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exotica-digest       Wednesday, January 12 2000       Volume 02 : Number 594



In This Digest:

(exotica) Re: Can I make a minidisk and ask somebody to burn a CD from it
(exotica) Re: does Siesta have a website?
(exotica) Re: Lo Bue's Dennys Pix
(exotica) Re: Wimoweh
(exotica) Happy new year from The Liquid Room
(exotica) Electronika.....
(exotica) CD Burning & Disc Trading/Forwarding
Re: (exotica) Electronika.....
(exotica) LP Processing
(exotica) [obit]Bernice Petkere: Composer Wrote 'Starlight'
(exotica) This Week on the Digitizing Block: Mauriat
Re: (exotica) ha-ha or peculiar?
Re: (exotica) Wonder Woman got Cramps (was: guitar duet - Star Trek)
Re: (exotica) ha-ha or peculiar?
Re: (exotica) ha-ha or peculiar?
(exotica) Eno-ugh's Eno-ugh
Re: (exotica) Educational Copyright
Re: (exotica) ha-ha or peculiar?
(exotica) imbobe
Re: (exotica) Educational Copyright
Re: (exotica) Eno-ugh's Eno-ugh
Re: (exotica) ha-ha or peculiar?
(exotica) lion sleeps label
(exotica) [obit] Mike McKenzie

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

Date: Tue, 11 Jan 2000 19:47:13 +0100
From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Re: Can I make a minidisk and ask somebody to burn a CD from it

Hi Charles,

if you haven't found someone else yet, i'm willing to dupe that MDisk to
CD-R for you, no strings attached.


        Johan

        -----





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

Date: Wed, 12 Jan 2000 14:42:50 +0100
From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Re: does Siesta have a website?

besides comments and other info on CD's, i also "collect" URL's, especially
labels' sites. just about every URL that gets mentioned here (and works),
can be found in my "Linquarium"; mailorder links are on a separate
"Shoppinquarium" page.

Dada's Exotiquarium: http://www.geocities.com/SunsetStrip/Lounge/1936/




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

Date: Wed, 12 Jan 2000 15:55:59 +0100
From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Re: Lo Bue's Dennys Pix

    unfortunately, 2 tracks are missing. but i egree with Keith:
    it's musical heaven.

        Johan

        -----


At 9:32 -0700 2000/01/11, Keith wrote:
>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.





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

Date: Wed, 12 Jan 2000 15:32:32 +0100
From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Re: Wimoweh

try to find this comp LP:

"Mbube Roots - Zulu Choral Music from South Africa 1930s-1960s" on Rounder
5025, 1987, which includes the original version of "The Lion Sleeps
Tonight", called "Mbube" by Solomon Linda's Original Evening Birds (what a
swell group name!). "Mbube" was recorded in 1939, was an instant success
and became synonymous for this genre of polished Zulu harmony singing.


        Johan

        -----





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

Date: Wed, 12 Jan 2000 10:06:02 -0800
From: "Ponak, David" <[e-mail]>
Subject: (exotica) Happy new year from The Liquid Room

Happy new year everybody. The first show of 2000 was a gas, featuring my top
10 of 1999 plus a guest DJ slot by my good friend Mark Wasiel, featuring the
booty from his recent trip to Japan. Please check out his homepage for lots
of great new release info and other news. http://www.newmusicmachine.com/

The Liquid Room airs every Saturday Morning (Friday night) from 3-6 on 90.7
FM KPFK. (98.7 in Santa Barbara County).

Also check out my show  The Nice Age at  http://www.spikeradio.com Monday
and Wednesday evenings from 8-10, PST.

