac.uk>
Subject: Re: SV: (exotica) The Sixth Sense
> From: Mo <exotica@munich.netsurf.de>
>
> and all of these records were really C.R.A.P.! And I also kind of know
> that none of you would have bought the truly great Bimbo Jet... because
> the cover looks too different from what you'd expect a record you might
> like would look like and your 6th sense wouldn't have told you what you
> will find in the grooves....
>
I bought it because the album it was on featured three dancing,
sweating cartoon thermometers on the cover, and the tracks/bands had
names like "Bimbo Jet", "Diabolic Man" and "Slag Solution" which have
a very peculiar effect in English: obviously no sane and rational
person could resist that!
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 22 Nov 1999 14:22:04 +0100
From: Mo <exotica@munich.netsurf.de>
Subject: Re: (exotica) The Sixth Sense
Peter Hipwell wrote:
> >Bimbo Jet...
>
> I bought it because the album it was on featured three dancing,
> sweating cartoon thermometers on the cover, and the tracks/bands had
> names like "Bimbo Jet", "Diabolic Man" and "Slag Solution" which have
> a very peculiar effect in English: obviously no sane and rational
> person could resist that!
Must be the same record with a different cover; can you tell me where or on
what label it came out? On mine you see the silouette of the first "invisible"
stealth bomber of the US and it's made in Canada.
Isn't "La Balanga" a killer track?
Mo
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 22 Nov 1999 14:51:55 +0100
From: "Kristjan Saag" <kristjansaag@swipnet.se>
Subject: (exotica) Re: Hit or miss?
Magnus Sandberg wrote (Nov 21):
>Yesterday I stood in a store holding three "10 records, but couldnt =3D
>decide if i should try them out, thought maybe someone could come with =
=3D
>some remarks on them.
>Les Paul and his trio "Hawaiian paradise" from -49 (may be the wrong =
=3D
>title, but as an explanation the cover was a stunningly beautiful =3D
>painting of tropical flowers) the label was Decca as i recall.
- ---
Les paul on Decca? There is a Les Paul compilation album on British =
Decca from 1968, but 1949 Decca? Les "Capitol" Paul?
Kristjan
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 22 Nov 1999 14:52:10 +0100
From: "Kristjan Saag" <kristjansaag@swipnet.se>
Subject: (exotica) Re: R Hayman-Voodoo
=20
At 08:02 PM 11/21/99 +0100, Kristjan Saag wrote:
>>Well, this is all a matter of taste, I guess, and I'm afraid the =
Shearing
>>covers will remain tasteless in most peoples eyes, as will most =
attempts
>>selling good music with the help of unclad ladies. The idea itself is =
so
>>shallow, it automatically tends to draw with it the shallowest of =
artists.
- ---
Nat Kone replied Sun, 21 Nov 1999 15:42:25 -0500:
>That's crap. First of all, George Shearing does have good records.=20
- ---
Certainly he does. He's one of my musical favourites. Didn't I say _good =
music_? The artists at issue here are those who make the covers, not the =
musicians.
- ---
=20
>And then there's that claim about "tasteless" and "shallow". I'm =
assuming
>by this, you mean any cover which "exploits" female beauty to sell =
>records./snip
>I don't know if your sense of shallowness or tastelessness is based on
>political correctness or not.=20
- ---
Certainly not. It's based on taste - an artistic dimension.
- ---
>If it turned out, I was in the minority here - even the minority on =
this
>list - I'd be surprised, but I wouldn't care. I find those shallow,
>tasteless covers to be absolutely beautiful.
- ---
I find tastelessness charming! I smile when I see those Shearing babes - =
but they remain tasteless. I also smile (and sometimes giggle) when I =
hear Les Baxters exotic orchestral adventures - because they are naive, =
and I love this naivety in music, especially when combined with good =
arrangements. I guess that's why we are all here, on the list. Part of =
us prefer Pleasantville to 1999 Manhattan.
Kristjan
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 22 Nov 1999 14:52:14 GMT
From: Peter Hipwell <petehip@cogsci.ed.ac.uk>
Subject: Re: (exotica) The Sixth Sense
> From: Mo <exotica@munich.netsurf.de>
>
> Peter Hipwell wrote:
>
> > >Bimbo Jet...
> >
> > I bought it because the album it was on featured three dancing,
> > sweating cartoon thermometers on the cover, and the tracks/bands had
> > names like "Bimbo Jet", "Diabolic Man" and "Slag Solution" which have
> > a very peculiar effect in English: obviously no sane and rational
> > person could resist that!
