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exotica-digest        Tuesday, January 11 2000        Volume 02 : Number 591



In This Digest:

RE: (exotica) burning idea
(exotica) Nancy In London
(exotica) Wimoweh
Re: (exotica) Wimoweh (was: Eno)
(exotica) is this three suns -ish?
Re: (exotica) exotica questionaire
Re: (exotica) Wimoweh (was: Eno)
Re: (exotica) is this three suns -ish?
Re: (exotica) Wimoweh (was: Eno)
Re: (exotica) Wimoweh (was: Eno)
Re: (exotica) Wimoweh
Re:  Re: (exotica) Wimoweh (was: Eno)
(exotica) Cugie
Re: (exotica) Wimoweh
(exotica) Multi-Post(tm)
(exotica) So I lied...
(exotica) RE: soft pop qualities
(exotica) Re: Sway
Re: (exotica) Anita Kerr
Re: (exotica) Anita Kerr
(exotica) Lo Bue's Dennys Pix
Re: (exotica) Re: Sway
(exotica) San Fran gigs
(exotica) Tiki TV
Re: (exotica) Brass Ring Remix
(exotica) [obit]Robert McGill Thomas Jr.
Re: (exotica) [obit]Robert McGill Thomas Jr.
Re: (exotica) [obit]Robert McGill Thomas Jr.
(exotica) soft pop qualities

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

Date: Mon, 10 Jan 2000 13:02:32 -0800
From: "Benito Vergara" <[e-mail]>
Subject: RE: (exotica) burning idea

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of Nat Kone
> Sent: Saturday, January 05, 1980 3:23 PM

> So that Tommy Roe and the Sandpipers might be soft pop but The Association
> would be sunshine pop.
> I think that would actually be a worthwhile distinction.

The babadaba rule works pretty well. As a result (correct my ramblings if
I'm wrong):

Soft Pop (woops, almost wrote "soft poop" back there): The Poppy Family, but
not the Cowsills?

It's A Beautiful Day may be considered psych because of their Fillmore
associations, but they were definitely soft pop.

And Bread was definitely soft pop, despite their hippie/folk leanings.

If the Sandpipers are soft pop, then the Lettermen, who were a tad more
hard-edged than the 'pipers (hard to think about them that way) are probably
closer to -- well, I don't know. (Which reminds me: their Vegas medley of
"Goin' Out Of My Head / Can't Take My Eyes Off You" is surely the best
rendition ever of "Goin' Out Of My Head," with the exception of Richard
Hayman's. It's such a wonderfully... earnest version.)

And is there a specific time period for this? Does it stretch to, say,
Melanie? Or, even further, Tiffany? (Nah, the latter's definitely
bubblegum.)

Just rambling,
Ben

http://www.bigfoot.com/~bvergara/
ICQ# 12832406





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

Date: Mon, 10 Jan 2000 16:21:24
From: [e-mail]
Subject: (exotica) Nancy In London

On Mon, 10 Jan 2000 11:40:25 -0500, [e-mail] (Mimi Mayer) wrote:

>Thanks, jschwart, for speaking your piece. If I still had Nancy in London
I'd send it your way. Mimi

Thanks all the same but I do have that one anyway. It's probably one of her
weakest albums. I'll agree that hearing it was a major letdown in contrast
to the promising album cover.



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

Date: Mon, 10 Jan 2000 22:50:21 +0100
From: Ton Rueckert <[e-mail]>
Subject: (exotica) Wimoweh




I don't know how many of you are familiar with the British comedy show
"I'm sorry I haven't a clue" (ISIHAC), it's a hilarious show with items
such as the inexplicable game "Mornington Crescent" (MC), "One song to the
tune of another" (1STTTOA, the Xmas show had a round of free mudslinging
at Sir Cliff by doing Bachelor Boy to the tune of Auld Lang Syne and the
other way around as well) and "Pick up song" (PUS), where members of the
panel sing along with a song, then the volume is turned down, and they have
to try to be in sync when the volume is turned up again. One of the glorious
moments of this game was Jeremy Hardy's version of Wimoweh, with the rest of
the panel joining in on the Wimoweh's.
I've sent it to Johan a while ago and have now put it on my site for your
listening pleasure...: http://www.plex.nl/~mojoto/jeremy_lion.mp3

Cheers, Ton





 *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ***
 *** Ton Rueckert   Mozartstraat 12  5914 RB Venlo   The Netherlands ***
 *** [e-mail]   http://www.plex.nl/~mojoto   Ph 31/0 773545386 ***
 *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ***
 ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~
 ~~~ ~~~     Beware! Your bones are going to be disconnected.    ~~~ ~~~
 ~~~  http://www.geocities.com/BourbonStreet/4264/music/Xbe3975.ram  ~~~
 ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~


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

Date: Tue, 11 Jan 2000 08:56:12 +1100
From: Philip Jackson <[e-mail]>
Subject: Re: (exotica) Wimoweh (was: Eno)

on 11/1/00 3:04 AM, Lou Smith at [e-mail] wrote:

>
> The Tokens' version was far from the original. Citizen, do you have the
> track list to the Wimoweh episode of Secret Museum handy? That was a
> fascinating show -- it would be great if it was archived on-line so everyone
> could hear it.