The Liquid Room-1/8/99:

First, I started off playing a track from each CD in my top 10 of 1999.
(Keep in mind this is competely subjective. I may already disagree with my
own choices)

10.Katerine-Au Pays De Mon Premier Amor
Les Creatures (Rosebud/Universal-France)

9.Underworld-Jumbo
Beacoup Fish (V2)

8.Beck-Hollywood Freaks
Midnight Vultures (DGC)

7.Tom Waits-Take It With Me
the Mule Variations (Epitaph)

6.Blur-Tender
13 (Virgin)

5.XTC-I Can't Own Her
Apple Venus Vol. 1 (TVT)

4.Pizzicato Five-20th Century Girl
Pizzicato Five (*********/Heatwave-Japan)

3.The Magnetic Fields-I Don't Believe In The Sun
69 Love Songs (Merge)

2.The Aluminum Grou-Miss Tate
Pedals (Minty Fresh)

1.The Flaming Lips-A Spoonful Weighs A Ton
The Soft Bulletin (WB)

Then, the two most significant "single" tracks of the year:

11.Scott Walker-Only Myself To Blame
The World Is Not Enough Soundtrack (Universal)

12.Kraftwerk-Expo 2000
Single (EMI-Germany)

Then, Mark Wasiel took over the next hour:

13.Harco-Workshop
Slow Motion (Natural Foundation-Japan)

14.Ennio Morricone-Bianco, Roggo E Verdone
Viva Morricone! (Avanz-Japan)

15.Denki Groove-Nothing's Gonna Change
Single (Sony-Japan)

16.David Frishberg-One Horse Town
Oklahoma Road (King/CTI-Japan)

17.The Singers Unlimited-Stone Ground Seven
Snowflakes (Various Artists-MPS-Japan)

18.Jean Jacques Perry-Colonie Celeste
Good Moog (Kosinus-France)

19.Bruce Haack-Party Machine
Electronic Toys 2 (QDK)

20.Yoshie (drummer for Cornelius)-Comn
De Novo-Trattoria

21.Towa Tei (w/Chara) Let Me Know (Mighty Bop Remix)
Lost Control Mix Part 1 (East/West-Japan)

Then, back to my stuff:

22.Ray Cooper-Oh You Beautful Doll
Everybody's Cup Of Tea (Dorre)

23.Gershon Kingsley-Popcorn (new version)
At Home With The Groovebox (various artists-incl. Beck, Cibo Matto, Air,
etc.) (Grand Royal) In stores 3/14

24.Gershon Kingsley-Paperback Writer
Music To Moog By (Audio Fidelity)

25.Mr. Lif-Farmhand
12" single (Grand Royal)

26.Motocompo-Ski
Desktop Romancer (Flavour-Japan)

27.Lalo Schifrin-Secrect Code
There's A Whole Lalo Schifrin Goin' On (Dot)

28.The Jungle Brothers-Freakin' You
V.I.P. (Gee Street/V2)

29.Roy Budd-Getting Nowhere In A Hurry (Instr.)
Get Carter Soundtrack (Castle-UK)

30.Burt Bacharach & Dionne Warwick-On My Way
Isn't She Great Soundtrack (MCA)

31.Tagomago-Flood Lights
A Sleeping Bee (Transonic/Flavour-Japan)

32.The Divine Comedy-Moon River
Rarities (Setanta-UK)

33.Jim O'Rourke-The Workplace
Halfway To A Threeway (Drag City)

34.Chocolat-Wonder Christmas
Fargo EP (Neosite-Japan)

35.The Schulte Sisters (Featuring Bridgette Shulte)
Never Gonna Get Married-Where Has The Music Gone? The Lost Recordings Of
Clem Clemstock (Mental Giant)

36.Paul Williams-Morning I'll Be Movin' On
Someday Man (Reprise)




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

Date: Wed, 12 Jan 2000 13:07:48 -0500
From: "Nathan Miner" <[e-mail]>
Subject: (exotica) Electronika.....

Help!

Okay, not so "exotic" but someone helped my find the "Egg '94" comp. so =
I'm hoping for more help.......

There's a techno/ambient comp called "Electronika" from Intersound Records =
I'm trying to purchase.  Anyone have an e-address for them, or ANY info at =
all?

Thanks in advance!

