ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/exotica/archive/v02.n650

Internet Message Format | 2000-03-12 | 41KB

From: [e-mail] (exotica-digest)
To: [e-mail]
Subject: exotica-digest V2 #650
Reply-To: exotica-digest
Sender: [e-mail]
Errors-To: [e-mail]
Precedence: bulk
X-No-Archive: yes


exotica-digest         Monday, March 13 2000         Volume 02 : Number 650



In This Digest:

Re: (exotica) new exotica/easy/lounge sales
(exotica) Friendly Persuasion - Week of 03/12
Re: (exotica) new exotica/easy/lounge sales
Re: (exotica) Michel Legrand
(exotica) the weekend Umiliani / Brazil / Morricone OST Q
Re: (exotica) Re: Cribbed Record Covers
(exotica) Re: Claus Ogerman
Re: (exotica) live music propaganda
Re: (exotica) Re: Claus Ogerman
(exotica) [obits]Hayward Cirker,Nim Chimpskey,George Siravo,Tommy Thompson,Elizabeth Chase,Walter Dana
(exotica) The Liquid Room 3/11/00
Re: (exotica) Claus Ogermann
Re: (exotica) Claus Ogermann
(exotica) Biggest Schlager cover site in the world
Re: (exotica) live music propaganda
Re: (exotica) live music propaganda
(exotica) records and bachelorhood
Re: (exotica) live music propaganda
(exotica) Claus Ogerman on Kai Winding LPs
Re: (exotica) live music propaganda
(exotica) Astro Sounds  101 Strings

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

Date: Sun, 12 Mar 2000 23:18:39 EST
From: [e-mail]
Subject: Re: (exotica) new exotica/easy/lounge sales

How big is the audience of the type of music discussed here
 in comparison to other music genres?

Fairly small

I heard that some of the lounge
 compilations of the last 5 years sold more than 100.000 units;

I can tell you (and I work in the business where I can pull Soundscan) that
this is totally false

cananybody confirm or disprove that? How much did the Martin Denny and Les
 Baxter original reissues sell so far?

Hovering around the 10,000 mark (some titles lower, some titles a bit higher)

Does new lounge music a la
 Combustible/Pizz5 et al sell better or less than reissues of old
 original lounge?

In most cases that is a hardy Yep

Ashley


# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Sun, 12 Mar 2000 22:33:19 -0800
From: "Mr. Fodder" <[e-mail]>
Subject: (exotica) Friendly Persuasion - Week of 03/12

The Friendly Persuasion Show  - Week of 03/13/00

Cool and Strange Music Magazine's weekly radio show on Antenna Internet
Radio.
http://www.antennaradio.com/punk/friendlypersuasion/index.htm

Get your RealAudio player ready and tune in anytime during this week to
hear:

1.  Marcy - I Love Little Pussy
2.  The Food - And Your Hard Birds Night Thing
3.  The Polkaholics - Polkaholics Theme
4.  Frank Zappa - Stick It Out
5.  Margarita Pracatan - From Me To You
6.  Jonathan and Darlene Edwards - Stayin' Alive
7.  The Rangers - Let's Go Rangers
8.  Serge Gainsbourg - Qui Est In Qui Est Out
9.  Ann-Margret - C'est Si Bon
10.  Mrs. Yetta Bronstein - I Want To Hold Your Hand
11.  7-11 - Dance The Slurp
12.  Yma Sumac - Look Around
13.  Combustible Edison - Hot and Bothered
14.  Forbidden Five - Enchanted Farm
15.  Sunshine Day - I'm a Tiger
16.  Caesar Giovannini - Song of India Twist
17.  Leroy Holmes - Chitty Chitty Bang Bang
18.  The Barry Gemso Experience - Groovin' Happenin'
19.  Laurent Lombard - Bonbon Twistos
20.  Marlene Dietrich - Near You
21.  Ronald Shaw and his Orchestra - Goldfinger
22.  Miss Nelson & Bruce - Upside Down
23.  Franco De Gemini - Cheops and Nefertiti
24.  Astrud Gilberto - And Roses and Roses
25.  Maria Napoleon - Think of Rain
26.  Marlene Dietrich - Falling In Love Again
27.  The Supremes - A Lover's Concerto