This from the back of a Pete Seeger album.

"Wimoweh comes from South Africa. I learned it from one of a batch of
phonograph records loaned me by Alan Lomax who found them in the New York
office of Decca records. It was a pop hit in Johannesberg in the Forties
recorded by Solomon Linda and his Evening Birds, a quintet of men who sang
unaccompanied, in the traditional Zulu fashion...."

Philip




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

Date: Mon, 10 Jan 2000 16:53:58 CST
From: "carrie mazzucca" <[e-mail]>
Subject: (exotica) is this three suns -ish?

hi

i picked up the grand award "hammond organ spectacular" this weekend, (a
mere .20 cent investment) and am mesmorized by the sound this super lp has.
it seems to have that rare sound similar to the three suns. did the boys
work with enoch light at all. (the liner notes are no help) they just
mention the band as "the specataculars" probably a made up name enoch light
used that day. the arrangements are great.

look for it though, its a gem

carrie
______________________________________________________
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------------------------------

Date: Mon, 10 Jan 2000 18:38:41 EST
From: [e-mail]
Subject: Re: (exotica) exotica questionaire

 1. Are you a musician? Explain...

Not really, but I can sing and I am going get some formal instruction in a
few weeks.


 > 2. Space-age/exotic LP/CD that turned you on to this?

Pretty much capitol's ultra lounge series is what got me into this stuff.

 >
 > 3. This list could help you more by...

I could learn things from all you knowledgeable folks. Maybe I'll even
contribute once in a while.
 >
 > 4. Other exotica/things you collect

I would do that too, but don't have the room and/or knowledge of where to
look.
 >
 > 5. Unrelated music genres/acts you like:

Well, pop vocal/standards type music in my favorite. Sinatra, Nat Cole, Keely
Smith, Julie London, etc.  I also like jazz and big band stuff too.
everything else is somehow related directly or indirectly to this list I
guess. You know, stuff like Henry Mancini, Nelson Riddle, Martin Denny and so
forth.

 >
 > 6. What are you just dying to tell us?

???????
 >
 > 7. Own a fez?  If so, what color, texture and tassel color? Describe it
 > or
 > > other lounge-wear of which you are proud?
 >

 I own one Hawaiian Shirt.
 >
 > 8. Shaken/stirred?

Stirred.  I  like Martinis...
  >>


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

Date: Mon, 10 Jan 2000 18:05:23 -0500
From: [e-mail] (Mimi Mayer)
Subject: Re: (exotica) Wimoweh (was: Eno)

So were the Tokens African? Please wise ones speak up! Thanks, Mimi




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

Date: Mon, 10 Jan 2000 18:31:14 -0500
From: [e-mail] (Mimi Mayer)
Subject: Re: (exotica) is this three suns -ish?

At 4:53 PM 1/10/0, carrie mazzucca wrote:
\
>i picked up the grand award "hammond organ spectacular" this weekend, (a
>mere .20 cent investment) and am mesmorized by the sound this super lp
>has....the arrangements are great.

Agreed, Carrie. Plus this LP has one of the BEST cover illustrations...a
tuxedoed guy lighting a smoke while a redhead in a cocktail dress seated
before him benignly smiles into the middle distance. People have actually
offered me $$ for it on the basis of the cover alone. Anyone have a scan of
the art on a website?  I'd not made the Three Suns connection, but you're
right. Clarifies why there's nothing on the jacket about "The
Spectaculars." The song list is rather Sun-ish too: Song of India, Pennies
from Heaven, if I recall correctly. Mimi




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

Date: Mon, 10 Jan 2000 19:23:40 -0500
From: Citizen Kafka <[e-mail]>
Subject: Re: (exotica) Wimoweh (was: Eno)

Thanks, Lou,

1) trying to set up an archive at the secret museum site...

2) imbobe (spelling questionable): at least 3 takes known, great
interesting story, the "melody" of lion sleeps tonight ("in the jungle
etc.") was one improvised phrase on one of the takes!  Lots of tales of
the copyright issues of the song and lyrics, involving gordon jenkins,
blah blah.