- - Nate




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

Date: Wed, 12 Jan 2000 12:21:24 -0600
From: "Mark D. Head" <[e-mail]>
Subject: (exotica) CD Burning & Disc Trading/Forwarding

I haven't read all the posts to this thread but I do think trading the
variety of music discussed on the list would greatly deepen and enrich
everyone's experience of all things exotica/easy/etc.  I have a
computer-based 8x recorder with 20x read speed and so I can read a 72
minute CD onto my hard drive in about 10 minutes and burn one in about
15 (the actual "x" numbers never seem to mirror real life).  Anyway, I'm
happy to facilitate what I can.  There is a ton of music that's
discussed on the list that I'd love to hear and I have a collection of
stuff pertinent to this list that's somewhere on the order of 700 CD's.
If I can ever get my stereo and sound card to work to record vinyl,
that'll expand to over 1,000 titles... Whoever ends up finally
facilitating the collection/distribution please reply to me directly as
well. I take the Digest form and it sometimes takes me several days to
get caught up on my reading.  Thanks!
- --
Mark D. Head
The Captain
_______________________________________
Indecision is the key to flexibility.




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

Date: Wed, 12 Jan 2000 13:22:51 EST
From: [e-mail]
Subject: Re: (exotica) Electronika.....

In a message dated 1/12/00 12:08:47 PM Central Standard Time, [e-mail]
writes:

<< There's a techno/ambient comp called "Electronika" from Intersound Records
I'm trying to purchase.  Anyone have an e-address for them, or ANY info at
all?
  >>

Personally, I found "Elektronika II" much stronger. But I believe my local
Borders still has copies of the first one in the racks. At any rate, the
liner notes list "www.platinument.com" as their website.

- --Rod


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

Date: Wed, 12 Jan 2000 10:24:45 -0800 (PST)
From: Peter Risser <[e-mail]>
Subject: (exotica) LP Processing

Last one, I promise!
Though the meeting picks up again at 2, so I may have
more later.

This is a big one though and is in response to the
"process" question asked by some poor fool.

Like Nat, I really really enjoy reading these for two
reasons.  One, I like knowing that other people are as
fascinated and oriented around their music that they
dedicate whole processes to it.  Two, I'm always
looking for good tips.

So, here's what I have so far.

First, let me say that for the past few months, my
turntable has been buried, so I haven't been listening
to ANY of my purchases, which saddens me.  But I am
counting on rectifying that ASAP as my life slowly
builds into the order I am trying to impose on it.

BUT, the process in the past has been as follows:

For CDs, it's easy.  Take 'em to work, listen around
the house, in the shower, etc.  One thing I bought
that makes this MUCH easier is a pair of cordless
headphones, which I cannot recommend more highly.  A
lot of radio fuzz in the background, but it allows me
to listen to music while doing all the crap that used
to keep me from listening to music.  Which is nice and
moves the process along very nicely.
In general, I don't buy CDs I don't already know I'll
like, either from hearing them from tapes or Mp3s, but
if I don't, I have a stack of stuff "for trade".
Otherwise it's filed.  Or stacked until I get another
CD shelf unit.

For MP3s, there's a little more.
First, download 'em.  Usually from news groups and
using NewsShark, a superb freeware program.

Then I preview to decide if I want to listen any
further to the downloads, as I often pull stuff that
merely piques my curiousity.  If it's still
interesting, I drop it in a "to listen" directory.  If
not, trash.

I like to listen to them all before I save them for
three reasons.  First, if I haven't listened to them,
then why am I saving them in the first place?  I'm
just hoarding for no reason.  Second, I want to know
what it is, naturally.  Third, I'm checking for
defects, which can happen all the time in MP3s.

I listen two ways.  Either straight off the computer
or I tape 'em and listen in the car.  For whole
albums, I like to tape 'em because I want to listen
more than once usually.  But again, it's also cool to
tape stuff out of the single song directory because
you get all sorts of random stuff back to back which
can occasionally make great mixes.

I listen to these on a First In, First Out method,
simply because if I always started at 'A', I'd never
get to 'Z'.

All the ones I want to keep, get tossed in a directory
and when the directory fills, I burn them off to a CD
and move on.  (I used to do sessions until I realized
that Sessions suck an extra 20 meg or so off the CD).

MP3s take most of my time now because, as I said, I
have no turntable at the moment.  Plus the stuff comes
in literally as fast as I can listen to it to make
room on my harddrive.  Just when you think there's no
more possible music you could be interested in,
someone posts an old Captain Beefheart album that
you'd heard about, but never had a chance to listen
to, or Beach Boys Smile outtakes or whatever, and
suddenly you're back to under 100 MB on your drive.
Anyway.

