> Something Weird Video has been doing a bang-up job recently with DVD
releases of HG's films. Haven't had time to fully watch Gore Gore
Do they put their logo as a bug in the screen corner like the videotapes? That's one reason I've never bought anything from them and would be extremely disappointed if they do this on DVD as well.
LT
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Date: Thu, 11 May 2000 10:04:49 EDT
From: TempoBlock@aol.com
Subject: Re: (exotica) Re: Bob Moog lecture
Ross Orr <mambofrenzy@earthlink.net> wrote:
>
>Moog and Scott definitely were aware of each other
Hi! Jeff Winner here from the Raymond Scott Archives -- I co-produced
MANHATTAN RESEARCH INC. Moog and Scott were *far more* than simply aware of
each other -- they were friends & professional colleges for almost 20 years!!
Bob Moog was only about 19 years old when he met Raymond Scott
(early/mid-1950s). At this time, Raymond Scott was light-years ahead of Moog
- -- but his amazing devices were all huge, & electro-mechanical. Later, after
integrated circuits were invented, Bob became a circuitry wizkid -- & RS
recognized this...
>--Moog built some electronics projects for Scott,
Moog claims to have been inspired by RS & his machines, & Bob built some
modules for Scott's projects...
>and Scott was customer #2 for Moog's first synth.
Actually, RS designed & built his own synthesizers LONG before Moog built
his first synth (mid-1960s). RS officially patented one of his synthesizers
in 1956 -- so that's about a decade before the first Moog prototype! In
R.Moog's own words: "A lot of the sound producing circuitry of the Clavivox
resembles very closely the first analog synthesizer my company made in the
mid-'60s. Some of the sounds are not the same sounds that you can get with
an analog synthesizer, but they're close." To hear an MP3 clip of R.Scott
demonstrating his 1950s synth (during a 1962 lecture) listen here:
http://RaymondScott.com/Clavivox.mp3
The keyboard you're apparntly referring to was a *polyphonic* synth
designed by RS -- but built for him by Moog in 1963/64.
>Scott was really paranoid and secretive, so it may be that Moog just
>didn't know how far ahead of his time Scott's electronic music really
>was. I suspect it's the Manhattan Research CDs that opened his eyes too!
To an extent, yes, I think you're right. Moog knew about RS's hardware
before, but I don't think he remembered RS's electronic recordings until I
sent him a prerelease copy of MRi.
PLEASE: Everyone interested in the Moog-Scott connection, read the story
as told in Mr. Robert Moog's OWN WORDS here:
http://RaymondScott.com/moog.html
...this is info we (mostly) didn't publish in the MANHATTAN RESEARCH INC.
book.
- -Jeff
.
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Date: Thu, 11 May 2000 07:18:04 PDT
From: "Robert McKenna" <rmckenna@hotmail.com>
Subject: Re: (exotica) Re: Bob Moog lecture
>>Moog and Scott definitely were aware of each other--Moog built some
>>electronics projects for Scott, and Scott was customer #2 for Moog's
>>first synth. But I'd seen some older interviews where Moog kind of
>>made Scott sound like an enthusiastic crackpot (e.g. Grand Royal #3,
>>page 57).
if you go to the big briar / bob moog site there's an article there (i
think, it's been a long time) about his association with scott. he kind of
hero worshipped him (this is long before the new cd). he built electronic
parts for him (with his father) over the years and worked on the first
sequencer. sadly for moog this was his own financial downfall, due to an
agreement he made with scott he couldn't add a sequencer to his
synthesisers, despite being a good 15 years ahead of the game. so it is
unsurprising if moog has a certain amount of regret for scott's
secretiveness/ outright barking madness as it didn't only hurt scott and his
music.
let us not forget that scott made some truly awful music to make a quick
buck too...
wish i'd been there. i can arrange for a school in the middle of a field
outside a town that's not really near anywhere in particular and an
indifferent audience of bored farmers doing anything to avoid the tedium of
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Date: Thu, 11 May 2000 11:24:26 -0700
From: "paul thomas" <hepcatpaul@mailcity.com>
Subject: (exotica) comps and more
I'm sure we're all wearing our Hawaiian shirts (fake or not), sipping mai tai's from our Trader Vic's tiki mugs by now!
Speaking of the UL 'Artist Collection' cds, the Bobby Darin cd is one of the best Darin comps I've heard ... other tend to include his rock and later folk tunes, which I, for one, don't care for. The UL has all the great Vegas numbers.Other really good cds from the UL 'Artist' series are the two cd Louis Prima and Julie London.
Has anyone seen this really cool site on Julie London?
http://www.autobahn.mb.ca/~agard/
Definitive, I'd say!
~~Paul~~
Get your FREE Email at http://mailcity.lycos.com
Get your PERSONALIZED START PAGE at http://my.lycos.com
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Date: Thu, 11 May 2000 14:30:47 -0400
From: "m.ace" <ecam@voicenet.com>
Subject: Re: (exotica) Comps, Ultra Lounge, ennui
I say this with a chuckle, but I object to this characterization of those
of us who dislike Ultra Lounge as comp-hating newbie-slappers. What kind of
political, mud-slinging innuendo is that?