Thanks for listening!
     Chow,
          Otis

- ----------------------------------------------------------------
Mr. Otis F-Odder
[e-mail]
- ----------------------------------------------------------------
Jump into Cool and Strange Music Magazine online at, www.coolandstrange.com
- ----------------------------------------------------------------
View past playlists, find out where to order what you hear, listen to show
archives all at, www.thebranflakes.com/fp
- ----------------------------------------------------------------
To unsubscribe from this weekly email, just reply and say, "The only kind of
spam I want is the potted meat I dine on thank you very much" and you will
be off in a jiffy.
- ----------------------------------------------------------------





# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 10:37:31 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) new exotica/easy/lounge sales

[e-mail] wrote:

> I heard that some of the lounge
>  compilations of the last 5 years sold more than 100.000 units;
>
> I can tell you (and I work in the business where I can pull Soundscan) that
> this is totally false

So how much do you think did Ultra Lounge et al sell?

> How much did the Martin Denny and Les
>  Baxter original reissues sell so far?
>
> Hovering around the 10,000 mark (some titles lower, some titles a bit higher)

That sounds likely. Only if you could file it under Swing it went much better,
didn't it? Like Exquivel for instance.

> Does new lounge music a la
>  Combustible/Pizz5 et al sell better or less than reissues of old
>  original lounge?
>
> In most cases that is a hardy Yep
>

So again: How many of the best-selling Pizzicato?

Thanks for your answers

Mo



# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 11:44:12 +0000
From: <[e-mail]>
Subject: Re: (exotica) Michel Legrand

Michel Legrand Plays for Dancers is the LP in question but it also has
another name. Is it Strings Aflame? something like that.

The two tracks De Ge Ging and Come Ray and Come Charles are the standouts
and the rest of the record does sound like its in string-overdrive mode but
it is still a good LP - I would recommend it but hardly ever play it and
probably would only ever put the aforementioned two tracks on a compilation
tape.

Charlie


+-------------------------------------------------------------+
| This message may contain confidential and/or privileged     |
| information.  If you are not the addressee or authorized to |
| receive this for the addressee, you must not use, copy,     |
| disclose or take any action based on this message or any    |
| information herein.  If you have received this message in   |
| error, please advise the sender immediately by reply e-mail |
| and delete this message.  Thank you for your cooperation.   |
+-------------------------------------------------------------+





# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 13:29:59 -0000
From: Reader Geoff <[e-mail]>
Subject: (exotica) the weekend Umiliani / Brazil / Morricone OST Q

2 New records this weekend (I deserved them after a very abstemious month).

Pierro Umiliani-Il Corpo
originally released in 1974,  a bit of a return to form after the
disappointing 'Legge de Gangsters' I reckon.  Although thats obviously just
a coincidence in the re-release schedules.  Its a double LP and another
lavish gatefold sleeve from Easy/Right Tempo (whichever it is) with an
excellent photo inside with Umiliani standing on Tip-Toe so that he can lean
nonchalantly on the Conga's and not be dwarfed by the films female star.
The sleevenotes say that the film is a version of 'The postman always rings
twice' set in the south seas.

The music is so wonderfully mellow - even the uptempo stuff,  it has the
feel of some of the slower stuff off 'Todays Sound', but with a smoother
production.  To me it also sounds like 'Sweden Heaven and Hell',  but
without the obvious 'Mah na Mah na' hit.  Some nice Synth leads, what sounds
suspiciously like a Mellotron, a small band for the most part.  Nice exotic
Marimbas (?) on one track. A lovely record.

The only problem I have with it are the number of duplicated cuts,  theres
one with the original version, extended version and alternative Intro (4
chords on a guitar before the normal version comes in).  But as a double its
probably only a little more expensive than a single LP would be I suppose.

Also
Brazilian Beats,
On 'Mr Bongo's Classic Brazilian Cuts' label.  Another double LP,  each side
themed,  side 1 is 'The carnival'  which has  Pete Hellers remix of
'Batacuda', a Masters at Work Track and a track which has had a great chunk
sampled (a whole verse chorus if it wasn't an instrumental,  ie a great BIG
chunk) on a recent House track, side 2 is Bossa Trio's,  which is Jazzy
Bossa Nova Trio's,  including the Great Ed Lincoln's Cochise (although if
thats a trio it must be organ, drums and trumpet with Lincoln playing bass
on the pedals).  Side 3 is God Made me Funky,  which I'm not sure about yet,
a bit slow, and lumpy I thought (but I've only played this side once).  And
side 4 is Exotic moods (I think),  a mix of Older stuff and the quite
bizarre 'Bob',  which has some very odd samples on it.

2 good double LPs,  I'm very happy.