3) there is no #3.

ck


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

Date: Mon, 10 Jan 2000 18:23:03 -0600
From: Brian Phillips <[e-mail]>
Subject: Re: (exotica) Wimoweh (was: Eno)

>So were the Tokens African? Please wise ones speak up! Thanks, Mimi

No.  They were a pop combo from Brooklyn.  See a picture of them here:
http://allmusic.com/cg/x.dll?UID=7:12:38|PM&p=amg&sql=A203721

Like "Rockin' Robin", "The Lion Sleeps Tonight" was a song that was a hit
several times over.  The Weavers, The Tokens (twice!  Once in the sixties,
again in the seventies).  My favorite version can be heard at the beginning
of the film "Coming to America", performed by Ladysmith Black Mambazo.  I
have not heard the Solomon Linda and his Evening Birds version (thanks Mr.
Jackson), but I am guessing that LBM's version is similar.



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

Date: Mon, 10 Jan 2000 20:37:44 -0500
From: Lang Thompson <[e-mail]>
Subject: Re: (exotica) Wimoweh

>"Wimoweh comes from South Africa. I learned it from one of a batch of
>phonograph records loaned me by Alan Lomax who found them in the New York
>office of Decca records. It was a pop hit in Johannesberg in the Forties


I wonder if this means that it in fact was NOT a folk song but a pop song
that Americans (or at least Lomax & Seeger) thought was a folk song.  This
seems to happen much more often than most people would think since
ethnomusicologists and/or folk music collectors tend to have a sparse
knowledge of pop music.  (There's a funny story in one of Robert Cantwell's
books about a conference he attended where some musicians performed an
ancient folk song they'd just collected but apparently only Cantwell
realized that it was actually a Tin Pan Alley tune.)

LT
Full Alert Film Review
http://wlt4.home.mindspring.com/fafr.htm

Funhouse
http://wlt4.home.mindspring.com/funhouse.htm


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

Date: Mon, 10 Jan 2000 20:45:45 EST
From: [e-mail]
Subject: Re:  Re: (exotica) Wimoweh (was: Eno)

In a message dated 1/10/0 6:51:37 PM, [e-mail] wrote:

>So were the Tokens African?

actually they were vocal group originally formed as the Linc-Tones at Lincoln
High School in Brooklyn in 1956. They consisted of Hank Medress, Neil Sedaka,
Eddie Rabkin, and Cynthia Zoitlin. First recorded for Melba in 1956, then
Rabkin was replaced by Jay Siegel in the same year. Zoitlin and Sedaka left
in 1958, Sedaka obviously for bigger and better Brill Building oriented work
and a slew of mega-pop solo hits. Medress then formed Darrell and the Oxfords
briefly, but in 1959 he reformed The Tokens with brothers Phil and Mitch
Margo. They recorded for Warwick in 1960 ("Tonight I Fell In Love"). They
formed their own label, B.T. Puppy, in 1964. Medress later produced Tony
Orlando and Dawn and then left The Tokens who continued as a trio and
recorded through 1973. "Its A Happening World" is a biggie in the Japanese
Soft Pop world.


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

Date: Mon, 10 Jan 2000 17:48:46 -0800
From: "Stephen W. Worth" <[e-mail]>
Subject: (exotica) Cugie

>Date: Sat, 8 Jan 2000 15:49:52 -0500
>From: Ross 'Mambo Frenzy' Orr <[e-mail]>
>Subject: Re: (exotica) Bring back...

>The LP on the top of the stack at Casa Mambo this month is Xavier
>Cugat's _Bang Bang_ (Decca)--a record that unfortunately, I'm finding
>it a little hard to describe.
>It's nothing like Cugat's earlier LPs (generally bland IMHO)

It's impossible to generalize about Cugat's records because he went
through so many different periods. While Prez Prado hewed to the
same sort of blaring brass big band sound throughout his career,
Cugat reinvented himself every decade. The early stuff alternates
between authentic sounding Cuban rhythms and 40s big band with
girl singers. When mambos became the rage, he put out stuff that
rivals Prado for wildness. In the mid-fifties, he explored tangos,
and later drifted into the easy listening genre. Towards the end,
he was doing goofy cha cha adaptations of classical music and
60's pap. The best stuff is the 40s and early 50s stuff when he
was at the peak of his success.