>
> Must be the same record with a different cover; can you tell me where or on
> what label it came out? On mine you see the silouette of the first
> "invisible" stealth bomber of the US and it's made in Canada.
>
I haven't got it here, but I'm pretty sure it's Spanish and on EMI.
> Isn't "La Balanga" a killer track?
>
Personally, I really go for "Slag Solution"; Hot Butter do a cover of
it on "More Hot Butter" as well.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
LONDON ûû Quentin Crisp, the eccentric writer, performer and raconteur best-known for his autobiography "The Naked Civil Servant," died Sunday after collapsing at a private residence. He was 90.
Crisp, who lived principally in New York City for decades, was in his native Britain to begin touring with a one-man show.
He collapsed at a private residence arranged by the Green Room Theater in the northwest England city of Manchester, where he was to begin appearing Monday night, said the theater's press manager, Christopher Hodgson.
A slight, dandified figure who wore makeup and high-heeled shoes and piled his white hair in bouffant waves on top of his head, Crisp made no secret of the fact that he was gay.
Born on Dec. 28, 1908, as Denis Pratt in Sutton, south of London, he worked as a commercial artist, part-time prostitute and art school model after leaving school. He declared his homosexuality in his 20s.
Crisp first stepped into the public arena with his 1968 autobiography, "The Naked Civil Servant," later adapted for television. It was widely praised and sold well, but he began to receive anonymous threatening phone calls.
These intensified when the book was made into a film in 1975 with John Hurt as Crisp. By now, he was a cult figure û what he called "the mother superior of homosexuality."
November 22, 1999
Quentin Crisp, Writer and Actor on Gay Themes, Dies at 90
By ALEX WITCHEL,NYTimes
Quentin Crisp, the British-born writer, raconteur and actor who found fame at 59 when he published "The Naked Civil Servant," an account of his openly homosexual life in London, and who found happiness when he moved to New York at 72, died yesterday in Manchester, England. He was 90.
Crisp was in Britain for a new run of his one-man show "An Evening With Quentin Crisp," which was to have opened Monday.
The flamboyant Crisp gained attention in the United States in 1976 when a dramatized version of "The Naked Civil Servant," starring John Hurt as Crisp, was shown on American television to enthusiastic reviews. In The New York Times John J. O'Connor wrote that it was "a startling, thoroughly fascinating portrait of one of those exotic creatures who adamantly refuse to behave 'properly' in this world, thereby making the rest of us examine our own behavior to a closer and often more valuable extent."
A resident of the East Village since 1977, and of the same single-room-occupancy building on Third Street since 1981, Crisp was a neighborhood celebrity known for his wardrobe of splashy scarves, his violet eyeshadow and his white hair upswept α la Katharine Hepburn and tucked under a black fedora. His nose and chin were often elevated to a rather imperious angle, and his eyebrows were painstakingly plucked. When he played the role of Queen Elizabeth I in Sally Potter's 1993 film "Orlando," Village residents bowed before him on the sidewalks as he passed.
He was so well known for the prickly wit that earned him comparisons to Oscar Wilde that he regularly received mail addressed to "Quentin Crisp, New York City, America." After a lifetime of being pointed at, snickered at, even spat at, Crisp learned to welcome attention, even to court it.
Quentin Crisp was born Denis Pratt on Christmas Day, 1908, in Sutton, a London suburb. He was the youngest of four children born to a lawyer and a former nursery governess. In "The Naked Civil Servant," Crisp, who changed his name as an adult, wrote of a tortured upbringing and young adulthood at the hands of a vociferously homophobic society. But rather than live unobtrusively, he decided in his early 20's to dedicate his life to "making the existence of homosexuality abundantly clear to the world's aborigines."
He made a career of flaunting his effeminate manner and dressing in women's clothing, and for such provocations, he would be rejected and even physically assaulted. "I suppose it's logical," he said. "I abuse them, they defile me."
Unable to find employment in 1930's London, he resorted to prostitution. With his mother's help he eventually found work as a book illustrator before beginning to model nude in subsidized art schools on a government stipend, hence the title of his autobiography. "Maybe it's true that artists adopt a flamboyant appearance," he once observed. "But it's also true that people who look funny get stuck with the arts."
Crisp performed "An Evening With Quentin Crisp" Off Off Broadway at the Players Theater in 1978, and it earned him a special Drama Desk Award for Unique Theatrical Experience.