There were also a couple of new Ennio Morricone soundtracks,  both from soft
porn films judging by the covers,  anyone have recommendations on these?

Back to work.....


El Maestro Con Queso

[e-mail]
[e-mail]
http://www.shitola.freeserve.co.uk/cheese/cheese.htm
http://www.geocities.com/djcheesemaster/


# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 09:38:00 -0500
From: Brian Phillips <[e-mail]>
Subject: Re: (exotica) Re: Cribbed Record Covers

In the spirit of King Kini's site (which just keeps getting better), I was
wondering; in the "same model" mode, who is the woman of "You Get More
Bounce With Curtis Counce"
http://www.fantasyjazz.com/catalog/counce_c_cat.html (First album, left
hand corner)

and Russ Freeman's/Andre Previn's  "Double
Play"  http://www.fantasyjazz.com/catalog/cat_previn.html  (First album,
left hand corner)  Contemporary 7537 and 7539.

Also, if she closed her mouth, would she photograph?

An unexpected crib in my book was the back of Miles Davis' Tutu and the
front of Ron McCroby plays Puccolo, a whistling album, both balding and
puckering.

Brian Phillips




# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 16:09:26 +0100
From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Re: Claus Ogerman

the only thing i know is that he made hundreds of LP's in Germany. mostly
EZ core.


        Johan

        -----





# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 10:23:07 -0500
From: [e-mail] (Mimi Mayer)
Subject: Re: (exotica) live music propaganda

Mo wrote:
>I think I said something like this too; However what I meant was, that in
>general I am more interested in records than in concerts.

And I guess I'm interested in music in general--greedy Mimi. Gimme gimme in
almost any format. Except for Celtic music. A penny whistle and fiddle
sounds, and pacifist I wanna reach for a revolver. Erin go blech.

>What I was basically talking about was, that I
>think, that most of the reasons why people prefer live music to recorded
>music >have to do with most anything but the music itself.

Yeah. Most people go to a show to hear and see the musicians replicate a
recorded tune they love--they want music "just like on the CD." (Labels
know that, musicians know that, you well know that from Ata Tak and your
bands, everybody knows recording cos. underwrite tours to "move product.")
And many people go to a concert to make a scene or hang with their pals,
etc. There's nothing wrong with that. Or they go to be wowed with a
performer's or band's charisma--that was what knocked me out when I saw
Caetano Veloso perform this summer. I expected to adore the music and I
did, no question. But I remember most of all the brilliance of Veloso's
performance. And small wonder most people go to shows for reasons other
than the music. Most live music gets distorted by how it's amped and mixed.
It's lame if it doesn't suck.

My experience sort of turns these patterns inside out, though. When I was
going to live shows a minimum of three x a week--as I did for two, three
years--the show was usually my introduction to the music and the musicians.
It changed how I listen to records or CDs. For instance, I came to prefer
live shows for certain kinds of music--with rap and jazz I'd go to hear the
mixing or to see performers riff off each other or to feel giant rhythm and
bass sounds rumble my gut or to catch the improvs. Really edgy alternative
or thrash or blues, I'd go for the energy and the volume and speed. Few
people have the extreme experience of hearing as much and as wide a variety
of live music as I. I'm not posturing or boasting here. All the concerting
I've done really reshaped how music in any form hits me.

I listen to recording studio music as much for how it's produced as for how
the music itself sounds. That must be why I went ape over Command and other
stereo action records. The music is produced to exploit recording studio
equipment, and that's one reason why I dig it so much. Hmm, hadn't realized
that before.


> I admit there are concerts
>that deal a lot with live acoustics, special rooms, 8-channel-P.A. etc. Tho=
se
>of course can only be experienced live....I just can't remember one
>of those that I really liked though. Probably because I think that good mus=
ic
>doesn't need "tricks" like these.

Er, Moritz, I don't think Oliver Lake's riffing off the acoustics of the
room was a "trick." That word discredits Lake's consummate artistry. The
fact is, he had the chops and experience to know the kinds of sounds his
horn could make, he had technique to make those sounds, and he had the
ingenuity to exploit the conditions in the room. Result? Lake created a
rare and superlative music, right on the spot. Very few musicians have that
combination of chops, musicality, creativity, skill, knowledge of their
instrument. Keith LB mentioned Bill Frissell-- I've never seen him perform
(dammit!) but he's probably one of the handful who could do it. John Zorn
too. Carla Bley.