So, that being said,
Here's how I tackle LPs.

1) Buy 'em.  Duh.  I have about 1000 LPs most of which
I haven't gotten to hear yet.  It's sad, but I really
honestly plan to account for that as soon as I can.  I
have been working diligently over the past two years
to slowly direct my life to a place where my LP
listening can really become part of it.  Again, I
think the cordless headphones will help a lot, because
I won't be tied to the room with the turntable in
order to be able to listen to them.

2) Clean 'em.  Just got a Nitty Gritty for Xmas, but
haven't fired it up yet, because, like I said, don't
have a turntable yet!

3) Tape 'em.  Or just listen, really.  But primarily
my means of listening in the past has been to tape
them.

4) Rate 'em.  Okay, I'm a rater.  But there are
several reasons.  First, I use the ratings to help
decide what to do with an album, which I'll get to in
a minute.  Second, I someday plan to get back into
radio, at which point, having these albums that I
haven't heard in ages rated will help me remember
what's good.  Third, someday I hope to have a full
fledged song by song DB for my albums, at which point
ratings will be nice.  Yes, I'm a librarian at heart.
I love to organize and keep information.

5) Sort 'em.  After hearing and rating comes the
decision.  First, is the album good enough to keep the
whole thing.  If the whole album is a keeper, it goes
in the "to cut" pile, which means I plan to cut it to
a disc.  Recently I agonized over two-fers vs. one LP
per CD.  I believe I am leaning towards one LP per CD
except for the occasional exceptions.
If the whole album isn't good, but there are some
excellent or even merely salvagable cuts, those cuts
will become part of a "mix" CD consisting of nothing
but good cuts off albums I don't ever plan to listen
to again in entirety.
If the album totally sucked, I take it out back and
shoot holes into it until I feel I get my full dollars
worth.  (j/k: It goes back to the Goodwill.)
In general, with occasional grueling exception, I try
to listen to the whole album at least once.  Too many
times I've heard six stupid songs in a row, then
suddenly number seven and eight are genius.

I also agonized over how to track whether i had heard
an album or if it needed cleaned or cut or taped or
whatever in the stages.  I think I found a good way,
which is those little tabbies that you can get from 3M
that people use to mark changes in documents.  They
look like a piece of scotch tape with a bit of color
on the end.  They have a lot of bonuses, which
include: color coding (to denote different stages in
the process), low stickiness (to not damage album
covers) and freeness (take stuff from work!)


Right now my albums are unfiled, which kills me, but
again, since I'm not listening a lot, I'm not worried
about it.  Once I get a chance to get back into them,
they'll get filed.  Trust me.

I used to file by category, but gave that up.  It's
really only beneficial to browsers and I don't usually
browse my own collection.  I file everything in
Alphabetical order by artist, and on classical things,
it's whatever I think the artist on the disc is.  So,
even if it has pieces by Barber, Copeland and Gershwin
and is conducted by Bernstein, it goes under Gershwin,
cuz that's how I think of the disc.
The only exceptions are various artists and
soundtracks.  I used to keep soundtracks separate, but
now they either go under the artist (for soundtracks
by one artist) or various.  The various are all shoved
in there, but recently, in trying to locate a
particular comp, I decided they needed to be
alphabetized as well.
The only exceptions to this are: Christmas music,
which is a category that you want to be able to just
pull and play, and these off-brand classical music
comps that have lots of different composers and no
notable performer.  Those end up in a small section
that I call "various classical" for some reason.

I imagine that the LPs will be the same, though I may
end up separating the "lounge" from the non-lounge,
just because most of my non-lounge has either been
replicated on CD or I just don't care about and is
headed for the scrap heap.  But maybe not.


I have a whole story about my rating system, but this
email is already long enough.

Nat, if you need a coda to your movie,
feel free to visit.  :)


Peter
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com


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

Date: Wed, 12 Jan 2000 13:40:39 -0500
From: [e-mail]
Subject: (exotica) [obit]Bernice Petkere: Composer Wrote 'Starlight'

http://www.latimes.com/obituary/20000112/t000003724.html

Bernice Petkere, a prolific composer known as "the Queen
of Tin Pan Alley" in the 1930s, has died at the age of 98.
Petkere, whose first song, "Starlight," was recorded by Bing
Crosby, died Friday of heart failure at Queen of Angels Hospital
in Los Angeles.

see link for rest of obit.