Richard Eder, reviewing the production for The Times, said Crisp had offered "a witty, touching and instructive evening," adding: "Despite his extravagances, perhaps because of them, there is nothing sectarian about Crisp. Both in words and in his fussy, faintly self-mocking gestures, he asserts his identity. But what he draws out of it is universal: gaiety -- in the original sense of the word, for once -- and themes common to all of us: the need for courage and individuality, and the ground of tragedy on which they are exercised."
Among his books are "How to Have a Lifestyle" (Methuen, 1979), "How to Become a Virgin" (St. Martin's, 1984) and "Resident Alien" (Alyson Publications, 1997), a compilation of his pieces for New York Native, the gay newsmagazine.
Crisp was famous for never turning down a party invitation or a free meal. But despite his gregarious social nature, he was fond of claiming that he had never fallen in love. "You can fancy someone, wish them well or enjoy their company," he said. "That's all I can do with anybody. But when Miss Streisand sings, 'People who need people are the luckiest people in the world,' she's being funny. When you need people, you're finished. I need people, but not any one person."
"A woman in England once told me, 'All people are the same to you.' But that's not true," he continued. "They're different but equal. I've spread my love horizontally, to cover the human race, instead of vertically, all in one place. It's threadbare, but it covers."
He leaves no immediate survivors.
Moving to the United States, Crisp maintained, was his proudest achievement. He loved Americans, he said, for "their belief that personality is the greatest power on earth." One anecdote he often told had him standing on Third Avenue, dressed and made up as usual when a passer-by stopped.
"When he noticed me, he said: 'Well, my! You've got it all on today!' And he was laughing. In London people stood with their faces six inches from mine and hissed, 'Who do you think you are?' What a stupid question. It must have been obvious that I didn't think I was anybody else."
As cherished a character as he was by many, Crisp had his detractors, especially gay men of younger generations who decried his claim that gay pride was an oxymoron. "It's not normal to be gay," Crisp said, "and I think it's very weird to think that it is."
"I don't know why gay people want to be separate but equal, anyway," he said in a 1997 interview. "That means they want to be cut off from nine-tenths of the human race. 'I have nothing in common with them,' they say. Why, you have everything in common but the funny way in which you spend your evenings."
His provocative comments aside, Crisp's homosexuality was always front and center in the way he lived, filtered through his particular mix of pride, anger and wit. "When I was coming to America," he recalled, "I went to the American Embassy in Grosvenor Square, and the man asked me, 'Are you a practicing homosexual?' And I said I didn't practice. I was already perfect."
November 22, 1999
Doug Sahm, Musical Voice of Texas, Dies at 58
By JON PARELES,NYTimes
Doug Sahm, a patriarch of Texas rock and country music, was found dead on Thursday in Taos, N.M., The Associated Press reported. He was 58 and lived in Austin.
A Taos police spokesman said he appeared to have died of natural causes. An autopsy was ordered.
Sahm had been making music since before the birth of rock 'n' roll in the 1950's. He played country, blues, honky-tonk, folk rock, Tex-Mex, rockabilly, swing and just about every other style that thrived near the Mexican border. Sahm had his biggest hits in the 1960's as the leader of the Sir Douglas Quintet, with "Mendocino" and "She's About a Mover," songs that transferred the pumping accordion chords of Tex-Mex to electric organ and helped to reshape American garage rock. In the 90's he sang and played with the Texas Tornados, an all-star band that won a Grammy Award in 1991 for Best Mexican-American performance.
Douglas Wayne Sahm was born in San Antonio and started making music before he could read. He learned to play guitar, steel guitar, fiddle and mandolin, and won a children's talent contest on KMAC in San Antonio, where he performed regularly for two years. He sat in with touring honky-tonkers including Webb Pierce and Hank Thompson. His mother made him refuse an invitation to the Grand Ole Opry radio show from Nashville, though he did appear on the "Louisiana Hayride" radio show before he was a teenager.
He made his first recording in 1955, a honky-tonk single called "A Real American Joe," under the name Little Doug and the Bandits; his voice had not yet changed. During high school he played guitar six nights a week at the Old Tiffany Club in San Antonio, soaking up blues and rhythm-and-blues. His next single, "Crazy Daisy" in 1958, reached local rhythm-and-blues charts, and "Why, Why, Why" in 1960 became a Top Five local hit. During the early 60's he worked in Texas and California, mixing blues, rhythm-and-blues and Tex-Mex music and making more regional hits, including "Crazy, Crazy Feeling."