>As you mention
>Zappa... I saw a Zappa concert in Frankfurt, when was that? 80? I was like
>half a mile away from the stage, saw a silouette of someone who could have
>been Zappa close to the horizon...well, when
>I came home I put on the record (Roxy and Elsewhere period) and enjoyed it
>much more than the entire concert.

GACK~! My condolences, Mo! Of course you'd prefer the record. You really
can't hear the music in those huge outdoor shows.

>I saw a concert, that could fit this description, by Fred Frith (the name e=
ven
>sounds similar), so I think I can imagine what you're talking about. To me
>those kind of events are often filed under performance rather than music.

And I'd probably slot that Veloso show there too.

>But we do make personal subjective statements in this
>list, don't we? ..and when I just thought I knew what I'm thinking I
>started to drift>into the opposite direction.

Yup, me too. Viva eXotica. Thanks for a bracing debate, Mo.

Mimi




# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 10:51:57 -0500
From: [e-mail] (Mimi Mayer)
Subject: Re: (exotica) Re: Claus Ogerman

Johan wrote
>the only thing i know is that he made hundreds of LP's in Germany. mostly
>EZ core.

Just as I suspected. Bet that's why so many people on BJ's samba list
dissed Ogerman's arrangements. Thanks for the info, Johan and BJ. Mimi




# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 11:47:29 -0500
From: [e-mail]
Subject: (exotica) [obits]Hayward Cirker,Nim Chimpskey,George Siravo,Tommy Thompson,Elizabeth Chase,Walter Dana

    NEW YORK (AP) -- Hayward Cirker, the founder and president of
eclectic paperback publisher Dover Publications, died Wednesday in
Roslyn, N.Y. He was 82.
    Cirker built Dover into a paperback powerhouse by delving deep
into the public domain and reprinting thousands of out-of-print
novels, illustrations, manuals and scientific texts.
    The company's titles ranged from ancient tragedy to ``Build Your
Own Inexpensive Dollhouse.'' Dover books almost always had
attractive covers, low prices and intriguing titles like ``The
Egyptian Book of the Dead,'' ``Three Prophetic Novels by H.G.
Wells'' or ``The History of Underclothes.''
    Founded in 1941 with his wife, Blanche, Dover grew rapidly in
the 1950s, riding the public's appetite for cheap paperbacks,
skipping the pulp romances and detective novels favored at the time
and continuing to find quirky classics and practical fare.
    One of the company's best sellers proved to be a little-known
theoretical work by Albert Einstein -- one which the scientist had
said he thought did not merit a reprint.
    Included in Dover's large catalog are 60 Nobel Prize winners and
some high-end publications, including clothbound editions of the
writings of Henry David Thoreau.
    By the 1980s, Dover had grown into a $15 million-a-year
publishing house, and remained privately held. Cirker visited the
company offices three days a week until his death.
- -------------
Friday March 10, 3:17 pm Eastern Time
SOURCE: Fund for Animals

Nim, World's Most Famous Sign Language Chimp, Dies at Age 26, Reports
Fund for Animals

MURCHISON, Texas, March 10 /PRNewswire/ -- It is with great sadness that
The Fund for Animals announces the passing of Nim, the world's most
famous chimpanzee, who died of heart failure today at The Fund for
Animals' Black Beauty Ranch in Murchison, Texas. He was 26 years old.

Nim was taken from his mother at the University of Oklahoma when he was
three days old, and sent to New York as part of a research program to
determine whether chimpanzees could learn sign language. Nim was the
quickest learner of sign language in chimp history, learning more than
300 signs.

When Nim was nine years old, the research program lost funding, and he
was sent to a laboratory to be used in hepatitis experiments. The Fund
for Animals prevailed upon the university to allow Nim instead to live
out his days peacefully at Black Beauty Ranch. Nim came to live at Black
Beauty Ranch in 1983, and lived there happily for seventeen years.

Says Marian Probst, President of The Fund for Animals, ``Nim was not
only the most famous animal under the care of The Fund for Animals, but
was perhaps the most beloved. He communicated freely with our staff and
visitors, and he told us about his likes and dislikes, his thoughts and
feelings. We are confident that he not only died peacefully, but that he
also lived peacefully.''
- ------
L.A. Times --- Saturday, March 11, 2000