See ya
Steve

      Stephen Worth
      [e-mail]

      The Web: http://www.spumco.com
      Usenet:  alt.animation.spumco
      Palace:  cartoonsforum.com:9994

      Spumco International
      415 E. Harvard St. Ste. 204
      Glendale, CA 91205



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

Date: Mon, 10 Jan 2000 21:00:55 -0500
From: Citizen Kafka <[e-mail]>
Subject: Re: (exotica) Wimoweh

to repeat; the 'melody' of the song (in the jungle the ... jungle the
lion sleeps tonight) was an improvised single phrase which appears once
in one out of three takes they recorded (very different, different
instrumentation). And, simply a melodic musical line - no lyrics.

the gist of the song is a paean to the lion, so the words are not too
far from reasonably matched to the song.

ck


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

Date: Tue, 11 Jan 2000 13:11:02 +1100
From: "Keith E. Lo Bue" <[e-mail]>
Subject: (exotica) Multi-Post(tm)

OK, here's several nuggets in one post to save room for those who are more
deserving...

Firstly, I've been away from a computer most of December, so I was surprised
to hear Jill had 'gone.'  Did she give a reason?  Unhappy with the list it
sounds like?

Well, let me be the one to thank EVERYONE who posts to this list, because
stuck as I am here in Sydney with all of my belongings held up (3 months on)
by Customs in port, this list has been my skinny, multi-hued,
fun-packed(mostly), high-tensile LIFELINE to the world I love!  Trust me,
Maestro, its breadth is its strength.  Sure the list will drop some lifers
(I'll missya Jill) and pick up some newbies.  But it is by far and away the
least specialized list devoted to a specialized audience I've ever found on
the net.  I've been turned on to innumerable cool-ass things thru
suggestions made here, and I thought myself pretty damn educated in fringe
musics. Hah!  The fringe by definition defies education, as Citizen Kafka
and I wrote to each other privately.

Jumping track totally, I've been interested to read how many of you file
your collections. Well, I've got a great opportunity to let you
'alphabetized' folks win me over (when my shit arrives I'll have to set it
up!), but I'm a strong proponent, like Nat, in filing by genre.  I often
stomp over to my CD rack and grab 5 without looking, but reaching towards
areas I'm in the mood for...this way I've got that great randomness, but in
the styles I wanna hear.  Anyway, if I alphabetized, I'd break up the 100
beautiful spines that demarkate my own vinyl-to-CD collection, "ELECTRONIC
POP MUSIC".  Now, who'd want to do that to a guy?

Thanks, again everyone.

Keith

*******************************
http://www.lobue-art.com
The Artwork and Workshops
of Keith E. Lo Bue
*******************************




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

Date: Tue, 11 Jan 2000 13:16:37 +1100
From: "Keith E. Lo Bue" <[e-mail]>
Subject: (exotica) So I lied...

One more thing!

Douglas Leedy's "A Very Merry Electric Christmas to You"  is a great
Christmas record.  His other recordings were dry and academic, but here he
cheeses things up a bit.  It ends with a really quiet mock-regal carol to
put you off into electro-dreamland.

Keith

*******************************
http://www.lobue-art.com
The Artwork and Workshops
of Keith E. Lo Bue
*******************************




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Date: Mon, 10 Jan 2000 21:22:47 -0500
From: Nat Kone <[e-mail]>
Subject: (exotica) RE: soft pop qualities

At 01:02 PM 1/10/00 -0800, Benito Vergara wrote:
>
>The babadaba rule works pretty well. As a result (correct my ramblings if
>I'm wrong):
>
>Soft Pop (woops, almost wrote "soft poop" back there): The Poppy Family, but
>not the Cowsills?

Just when you think you've got a handle on the terms, some guy comes along
and tries to confuse you.
The Cowsills ARE soft pop.  They're soft pop because they have tons of
bababada choruses, their lyrics are concerned with soft pop issues, they
can sing but they can barely rock and most importantly, they're soft pop
because everyone says they are.
The Poppy Family, on the other hand are NOT soft pop because they actually
can rock and virtually all the singing is handled by one person with very
little vocal arranging or harmonies.
(BTW, the Poppy Family were a lot more interesting than I once thought.
They had a tabla player, lots of sitar and some really wild, cool exotic
rock.)

>It's A Beautiful Day may be considered psych because of their Fillmore
>associations, but they were definitely soft pop.

Hmmm. Now you're forcing me to remember what they sounded like and that's
hard to do when I'm already confused. I'd say they're borderline soft pop.
I seem to remember that their lyrics might have resembled soft pop but not
their singing.  And didn't they have a violin player or something?
I thought they had a bit of a "jam band" thing going, sort of Dead-ish.
I'm bringing down the gavel on this one and saying "No" to the soft pop
monicker.

>And Bread was definitely soft pop, despite their hippie/folk leanings.

You're forcing me to split hairs.  Bread resembles soft pop in that it's
both pop and soft, but no, I wouldn't call Bread soft pop.  And it's partly
because David Gates handled most of the vocals and there wasn't a lot of
bababada going on.