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Date: Wed, 12 Jan 2000 15:02:52 EST
From: [e-mail]
Subject: (exotica) This Week on the Digitizing Block: Mauriat

For no particular reason this week I just digitized with minor restoration:

"The Soul of Paul Mauriat" & "Mauriat Magic"

Anyone interested in hearing them can drop by my house and listen, since
duplicating for my family & friends could be a violation of someone's
copyrights.  Drop me an e-mail to set up a time to stop by.  Milk & cookies,
as always.  This week it's oatmeal macadamia.

xoxoxo
- -Roy


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Date: Wed, 12 Jan 2000 20:38:52 -0000
From: "Robbie Baldock" <[e-mail]>
Subject: Re: (exotica) ha-ha or peculiar?

[originally emailed privately]

Lou wrote -

> Anyway, I know you dislike the obits. I know it, you've said it
> and I've heard it. I've prefaced all obits with [obit] so you'd
> never have to read anything you didn't want.

No but it's a matter of principle:

1) I have to pay (albeit a small amount) to download my email;

2) Your obit posts, while occasionally interesting, are nearly always
*off topic*

In other words - I subscribe to this list to read about Exotica-related
matters - why should I have to (pay to) download posts to this list
which shouldn't be here?!

> I continue to post them because of the many many many
> e-mails, on-list and off-,  that have asked me to continue. I
> also include obits that aren't exotica-related but do relate to
> the interests of people on the list. In other words, I post based
> on the listees and not the list itself.

Majority votes are not always the "right" vote.  Mailing lists set up
for discussion of particular subjects shouldn't be constantly polluted
with off topic posts.

I still don't see why you can't set up an obit special interest list
(especially as it's very easy to do and doesn't cost anything).

People on the Exotica list should be able to choose whether they
want to receive your posts.

> Now, I don't find death "funny" at all. I don't find an obituary for an
> obituary writer to be inherantly "funny" or (misusing the word)
> "ironic." I found this obit of interest because of the contributions of
> the man. Perhaps you'd like to re-read this paragraph from
> the obit and you'll see why:
>         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.

I don't see anything there which has anything to do with the list.
Please remember that many of the people on the list live outside
the US - I doubt if any of us has ever heard of this guy.


Robbie


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

Date: Wed, 12 Jan 2000 15:49:40 -0500
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Wonder Woman got Cramps (was: guitar duet - Star Trek)

>I have a similar question: I once heard a version of the Wonderwoman
>theme song by the Cramps on a local radio station. But, I never was
>able to track down any info about it and have started to question my
>memory.... Any Cramps experts out there?

Not *that* expert. But here's a Cramps message board to try asking:
http://pub4.ezboard.com/fpsychoticreactionstheshedofdoom.html


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


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

Date: Wed, 12 Jan 2000 15:54:16 -0500
From: "Josh Renaud" <[e-mail]>
Subject: Re: (exotica) ha-ha or peculiar?

You pay for each e-mail you read? Sounds like you need a new ISP!

I would like to comment on this ridiculous argument. It seems like Robbie is
the only one who's upset by Lou's obit postings. Lou made an excellent point
about how you know by the subject if its an obit, and can delete it before
you read it.

The fact is, a mailing list (just like any other means of communication over
the internet) is merely a gathering of people with an interest in the topic
of the list. That doesnt necessarily mean that all posts have to be 100%
on-topic. I'm on a few mailing lists right now, and I would say that this
one is by far the most on-topic. Like it or not, what the people of the list
want to see, is what should be posted (unless it went crazy and switched
topics all together, which isnt even close to what's happening).

One final note, this debate has resulted in more useless e-mails than any of
Lou's off-topic obits have. So who's in the wrong? Let's get over it and
enjoy Lou's effort in posting interesting information.

JOSH




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

Date: Wed, 12 Jan 2000 21:20:33 -0000
From: "Robbie Baldock" <[e-mail]>
Subject: Re: (exotica) ha-ha or peculiar?