George Siravo; Arranger for Sinatra, Composer

     George Siravo, 83, a pop music composer, arranger and conductor who was
a longtime associate of Frank Sinatra. Born on Staten Island, N.Y., Siravo
learned alto saxophone as a youth and joined Harry Reser's Clicquot Club
Eskimos at 17. Five years later he joined Glenn Miller's first band and
stayed there a year before joining the Gene Krupa band in 1938 as a sideman
and arranger. He became a staff arranger and conductor for Columbia Records
after working for "Your Hit Parade," a popular radio show, in the 1940s.
While at Columbia, Siravo began arranging up-tempo music for Sinatra's
nightclub show, and in some ways his tunes served as a model for the music
Sinatra made when he switched to Capitol Records in the early 1950s. Siravo
was the arranger on "Swing and Dance With Frank Sinatra," "Portrait of
Sinatra" and "Frank Sinatra With Red Norvo Quintet: Live in Australia." He
also worked with Tony Bennett, arranging and conducting the singer's "Who
Can I Turn To" album. On Feb. 28 at home in Medford, Ore.
- -----------
From the Washington Post --
Tommy Thompson,Producer

Tommy Thompson, 73, the veteran producer of television's "The Lucy Show" who
also worked extensively on the films of Robert Altman, died March 10 after a
heart attack. He was stricken near Baker, Calif., during location shooting
of an Altman film that he was co-producing, "Dr. T & The Women."

The producer made his mark with Lucille Ball's long-running comedic series
from 1962 to 1974. He worked extensively in television, most recently as one
of the producers, along with Harry and Linda Bloodworth-Thomason, of the
series "Designing Women," which ran from 1986 to 1993.

Over the past three decades, beginning with Altman's 1971 film "McCabe and
Mrs. Miller," Mr. Thompson also had worked as assistant director and
producer of about a dozen Altman motion pictures, including "A Wedding,"
"The Long Goodbye," "California Split," "Nashville," "Buffalo Bill and the
Indians," "Three Women" and "Cookie's Fortune."
- -------
SANFORD, Fla. (AP) -
When screen legend Hedy Lamarr died, she left her stamp collection to her 11-year-old
grandson, her estate to her children, and $83,000 to a police officer who occasionally ran
errands for her.

Lamarr, who starred in films including ``Tortilla Flat'' and ``Samson and Delilah'' and
was once billed as the world's most beautiful woman, died Jan. 19 at age 86.

Her will was filed Friday in Seminole County Circuit Court, and it contained a few
surprises.

In addition to Lamarr's son and daughter, the list of those she picked to share her wealth
included her personal secretary, a California engineer she had never met and Altamonte
Springs Police Lt. Chuck Stansel.

Stansel met Lamarr late in her life while delivering a message and befriended her after
she called him to request an errand. His family eventually became regular guests at
Lamarr's home, helping her shop for groceries and visiting the Austrian-born actress at
least twice a week.
- -------------
The March 13 issue of the Wrestling Observer Newsletter
that Pro Wrestler Elizabeth Chase died on Feb. 26 in Costa Rica while under
going liposuction surgery.  Chase had been a professional wrestler for over 20
years, most recently wrestling for Florida Champioship Wrestling.
- ------
NY Times --- March 13, 2000
Walter Dana, Polka Promoter, Dies at 96
By DOUGLAS MARTIN

 Walter Dana, who propelled polka music to a new prominence in postwar
America after a varied career in popular music in Poland, died on March
4 in Miami Beach. He was 96.

Having exposed the Poles to American jazz before the war, Mr. Dana took
polkas to new audiences when he founded Dana Records in New York in
1945. It became the top Polish music label, introducing artists well
known in the field like Frank Wojnarowski, Ray Henry, Gene Wisniewski
and Johnnie Bomba.

See rest of obit at:
http://nytimes.com/yr/mo/day/news/national/obit-w-dana.html



# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 10:01:23 -0800
From: "Ponak, David" <[e-mail]>
Subject: (exotica) The Liquid Room 3/11/00

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 on Sunday
afternoons from 3-6 PM, PST.

I'll be out of town for South By Southwest this week, so there will be no
Liquid Room until 3/25!

The Liquid Room-3/11/00:

1.The Association-Come On In
Birthday (Warner Bros.)