The term "soft pop" as it's used now, does not include everything that is
soft and pop.

>
>If the Sandpipers are soft pop, then the Lettermen, who were a tad more
>hard-edged than the 'pipers (hard to think about them that way) are probably
>closer to -- well, I don't know.

First of all, the esteemed soft pop archivist Jimmy Bee calls the
Sandpipers soft pop.  But unfortunately that don't make it so.
I personally think the Lettermen qualify as soft pop more than the
Sandpipers because their harmonies are more softpoppish but I don't think
either of them quite reaches the soft pop threshold.

You could make a soft pop tape and sneak on a Sandpipers or Lettermen tune
but that doesn't make them "real" soft pop.  And it's partly because
well... they didn't try hard enough to pretend to be hippies.
But it's also a matter of sound and harmonies and tunes.
And then there's that whole folk thing.
>And is there a specific time period for this? Does it stretch to, say,
>Melanie? Or, even further, Tiffany? (Nah, the latter's definitely
>bubblegum.)

Yes there's a time period.  67 to 73?
Melanie fits the period but not the style.  Too folky.
Tiffany fits neither the period nor the style.

This stuff has been identified by a certain group of "contemporary"
musicians who were specifically influenced by it.  So the fact that it's a
narrow, idiosyncratic genre which really didn't exist per se when it was
actually being produced, doesn't really matter.
I would say that the reason it's hard to identify is because the genre
really doesn't exist.  On the other hand, there's a bunch of bands that
kind of fit together and the term works for me.

Nat



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

Date: Mon, 10 Jan 2000 21:36:56 EST
From: [e-mail]
Subject: (exotica) Re: Sway

<< >Anyone an idea on the definitive version? >>

Check out Perez Prado's insane twisterific take on the tune from "Twist Goes
Latin"!    It's certainly not a definitive version but it is a major gas.


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Date: Mon, 10 Jan 2000 21:40:29 -0500
From: Elisabeth Vincentelli <[e-mail]>
Subject: Re: (exotica) Anita Kerr

Were these notes written by Stan Cornyn by any chance? They look like
something he would have done.

Elisabeth

> From: Nat Kone <[e-mail]>
> Date: Mon, 10 Jan 2000 15:05:04 -0500
> To: Exotica mailing list <[e-mail]>
> Subject: (exotica) Anita Kerr
>
>
>> From the liner notes to "And Now from.. The Anita Kerr Orchestra".
>
> "Anita Kerr is a tiny little lass.  Nice, like tiny littles are supposed to
> be nice.  Young and maybe a little shy.  She has a soft little voice.  And
> if a drummer asks her what he's supposed to play from bar ten to fourteen,
> this tiny little cuddly thing will bend over her score for a moment,
> smelling of lilac you can bet.  And then, in her soft little voice, like
> pretty Miss Amy Jensen who taught you fingerpainting, she'll say "Why
> not..." and then she'll pause, as if she's afraid to hurt anyone's feelings
> and then say very, very slow... "Why don't we try triplets there?"
> And the odd thing is, nobody giggles when she says it.
> Because she's Anita Kerr, the Indira Ghandi of the music world."
>
> Get it straight, is she Indira Ghandi or is she Claudine Longet?
> And who's Miss Amy Jensen?



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Date: Mon, 10 Jan 2000 21:59:34 -0500
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) Anita Kerr

At 09:40 PM 1/10/00 -0500, Elisabeth Vincentelli wrote:
>
>Were these notes written by Stan Cornyn by any chance? They look like
>something he would have done.

I'm impressed.  I know he did a lot of them and I've read discussions of
his style but still, spotting a liner note "auteur" is mighty impressive.
Especially for someone whose always going "Wait a second.  I know this
song.  What's this called?  Damn, this is going to bother me".

Nat



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Date: Tue, 11 Jan 2000 13:57:19 +1100
From: "Keith E. Lo Bue" <[e-mail]>
Subject: (exotica) Lo Bue's Dennys Pix

Best act (artist or group)

In the vaguely mainstream area, Stereolab still takes the krown for me.
I've watched them grow from clanging joyful-noise monochord pop to
sophisticated, intricately arranged clanging joyful-noise multichord pop.
And in 6 short years.