In 1964, as the Beatles led the British Invasion into American pop, Sahm created a pseudo-British band: the Sir Douglas Quintet, including Augie Meyer on Vox electric organ. Recording in Houston with the producer Huey P. Meaux, they had a national hit with "She's About a Mover," and followed it up with "The Rains Came." Despite the band's British fashion sense, the music was unmistakably Tex-Mex. The group toured the United States and Europe and appeared on pop television shows including "Shindig," "Hullabaloo" and, in Britain, "Ready, Steady, Go."
Sahm moved to Northern California in 1966 with a new quintet (minus Meyer) that performed regularly at the Avalon Ballroom in San Francisco. The band signed with Mercury Records; by then it had absorbed some psychedelia along with its blues, country and Tex-Mex material. Meyer rejoined the group in late 1968, and it recorded "Mendocino," its last major national hit.Sahm also produced albums for the blues singer Junior Parker and for a Mexican-American group in California, Louie and the Lovers.
Sahm returned to Texas in 1971 and temporarily retired the Sir Douglas name. His 1973 album, "Doug Sahm and Band," featured a guest appearance by Bob Dylan, who wrote "Wallflower" for the album. Sahm's 1974 album, "Groovers Paradise," used the rhythm section from Creedence Clearwater Revival.
Sahm was settling into a role as a voice of Texas. He sang about Texas cities and memories, he named his band the Texas Tornados and he used album titles like "Texas Rock for Country Rollers." By the mid-70's the "cosmic cowboy" movement was coalescing around Austin, Tex., mixing down-home music with hippie vagaries, and Sahm was right at home in it; he was a regular performer at Armadillo World Headquarters in Austin.
New-wave rockers, particularly Elvis Costello and the Attractions, revived the sound of organ-driven Tex-Mex rock in the late 70's. Through the 80's Sahm and Meyer toured with a reconstituted Sir Douglas Quintet that also included Sahm's son Shawn on guitar. Their 1981 album, "Border Wave," flaunted their role as precursors of new-wave rock. The quintet toured the United States and Europe through the 80's. Sahm released albums in Europe, including one of rockabilly songs with the Texas Mavericks and 50's Tex-Mex songs with Mexican musicians. He produced an album for Meyer of straightforward Mexican conjunto music.
In 1986 a visit to Vancouver led Sahm to assemble a group called the Formerly Brothers; their album of Cajun and country songs won a Juno Award, Canada's equivalent of the Grammy Awards.
In 1989 a concert in San Francisco brought together the Texas Tornados: Sahm, Meyer, the Mexican-American singer Freddy Fender and a top conjunto accordionist, Flaco Jimenez, backed by musicians from Mexico and Texas. The band leaders took turns singing lead vocals and did not appear together on most of the album's songs, but the album won a Grammy.
The group made follow-up albums in 1991 and 1992 before disbanding; it also released Spanish-language versions of its songs. The Tornados regrouped to perform in Austin to make "Live From the Limo," which was released in July. Sahm had recorded an album of country songs, due for release in March, called "The Return of Wayne Douglas."
In addition to Shawn, Sahm is survived by another son, Shandon, and a daughter Dawn; a brother, Victor; and two grandchildren.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 22 Nov 1999 11:23:22 -0500
From: Brian Phillips <hagar@mindspring.com>
Subject: Re: (exotica) Re: R Hayman-Voodoo
Well, it's not Voodoo, but I was listening to a Dr. Demento interview with
Tom Lehrer. There were four songs of his that were recorded with an
orchestra to be released as singles, of which I have heard three,
"Masochism Tango", "Poisoning Pigeons in the Park" and "The Hunting
Song"(which was unreleased). According to the interview,
1. The singles that were released did well in the UK but not in the US,
because US radio wouldn't play them.
2. The orchestrations were by Richard Hayman!
Brian Hay...Phillips
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 22 Nov 1999 11:40:31 -0500
From: "Rajnai, Charles, NPG" <crajnai@att.com>
Subject: RE: (exotica) FWD: KKK on 78rpm?
>=20
> Someone sent me this message:
>=20
>=20
> > I have a record (78 RPM) with a label that reads KKK and a=20
> cross on fire
> > beside it.
> > The name of the song is "The Bright Firery Cross." Sung by=20
> 100% Americans
> > acc. by Och.
> > I am trying to find the worth of this record and wondering=20
> if you have any
> > suggestions.
> >
>=20
> Can anyone help?
>=20
> Marco
I'll send you a can of lighter fluid and a match....
visit=20
THE BRIMSTONES Eternal Surf and Garage Damnation=20