2.Synergy-Classical Gas
Semi-Conductor Release 2 (Chronicles)

3.The Black Panthers-Day Tripper
Good Night Tokyo (Readymade-Japan)

4.Mansfield-Mansfield Theme
Viva La Generation Readymade 2000 (Readymade-Japan)

5.Beachwood Sparks-This Is What It Feels Like
Beachwood Sparks (Subpop)

6.Peter Sarstedt-Frozen Orange Juice
Story Of Pop (UA-Germany)

7.Great 3-Soul Glow
Without Onion (EMI-Japan)

8.101 Strings Featuring The Alshire Singers-Bennie & The Jets
Songs Made Famous By Elton John (Alshire)

9.Rocky Chack-Change
Single (Midi-Japan)

10.Munich Machine-In Love With Love
Munich Machine (Casablanca)

11.Kid Koala-Fender Bender
Carpal Tunnel Syndrome (Ninja Tune)

12.Brian Eno-Backwater
Before And After Science (EG)

13.Maki Nomiya (?)
Viva La Generation Readymade 2000 (Readymade-Japan)

14.Jake H. Concepcion & The Jazz Rock Band-On Any Sunday
Midnight Tokyo (Readymade-Japan)

15.Puffy (Yumi solo)-V.A.C.A.T.I.O.N.

16.Tahiti 80-I.S.A.A.C.
Single (Atmospheriques-France)

17.Reparata & The Delrons-Bye Bye Baby
Whenever A Teenager Cries (World Artists)

18.D'Angelo-Spanish Joint
Voodoo (Virgin)

19.The Lovin' Spoonful-Didn't Want To Have To Do It
Anthology (Rhino)

20.Okazaki Hiroshi & His Stargazers-Quiet Village
A Compilation (Readymade-Japan)

21.Wayne Newton-Rhythm Rhapsody
Night Eagle 1 (Aries II)

22.Herbie Hancock-Earth Beat
Future Shock (Columbia)

23.Japancakes-Version 1
Down The Elements (Kindercore)

24.The Residents-Please Please Please
George & James (East Side Digital)

25.The Residents-Kaw-liga
Stars & Hanks Forever (East Side Digital)

26.Kuniko Yamada-? (Produced by Harry Hosono)

27.Liberace-Parks & Recreation (Medley of Cherry Hill Park, McArthur Park, &
Echo Park)
A Brand New Me (Warner Bros.)

28.Papas Fritas-Far From An Answer
Buildings & Grounds (Minty Fresh)

29.T-Bones-Paint It Black
Everyone's Gone To The Moon (And Other Trips) (Liberty)

30.Yukari Fresh-Raymond (Erobique Remix)
Escalator Records Tokyo (Bungalow-Germany) Thank you Jill Mingo!

31.Lisa Go-Kara Kara
Moonbeams (Sapphire)

32.William DeVaughn-Be Thankful For What You've Got
Didn't It Blow Your Mind-Soul Hits Of The 70's Vol. 12 (Rhino)

33.Comoestas-Mambo Kuroneko
Viva La Generation Readymade 2000 (Readymade-Japan)

34.Thunderball-Late Nite Trick
Ambassadors Of Style (ESL)

35.The Critters-A Moment Of Being With You
Touch 'N Go (Project 3)

36.Terry Callier-Sunset Blvd.
Life (Blue Thumb)

37.Lee Hazlewood-Don't Get Around Much Anymore
Farmisht, Flatulence, Origami, ARF!!! And Me (SLR)

38.Akira Ishikawa-The Dawning Of Love
Good Night Tokyo (Readymade-Japan)

39.Ananda Shankar Experience and State Of Bengal-Jungle Symphony
Walking On (Realworld)

40.The Sunrays-I Was A Loser
Vintage Rays (Collectables)

41.Rayko-Money To The Bank
Crave (Source One)

42.The Crystals-He Hit Me (And It Felt Like A Kiss)
The Best Of (Abco)

43.Etienne Charry-Raye Du Bottin
36 Erreurs (Kindercore)

44.Paul Williams-Morning I'll Be Moving On
Someday Man (Reprise)


# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 19:11:23 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Claus Ogermann

Johan Dada Vis wrote:

> the only thing i know is that he made hundreds of LP's in Germany. mostly EZ
> core.

Really? I've never seen any single one of them, neither on flee markets, nor
in second hand stores. Are you saying he published these album under his own
name?

If you read his bio, it doesn't look at all like he's into "EZ core". It
rather looks like he's into serious classical stuff, but who knows. I am not
an Ogermann specialist.