Best new album (not re-release; not compilation; not
soundtrack)
Hands down, this one goes to The Tape-beatles and their new release, "Good
Times."  Anyone on this list who hasn't heard what they do with 50's
corporate-training and commercial-jingle pap will have to run screaming to
get "Music with Sound".  Good Times is a heady swirl of appropriated vinyl
and TV sound, hilarious and tragic all at once.  The only ones in the
cut-n-paste genre who can really move you to tears.  Check out their site at
http://soli.inav.net/~psrf


Best re-release (legitimate or bootleg)
Ferrante & Teicher's gorgeous, spine-tingling prepared piano outer-spaced
"Heavenly Sounds in Hi-Fi" from 1958 has been reissed under the limp name
"Easy Listening Favorites"...for about $4 NEW!!  Essential stuff, and in my
opinion, the best they ever did.

Best retrospective - single artist/act
Red House Painters 2 disc set.  They really picked the good stuff for this
comp.

Best compilation - various artists
Was "Warp Back to Earth" from '99?  That would be it if it is.

Best box set - single or multiple artists
My own 7 disc set of the complete prepared-piano works of Ferrante &
Teicher!  Had to choose this, since I'm too poor to buy much music anymore.

Best soundtrack (new or re-release)
Score to the Brothers Quay's "Institute Benjamenta" by Lech Jankowski; or
"Thin Red Line" soundtrack, if only because it reminds me of the best war
film ever made (IMO).

Best new act (artist or group)
Ryoji Ikeda's stuff.

Big Kahuna Achievement Award
Me for surviving a move overseas (barely)

Golden Album Award
Walter Sear's "The Copper-Plated Integrated Circuit", possibly my favorite
electronic pop LP ever.

God, did I ever violate my condensed-posting dictum!  Enuf already.

Keith

*******************************
http://www.lobue-art.com
The Artwork and Workshops
of Keith E. Lo Bue
*******************************




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Date: Mon, 10 Jan 2000 23:22:39 -0500
From: cheryl <[e-mail]>
Subject: Re: (exotica) Re: Sway

>Anyone an idea on the definitive version?

I've never heard the "original" version of this song, but I'm surprised
that no one has mentioned the Rip-Off Artist's remix of Dean Martin &
Julie London on "Electro Lounge".  I had assumed Dean Martin & Julie
London had recorded it together as a duet originally - which seems to be
a wrong assumption.  This makes the remix even more interesting...

It's my favourite song on the Electro Lounge compilation, and well up
there on the CD player rotation these days...


cheryl


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Date: Tue, 11 Jan 2000 01:15:05 EST
From: [e-mail]
Subject: (exotica) San Fran gigs

Just to let everyone know

I have ended my run at the LiLo Tiki bar on Potrero Hill in SF
I did the first Thursday of the month there for about a year

Mike LaVella also ended his Sunday night there in early Dec

I will continue to do the last Tuesday of the month at the Beauty Bar
(Mission at 19th)
and my posse handles the earlier Tuesdays there


aloha
Otto
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Date: Tue, 11 Jan 2000 01:15:01 EST
From: [e-mail]
Subject: (exotica) Tiki TV

Did anybody see

Ladies Man
CBS 8:30 (Los Angeles) on Mondays

better yet anybody know anyone there so I can get a review copy?

Otto
tikinews.com
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Date: Tue, 11 Jan 2000 08:46:49 EST
From: [e-mail]
Subject: Re: (exotica) Brass Ring Remix

Why would I butcher a perfectly good song?

In part, because I can.

But mostly it was because I loved the original song so much that I wanted to
dissect it and wallow around in it.  I ended up making this dance atrocity
out of a song I love as a way of listening and re-listening to it a little
more deeply.

Is there ever a song you listen to and little portions of it fill you with
near orgasmic bliss?  That is my relationship with "The Disadvantages of
You".  I wanted those little blissful passages to go on forever.  So I hacked
the original song into 22 loops and spent a few hours rearrangeing them in a
way that would, for me, cheat reality and stretch the ephemeral quality I
love in the original song.

My first remix of the song was nothing but loops from the original, there was
no dancey breakbeat behind it.  It was 6 plus blissful minutes of rearranged
pieces of the original song.  I lit a slinky, stinky Benson and Hedges 100 mm
like an incense and I floated away. I shortened the original remix and later
added the breakbeat, in hopes that it might make it more happenin', more hep,
more with-it.

In any case, it's not intended to replace the original song, it's more of an
homage to a song that our friend Basic Hip called something like "the
archetypical", Now Sound recording.  It's still a hacked together hunk of
disco shit and I don't claim it to be much more.  For me it served it's
purpose in that I got great pleasure messing around with it.

Not to split hairs, but if you can tolerate Dimitri's "Stylish Girl" piece of
s........silliness, which was only constructed from 6-7 stolen loops, and not
all that creatively woven back together, how could my Frankensteinian piece
of crap, be so so far away?