Josh Renaud wrote:

> You pay for each e-mail you read? Sounds like you need a new ISP!

No, I pay to connect to my ISP to download email - as does
everyone in the UK.

> I would like to comment on this ridiculous argument. It seems like Robbie is
> the only one who's upset by Lou's obit postings.

Me and Charlie...

> Lou made an excellent point
> about how you know by the subject if its an obit, and can delete it before
> you read it.

But as I said in the last post - it's a matter of principle.  This is not
an obit mailing list, it's an exotica music mailing list.  I didn't
subscribe to this list to read obits.  These are the only posts on
this list I can remember ever objecting to.

> The fact is, a mailing list (just like any other means of communication over
> the internet) is merely a gathering of people with an interest in the topic
> of the list. That doesnt necessarily mean that all posts have to be 100%
> on-topic.

But doesn't it concern you that most of Lou's posts are *off* topic?!

> I'm on a few mailing lists right now, and I would say that this
> one is by far the most on-topic.

That's probably because "exotica" covers a pretty wide range of
musical and cultural genres!

> Like it or not, what the people of the list
> want to see, is what should be posted (unless it went crazy and switched
> topics all together, which isnt even close to what's happening).

The same would not be true on a moderated newsgroup - why
should a mailing list be any different?


Robbie


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Date: Thu, 13 Jan 2000 08:29:20 +1100
From: "Keith E. Lo Bue" <[e-mail]>
Subject: (exotica) Eno-ugh's Eno-ugh

If I can stick my nose in on the ambient Eno bashing session, it seems
uncannily to me like people lamenting that Picasso left the tight
representational style he came up in and went 'abstract.'  Not to say Eno's
early work wasn't interesting, but his smooth Devolution into sound as sound
holds up to the test of time far more elegantly, I feel.  Play 'Apollo' or
'On Land' and tell me it doesn't raise the vellous hairs all over your body.

I agree about Nerve Net, much closer to his roots, but packed with a
darkness and kind of a 'knowledge' that makes it more interesting to me.
But what the hell do I know?

Keith

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




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Date: Wed, 12 Jan 2000 15:48:21 -0500
From: [e-mail] (Mimi Mayer)
Subject: Re: (exotica) Educational Copyright

>Someone said that you could copy stuff for educational
>purposes.  I don't think so.

That was me, Peter.

Although it may have
>changed since then, I distinctly remember some text
>book publishers suing the bejeezus out of some
>Universities and Kinko's for copying tons and tons of
>copyrighted materials for distribution in their
>classes.

That was a landmark case happened in Ann Arbor, where I lived for a while.
There was a copy shop that made its money from reproducing
coursepacks...and they were sued and lost the case. Still, limited
distribution for classes is still done, still legal as far as I know. The
case was lost because the copy shop charged for the coursepacks. I still
think that limited copying for educational use is OK, so long as the
original copyright holder and the source are clearly marked on the copies,
and the copyright owners are paid any applicable royalties, and the copier
does not profit in any way from the transaction. There are a couple of
clearinghouses that specialize in handling all the royalty/copyright
clearances for publishers and teacher types.

Again, I ain't no lawyer, but I did have to deal with this stuff as a
publisher and as a professor. It's been a while, tho, so things have
probably changed. Professor Straw,  could please wipe the scales from our
eyes?

So let's get back to talking music.

Hope this exotica ring project gets off the ground. And that the musicians
on the list burn, baby, burn! I've love to hear your music.

Mimi




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Date: Wed, 12 Jan 2000 16:36:16 -0500
From: "Josh Renaud" <[e-mail]>
Subject: Re: (exotica) ha-ha or peculiar?

I'd rather not contribute much more to this debate so I'll just finish with
this. Regardless of what our opinions are, the fact is, 99% of the posts are
on-topic, and the off-topic posts are almost always of interest to some of
the members here. That being the case, Lou's occasional off-topic posts are
hardly a big deal. Just be glad that there's a regular flow of posts to the
list! I'm on lists that rarely get a couple posts per day.

Back to my original point: Its not a big deal so let's drop it.

When someone starts talking about auto racing (or something equally
off-topic), we can lynch them, but until then, get over it.

No disrespect intended...