Claus Ogermann Biography

Composer, arranger, conductor, and pianist Claus Ogermann was born on April
29, 1930 in Ratibor, Germany (now Raciborz, Poland). He studied music in
Nuremburg: piano with Ernst Groeschel, Jr., and theory/conducting with Karl
Demmer. He worked in Baden-Baden with Kurt Edelhagen and in Munich with Max
Greger (for five years). He began his career primarily as a pianist. By the
early 60s, he had firmly established himself on the studio scene as a musician
of considerable repute, as well as a distinctive and inventive arranger and
composer. He composed the scores for 14 German films. He moved to New York
City, USA in 1959, where he has remained ever since, although his many
assignments have taken him all over the world. By 1963 he had become Musical
Director for Verve Records, working on recordings by Bill Evans,
Antonio Carlos Jobim, Oscar Peterson, and Cal Tjader (the "Soul Sauce"
albums). Claus and producer Creed Taylor joined with Herb Alpert's A&M label,
where he worked with Paul Desmond and others. His other collaborations include
work with Quincy Jones, Stan Getz, Wes Montgomery, Frank Sinatra, Astrud
Gilberto, Joao Donato, Benny Goodman, Randy Brecker, Gidon Kremer, Leslie
Gore, Barbra Streisand, producer Tommy Lipuma, George Benson, Michael Franks,
and others, from jazz through film and pop to modern classical music. He has
written scores for Bill Evans, Stan Getz, Freddie Hubbard, and Stanley
Turrentine, among
others.

Since the 1970s, Claus has devoted himself almost exclusively to serious
composition. His commissions and projects include a ballet score for the
American Ballet Theatre (Some Times), a work for jazz piano and orchestra
(Symbiosis) for Bill Evans, a work for saxophone and orchestra (Cityscape,
which includes Symphonic Dances) for Michael Brecker, a song cycle
(Tagore-Lieder) after poems by Rabindranath Tagore that was recorded by Met
soprano Judith Blegen and mezzo-soprano Brigitte Fassbaender, Concerto Lirico
and Sarabande-Fantasie for violin and orchestra that was recorded by Aaron
Rosand, 10 Songs for Chorus A-Capella After Poems by Georg Heym that was
recorded by the Cologne Radio Chorus, a work for violin and orchestra
(Preludio and Chant recorded by world-renowned violinist Gideon Kremer, and
many more.

Ogermann is not primarily concerned with "modernism" per se - his goal is to
evoke emotional response in the listener. His major influences include Max
Reger and Alexander Scriabin.


( all taken from http://www.gator.net/~jgower/ogermann/disc.html )


Mo



# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 13:25:59 -0500
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Claus Ogermann

This seems to be slipping by, but wasn't Claus Ogermann associated somehow
with Quincy Jones in the early 60s? He arranged and conducted a lot of
Lesley Gore's hits.


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


# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 19:33:04 +0100
From: Moritz R <[e-mail]>
Subject: (exotica) Biggest Schlager cover site in the world

I have been knowing this for a while, but as it has gotten so much
bigger meanwhile I post it again. Hundreds of record covers...

http://www.online.prevezanos.com/schlager
http://www.online.prevezanos.com/girlpop

Mo



# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 19:40:41 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) live music propaganda

Mimi Mayer wrote:

> Viva eXotica. Thanks for a bracing debate, Mo.

My pleasure!

Mo



# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 19:45:02 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) live music propaganda

Are you saying you visited up to 400 concerts in those 2 and a half years???
Well.. now I feel like an absolute layman in things "live"...

Mo

Mimi Mayer wrote:

> When I was going to live shows a minimum of three x a week--as I did for two,
> three
> years



# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 14:13:10 -0500
From: Nat Kone <[e-mail]>
Subject: (exotica) records and bachelorhood

I know that many of you on the list - if not most of you - have families,
kids or at least significant others.  So maybe you don't relate to this.
In the last two weeks, I haven't been quite the bachelor that I've been for
the last number of years.
And I find myself thinking about records way way less often.
As a matter of fact, sometimes I even forget about them.
And often I find myself just wanting to put on a CD, rather than fiddling
around with records.
Yes I know this will probably change when the rose is off the bloom.
Although it's more likely that she'll just leave.
But suddenly I don't really want all these records around me.  And it's not
because "she" doesn't want me to have them.  She seems fine with them.
As a matter of fact, she was supportive - even enthusiastic - when we
stopped at the Goodwill store yesterday after shopping for a new shower
curtain and other necessities I've been ignoring.
It's more the fact that suddenly there's less space in my head and a little
less time in the day.  And it feels like having all these records was some
kind of representation of all the time I spent thinking about them.
As if I needed a certain amount of "weight" to sufficiently represent the
space it occupied in my (obsessive) thought processes.
All I ever really needed to do was cruise through the bins, find a few
cheap things I wasn't familiar with, take em home and unearth the buried
gems.  I never really needed to keep them afterwards.
Except in order to make tapes.
My film - which is having its world premiere (finally) at the Hot Docs
festival here in Toronto - basically argues that record accumulation is NOT
about the music.
But right now, if I could digitally archive all my favorite cuts, I think I
could get rid of 75% of the stuff and not miss it.
I don't think I need the object like I once did when my life was a bit
emptier.
Just thought I'd share that.
Stay tuned and within the year, I'll put a huge list up.  I'm sure I won't
want to deal with selling individual records but I might be up for selling
by the box.