Roy


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Date: Tue, 11 Jan 2000 10:11:46 -0500
From: [e-mail]
Subject: (exotica) [obit]Robert McGill Thomas Jr.

 *Robert McG. Thomas
    NEW YORK (AP) -- Robert McGill Thomas Jr., a reporter for The New
York Times whose obituaries moved readers to tears and laughter,
died from abdominal cancer Thursday at his family's summer home in
Rehoboth Beach, Del. He was 60.
    Thomas began writing obituaries full time in 1995 after serving
as a police reporter, a rewrite man, a society news reporter and a
sports writer. He was credited with using a fresh approach to
writing obituaries, finding key details to illuminate lives that
might otherwise have been overlooked or underreported.
    Among the people he chronicled were Johnny Sylvester, who died
in 1990, 64 years after he came to fame as a bedridden boy who
inspired Babe Ruth; Douglas ``Wrong Way'' Corrigan, who took off
from New York for California in 1938, and landed his small plane in
Dublin some 28 hours later; and Edward Lowe, a sawdust merchant
from Cassopolis, Mich., who found a new use for kiln-dried
granulated clay he had been selling as sop for grease spills, a
product eventually named and marketed as Kitty Litter.
    Born in Shelbyville, Tenn., Thomas went to Yale University,
where he worked on the student newspaper and flunked out as a
result of a decision, he said, ``to major in New York rather than
anything academic.''
    After joining the Times as a copyboy in 1959, Thomas spent the
next four decades in a variety of reporting assignments, often
prowling police stations and working the phones in the late hours
to produce fast-breaking stories.
    Thomas, who had a home in Manhattan, is survived by his wife,
Joan, two sons, a sister and two grandchildren.
- --------------------



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Date: Tue, 11 Jan 2000 15:50:47 +0000
From: <Charles_Moseley/LON/Europe/[e-mail]>
Subject: Re: (exotica) [obit]Robert McGill Thomas Jr.

I would like to assert that Robert McGill Thomas Jr's obituary is possibly
the least exotica-related post I have seen for a long time.
Why do you feel the need to post this crap Lou? If it is related, I can
understand. Singers and musicians I can understand, wierd film stars I can
understand, but journalists???? What is the point? We just don't care! Or
does somebody feel that this list is somehow enriched by news about any old
dead bloke?
I get the impression Lou, that you feel that a day shouldn't pass without
you posting an obit. Feeling obliged to post though, provides the rest of
us with endless pointless dross.
I'd be interested in reading obituaries on artists related to the list but
nowadays everytime I see that nytab email address come up, I just cannot
bring myself to open it, whomever's death it details.
Can you not try to be more selective please?

Charlie


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Date: Tue, 11 Jan 2000 15:54:40 +0000
From: Robbie Baldock <[e-mail]>
Subject: Re: (exotica) [obit]Robert McGill Thomas Jr.

Charles_Moseley/LON/Europe/[e-mail] wrote:

> Can you not try to be more selective please?

Here here...

I think the point in this case though was that the journalist was an
obit-writer himself and I think we're all supposed to find that funny.


Robbie


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Date: Tue, 11 Jan 2000 08:30:54 -0800 (PST)
From: chuck <[e-mail]>
Subject: (exotica) soft pop qualities

Soft pop is  pop music usually before 1970 (except for a few exceptions such
as Free  Design)  that is soft,  Everyday by Buddy Holly,  To Know Him Is To
Love Him by the Teddybears, Come Softly by the  Fleetwoods are good early
examples.

By 1967 soft pop was very popular and along comes Warner Brother's  producer
Warnoker and a lot of other west coast & east coastt infulences midwest,
London and the hippy cultural perspective and up pops  Sunshine Pop which we
also call badabada music.  Sunshine pop is a whole genre unto itself !  Its
like soft pop but it is different because its full of sunshiny choruses and
badabadas.  Harpers Bizarre, Association, Cowsills and Free Design are the
Best examples of badabada Sunshine Pop Music.

Now Its A Beutiful Day with their FM staple, "White Bird" were soft pop
bordering on soft rock.   There is not the sunshiny badbadas in Its A
Beautiful Day.  Another good example of late 60s soft pop which is NOT
Sunshine Pop are the Moody Blues.  Straight up soft pop, updated with a late
60s feel but  without the badabada  sunshine choruses.  Close but no cigar.