JOSH






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Date: Wed, 12 Jan 2000 16:40:29 -0500
From: Citizen Kafka <[e-mail]>
Subject: (exotica) imbobe

Johan,

Only one problem... there are 3 "original" recordings! The one with the
'theme' in it was released first, I THINK (qualifier). It is my
understanding that the record sold so well, for such a long time, that
the company wore out the parts necessary to press, and had to go back to
a different master to keep the record in print. And again. That is how
Pat Conte discovered the 3 different takes... the third one that turned
up was released much later. Obviously same group, same time.

ck


- --
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: Wed, 12 Jan 2000 16:56:48 -0500
From: Will Straw <[e-mail]>
Subject: Re: (exotica) Educational Copyright

I'm no expert on this, and the differences between Canada and the U.S.
are significant, but fair use of copyrighted materials is more firmly
implanted in law in the U.S. than it is here.  In the U.S, unless I'm
misinformed, you can show films and play music in classes if it's
for educational purposes.  Here, you're still supposed to rent copies from
places specializing in educational use, and to pay the extra "performance"
rental which such places charge.  Technically, I shouldn't even play
music in class, since that constitutes a public performance.

In both places, you can photocopy for personal use, but not in multiple
versions.
That's why lots of profs just put stuff on reserve in the library, so that
each student is making his or here own personal copy, all 500 of them.

On the other hand, I just drop off course packs at a photocopy place
right near campus, and students get those copied without paying the
charges which would be incurred were I to clear the rights by using
one of those services.  Here, again, each student asks to make their
own, "personal" copy of the pack, rather than buying them from a stack.
I feel a little guilty, but I get over it quickly.

At the university where I worked prior to this one, I taught Film Studies,
and we faced a market in which we were supposed to keep renting
deteriorating 16mm prints.  So we'd rent a number of films every year to keep
the heat off, then show videotapes or discs the rest of the time.  As well,
we had a list of  16mm and 35mm prints we held secretly, which we'd
exchange with other departments who promised to keep quiet about it.
than here.  One of my colleagues bought most of these from people in
Martin Scorcese's circle.

My understanding of educational fair use is that it's less about something
being a "personal" copy than about a social recognition of the value of
things being available for analysis and criticism.  Still, when friends of mine
have tried to publish books analysing songs by the Rolling Stones (yeah,
well . . .)
they've been threatened with suits, as if the presence of 8 lines of
Satisfaction in a
$30 academic book will cut into sales of Stones sheet music.

Will



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Date: Wed, 12 Jan 2000 17:05:36 -0500
From: [e-mail]
Subject: Re: (exotica) Eno-ugh's Eno-ugh

[e-mail] wrote:
> If I can stick my nose in on the ambient Eno bashing session, it seems
uncannily to me like people lamenting that Picasso left the tight
representational style he came up in and went 'abstract.'

And Eno is aware of the "split" in his output. That's why he released
the 3-CD retrospective ENO BOX I with the ambient stuff and the 3-CD retrospective ENO BOX II with the pop/vocal stuff. I've got 'em both,
 I'm glad to say.


>I agree about Nerve Net, much closer to his roots, but packed with a
darkness and kind of a 'knowledge' that makes it more interesting to me.

If you dig Nerve Net, you must also acquire the 2 "singles" that came
off it: Ali Click and Fractal Zoom. And while you're at it, try to
track down a copy of Headcandy, a CD-ROM containing half an hour of
similar-to-Nerve Net ambient/techno along with a trippy lightshow
which requires the wearing of lenticular glasses for full effect.
ION, the publisher, went belly up -- but copies may be spotted in
the discount bin at local software vendors.

- -Lou
[e-mail]



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Date: Wed, 12 Jan 2000 18:17:02 -0500
From: Citizen Kafka <[e-mail]>
Subject: Re: (exotica) ha-ha or peculiar?

The obituaries which Lou posts to this list are "on topic" for this
list, as far as the general gist of the music related postings. i don't
know what the charter of our list says, but the word exotica is not
limited to defining music. The list has flown far afield of the tiny
number of clearly defined "exotica" records, and includes topics of
interest to those who are interested in the fringes of culture and music
'in an exotic vein.' To note the passing of people who have created,
defined, or in some way changed the texture of our culture, especially
the lesser (not dimmer) lights who Lou has brought to us, enriches our
appreciation of the context of how we've ended up HERE; i don't think
the list is limited to tiki objects (no offense, you know who!) and
pseudo-South Seas music with bird whistles. We redefine our mutual
definition of the list by participation. This is a particularly
interesting list for that reason. Content and entertainment.