Nat



# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 14:34:44 -0500
From: Nat Kone <[e-mail]>
Subject: Re: (exotica) live music propaganda

At 10:23 AM 3/13/00 -0500, Mimi Mayer wrote:

> For instance, I came to prefer
>live shows for certain kinds of music--. Really edgy alternative
>or thrash or blues, I'd go for the energy and the volume and speed.

Most of the time, if I'm in the mood to go sit in a bar and hear live
music, I really don't care who or what I see.  A good ole fashioned bar
band playing blues covers with long guitar solos?  Fine.  It's an
experience that transcends the actual music.
A LOT of stuff that I've loved live was way way better than the records.
I saw Hounddog Taylor a dozen times, whooped and hollered and got my mojo
working... but his records suck.
I loved Wayne Cochrane, the poor man's white James Brown. I've never even
seen his records but I doubt they'd compare to his show.
On the other hand, I have seen some great shows by artists with great
records.  Don't groan but Springsteen is an example.  But even in his case,
though I was really happy to have the experience of those shows, it's still
the records with which I forged a relationship.
I sort of look at it like this.  Live music is a group experience.  And to
some degree, it's a packaged experience.  You CAN have an individual
experience at a show but to a great degree, you're participating in a
ritual which is designed to create certain emotions.  For everyone.
Records are more like drugs.  The experience is a mixture of the general
effect of the drugs and the specific body chemisty that they enter.
Or to put it another way...  Records are more individually interactive.
My experience with each record is as much about ME as it is about the
record.  The experience is determind by the times I choose to play it, the
volume I choose, what I'm doing, whether I'm reading or writing or just
listening, what mood I'm in, how I choose to think of it, what images are
created, what's happening in my life at that moment, who I share it with.
It's like the difference between praying in church and praying by yourself.
 I'm not sure since I don't do either.  But if I did, I'd probably get more
out of the one I do by myself, unmediated by the crowds or by the gatekeepers.
I could go on and make more analogies but since Mo and Mimi are the only
ones reading at this point, I can assume that they're making their own
analogies already.

Nat



# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 00 11:36:03 -0800
From: "B.J. Major" <[e-mail]>
Subject: (exotica) Claus Ogerman on Kai Winding LPs

In doing work on another project this morning, I just happen to notice
that the arranger/conductor Claus Ogerman is also present on some Kai
Winding trombone LPs I own.  He arranged two tracks on Kai Winding, "More
Brass", Verve #V6-8657 (1966), as well as some of the tracks on Kai
Winding, "Mondo Cane #2", Verve #V6-8573 (1965).  He may be listed on
other Winding LPs as well.  This should convince those who only associate
Mr. Ogerman with "lush" string/heavy orchestral arrangements of Jobim &
Gilberto that he was certainly capable of arranging without the inclusion
of strings.

Regards,
- --bj
The Walter Wanderley Pictorial Discography:
http://members.xoom.com/bjbear71/Wanderley/main.html
http://bjbear3.freeservers.com/Wanderley/main.html


# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 00 11:44:41 -0800
From: "B.J. Major" <[e-mail]>
Subject: Re: (exotica) live music propaganda

>I could go on and make more analogies but since Mo and Mimi are the only
>ones reading at this point, I can assume that they're making their own
>analogies already.

???  I submitted a post on this subject on 3/11 as well.

Regards,
- --bj
The Walter Wanderley Pictorial Discography:
http://members.xoom.com/bjbear71/Wanderley/main.html
http://bjbear3.freeservers.com/Wanderley/main.html


# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

Date: Mon, 13 Mar 2000 12:21:43 PST
From: "Albert Fish" <[e-mail]>
Subject: (exotica) Astro Sounds  101 Strings

1) IS this worth buying
2) Is it worth buying for $8.50, (pretty good shape, stereo).

Thanks heaps

A. Fish
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to [e-mail].
# To post, email [e-mail]; replies go to original sender.

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

End of exotica-digest V2 #650
*****************************