The Sunshine Pop distinction from Soft Pop is quite useful.   The Lettermen
do soft pop chorus music without the sunshine badabadas of Harpers Bizarre.
The Lettermen are not a Sunshine Pop band but they are a soft pop band.   The
Sunshine Pop distinction  is used now by record companies like Varese and
Sequel to describe late 60s pop bands doing shared vocals like the
Association on Windy.  Sunshine Pop does exist as a valid distnction these
days.  Bubblegum exists also.  And Soft Rock exists to describe that 70s
style of county rock ballad/soft ballad/ rock ballad music.   The genre that
exists but hasn't been categorized yet by the lablels (to my knowledge)  is
1956-1970  soft pop music.  Where is there a collection with Frankie Avalon
and Buddy Holly and the Moody Blues? ?  Rhino or somebody  ought to get out
there and put out a soft pop box.  (Can you imagine the texture of the Rhino
box?)  There certainly are lots of 90's modern soft pop collections.

Soft rock is a 1970s phenomenon and Bread is the best example of soft rock.
Slow rock influenced, country rock influenced ballads.   Its amazing that the
Eagles another soft rock band have the number one selling album of all time,
"Greatest Hits Vol 1" !

At the same late 60's  time with  soft pop and sunshine pop bands up comes
Bubble  Gum.   What I really enjoy are badabada Sunshine Pop songs that
border on Bubblegum Music.   Its not much of a stretch to go from  the
Cowsills' The Rain the Park "  to Sugar Sugar  which I think has badabadas in
it but is just pure Bubblegum.  The Cowsill's were aimed at 15 year olds the
Archies and bubble gum start 10 year olds an go on up.

Also interesting to me is that Abba a 1970s pop band were so successfrul in
the rock decade.

Easy listening in the Big easy
Chuck


- --- Nat Kone  wrote:
> At 01:02 PM 1/10/00 -0800, Benito Vergara wrote:
The babadaba rule works pretty well. As a result (correct my ramblings if
 >I'm wrong):
> >
> >Soft Pop (woops, almost wrote "soft poop" back there): The Poppy Family,
> but> >not the Cowsills?
>
> Just when you think you've got a handle on the terms, some guy comes along
and tries to confuse you. The Cowsills ARE soft pop.  They're soft pop
because they have tons of bababada choruses, their lyrics are concerned with
soft pop issues, they can sing but they can barely rock and most importantly,
they're soft pop because everyone says they are.
> The Poppy Family, on the other hand are NOT soft pop because they actually
> can rock and virtually all the singing is handled by one person with very
> little vocal arranging or harmonies.
> (BTW, the Poppy Family were a lot more interesting than I once thought.
> They had a tabla player, lots of sitar and some really wild, cool exotic
> rock.)
>
> >It's A Beautiful Day may be considered psych because of their Fillmore
> >associations, but they were definitely soft pop.
>
> Hmmm. Now you're forcing me to remember what they sounded like and that's
> hard to do when I'm already confused. I'd say they're borderline soft pop.
> I seem to remember that their lyrics might have resembled soft pop but not
>
 >And Bread was definitely soft pop, despite their hippie/folk leanings.
>
> You're forcing me to split hairs.  Bread resembles soft pop in that it's
> both pop and soft, but no, I wouldn't call Bread soft pop.  And it's partly
> because David Gates handled most of the vocals and there wasn't a lot of
> bababada going on.
>
> The term "soft pop" as it's used now, does not include everything that is
> soft and pop.
>
> >
> >If the Sandpipers are soft pop, then the Lettermen, who were a tad more
> >hard-edged than the 'pipers (hard to think about them that way) are
> probably
> >closer to -- well, I don't know.
>
> First of all, the esteemed soft pop archivist Jimmy Bee calls the
> Sandpipers soft pop.  But unfortunately that don't make it so.
> I personally think the Lettermen qualify as soft pop more than the
> Sandpipers because their harmonies are more softpoppish but I don't think
> either of them quite reaches the soft pop threshold.
>
> You could make a soft pop tape and sneak on a Sandpipers or Lettermen tune
> but that doesn't make them "real" soft pop.  And it's partly because
> well... they didn't try hard enough to pretend to be hippies.
> But it's also a matter of sound and harmonies and tunes.
> And then there's that whole folk thing.
> >And is there a specific time period for this? Does it stretch to, say,
> >Melanie? Or, even further, Tiffany? (Nah, the latter's definitely
> >bubblegum.)
>
> Yes there's a time period.  67 to 73?
> Melanie fits the period but not the style.  Too folky.
> Tiffany fits neither the period nor the style.

> This stuff has been identified by a certain group of "contemporary"
> musicians who were specifically influenced by it.  So the fact that it's a
> narrow, idiosyncratic genre which really didn't exist per se when it was
> actually being produced, doesn't really matter.
> I would say that the reason it's hard to identify is because the genre
> really doesn't exist.  On the other hand, there's a bunch of bands that
> kind of fit together and the term works for me.


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End of exotica-digest V2 #591
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