I'm drifting OT myself, on a raft of language with a sail woven from
verbiage...

ck


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Date: Wed, 12 Jan 2000 18:28:24 -0500
From: Citizen Kafka <[e-mail]>
Subject: (exotica) lion sleeps label

Hi, all,

Here's a treat, courtesy Pat Conte of the Secret Museum... the label of
the original record (photographed from the record at the Museum).

http://www.megasaver.com/pix/lion.jpg

note the title is Mbube.

enjoy!

ck
- --
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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: Tue, 11 Jan 2000 18:14:26 -0500
From: "Lou Smith" <[e-mail]>
Subject: (exotica) [obit] Mike McKenzie

Friday 31 December 1999
Mike McKenzie
The king of cocktail pianists who looked as if he owned the Savoy and
just played for fun

MIKE McKENZIE, who has died aged 77, was London's most renowned
and respected cocktail pianist; it was said there was no popular tune he

could not instantly recall and play in any key.

He was also an excellent jazz musician, an engaging singer and an
authoritative bandleader. In a career spanning half a century,
McKenzie's
reputation grew to such an extent among patrons of London's first-class
hotels and restaurants that the rich and famous would follow him from
one to
another.

Oscar Grenville "Mike" McKenzie was born in Georgetown, British Guiana,
on September 17 1922. His mother was a pianist and his father a
violinist,
and he learned both instruments from them.

On leaving school he played piano professionally in Georgetown, before
emigrating to London in 1949. His first job was at the Starlight Room,
with
the Jamaican bandleader Joe Appleton, and he soon became a leading
figure
among emigr=E9 Caribbean musicians.

The British jazz scene first noticed McKenzie in 1952, in recordings by
the
Grant-Lyttelton Paseo Jazz Band, a "fusion" band combining jazz and West

 Indian music, formed by Humphrey Lyttelton and the British Guianian
saxophonist, Freddie Grant. One record featured McKenzie in his own
composition, Mike's Tangana.

About this time McKenzie took a one-week relief engagement, replacing
Yorke de Souza at the Colony Room Club. It was the beginning of a close
relationship with the club and its bohemian membership that was to last
for
two decades.

The author Colin MacInnes acted as best man at McKenzie's wedding, in
1952, and Francis Bacon claimed that his favourite song was Strange
Love,
composed by McKenzie and his actress wife, Lizzie. Muriel Belcher, the
first
proprietor of the Colony, became more a friend than an employer,
encouraging him to take advantage of any opportunity that came along.

During the 1950s he played as a guest artist with Ted Heath's band,
toured
with the show Jazz Wagon, and appeared on stage with such popular
entertainers as Lonnie Donegan, Benny Hill and Dorothy Squires.

Eventually succumbing to increasingly tempting offers, McKenzie left the

Colony Room to lead a small band at a series of clubs and restaurants -
Crockfords, the Milroy, the Hungaria, the Caprice, and a notable four
years
at the White Elephant On The River.

Show-business personalities would come there to unwind, often getting up
to
deliver an off-the-cuff-performance. During his time at the White
Elephant,
McKenzie played in this way for, among many others, Liza Minnelli,
Johnny
Mercer, and Ella Fitzgerald.

In 1976 he moved to the Empress Club, in 1979 to the Dorchester, and in
1986 to the American Bar at the Savoy.

Writing in The Daily Telegraph in 1992, Nick Thomas described McKenzie
as "so happy at the piano that he looks as if he owns the Savoy and just

plays in the bar for fun. He's having such a good time that he wants to
share
it with everyone, singing his favourite Cole Porter or Irving Berlin in
a smoky
whisper, improvising with perfect, gentle elegance. This man is the
best."

McKenzie retired in 1997.
He is survived by his wife, Lizzie, a son and a daughter.





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End of exotica-digest V2 #594
*****************************