I have a lot of comps, and I'm real fond of some of them. Thank Tiki there
are lots of comps floating around out there to get us started. I'm not an
expert, by far, and I don't consider myself ABOVE Ultra Lounge. I don't
dislike the music contained on them, and they can indeed be good
introductions, especially Mondo Exotica. But I still don't like their
attitude, which to me comes across as an ironic smirk, lacking in love for
the music. And if feeling that way is supposed to brand me as some sort of
elitist, sorry, but I don't agree. And if I'm not allowed to say how I
feel... well, gee whiz. Can we have our ball back, Mister?
Since "how we got here" seems to have become part of thread...
Besides a long-term pattern of eclecticism, the immediate setup was
pre-mid-60s rock&roll/surf instrumentals and B(through-Z)-movies and their
soundtracks. Which led me to RE/Search's "Incredibly Strange Films" book.
And when their first "Incredibly Strange Music" book was announced, that
was a natural buy. That book was a real brain bomb for me, transferring my
wacked film aesthetic over to music. From there it was into the late
grandparents' record stack (not much there), Bar-None's first Esquivel CD
and Rhino's "Bachelor's Guide To The Galaxy". The first 3 Ultra Lounge
volumes came in somewhere after that, but I just never felt motivated to go
further with them.
Some other nice comps:
RCA's "History Of Space Age Pop" series
RE/search's own "Incredibly Strange Music" 1 & 2
(though they are rather thin on annotation)
DCC's "Music For A Bachelor's Den" series
(nice Exotica volume)
Arf-Arf's "Only In America"
(the eccentric side of things)
Scamp's "Sound Gallery" and "TV Dinner" sets
Varese Sarabande's "Sunshine Days" series for soft pop
And to backslide a bit to the rock instro thing, there's the jam-packed, 4
volume "Teen Beat" series from Ace Records (no relation, unfortunately).
I sent a post with a treatment for mildewed albums yesterday, but it still
hasn't turned up. We'll see how this post does.
I love comps, I love newbies, but rainy days and Mondays always get me down,
m.ace ecam@voicenet.com
OOK http://www.voicenet.com/~ecam/
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------------------------------
Date: Thu, 11 May 2000 15:00:40 -0400
From: Brian Phillips <hagar@mindspring.net>
Subject: Re: (exotica) Comps, Ultra Lounge, ennui
I have not heard many of the UL's but I stayed away from them because I am
greedy! I usually either want the original album or tracks from different
labels. I can't just have one Yma Sumac track, I want the whole "Legend of
the Sun Virgin"! I also have the luxury of being in the country where most
of this was issued, so take my comments in that light. I also have an
innate distrust of major record labels (Yes, I know some great music came
out on the majors), but I grew up listening to US 70's radio, which could
reeeeally stink given half a chance.
Having collected 60's beat/garage stuff over the years, most of the best
comps focused on scene or a particular style rather than label (the ___
Scene series , such as the Beat Scene and Mod Scene comps are glaring
exceptions to that rule).
Oh, well, I have strange tastes in Exotica anyway, but you all know
that. Are they good starting points? Yes, but for me, my fave was my
first, Space Age Bachelor Pad Music: Mallets in Wonderland. I enjoy every
track on that one, save Bob Thompson's. From there I managed to score Riot
in Rhythm by Henri Rene some years later.
Brian Phillips
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Date: Thu, 11 May 2000 12:35:52 -0700
From: Jack Diamond <jack@jackdiamond.com>
Subject: (exotica) How'd you get into this stuff ?
Boy, this was really a touchy subject, wasn't it ?
No response wanted or needed
As M. Ace said, where this thread is really going, or coming from for that
matter,
is where we all started, how did you get into this stuff ?
Now since we have heard all about the UL Comps, let's not rehash that,
please:-)
Me ? I was stuck, musically.
Though I was heavily into 50's west coast jazz, Jazz Orchestra's, Basie,
Ellington,
Texas blues and R and B, contemporary Texas blues and R and B and ALL it's
facets, like Zydeco,
as well as early Black Sabbath:-), all sorts of electric guitar
instrumental bands,
EXCEPT SURF, which still to this very day I have not found an appreciation for,
I had this yearning for something, but I didn't know what it was:-(
THEN, 1 fateful day in a store in San Francisco, in which the original owner,
Bill Donovan, does not own anymore, this guy, Christoff, who worked there,
knew all
of this and said to me, stand here, in the middle of the 4 speaker set up,
in the store
and he put on this record, THAT COMPLETELY BLEW ME AWAY and that was the
start of it.
He then told me about this guy who sells records at the Marin City Flea
Market, name of Mickey McGowan,
who sells this artist, but is into all sorts of other weird stuff and I
should go out there and talk to him.
So I did. And I went there every Sunday AM for about, gee, I can't even
remember, but a number of years
This was a time when I owned another business but this business was a lot
more lucrative than
my present business and I was netting about $100,000.00 annually
I spent at least $1,000.00 a month with Mickey buying just about everything
he recommended and from there,
I learned. I learned artists, record labels, I learned about the
connection between certain artists and other labels, record covers,
budget labels, I learned LOTS of stuff and I am still learning and
discovering recordings I have never heard about, artists,
labels I never heard of or saw, musics I have never heard of or about etc
etc etc and that's all she wrote
That record btw, that Christoff turned me onto was, Esquivel "Other Worlds
Other Sounds"
Ain't it the truth
Other worlds, other sounds
JD
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Date: Thu, 11 May 2000 15:45:28 EDT
From: DJJimmyBee@aol.com
Subject: Re: (exotica) Ultra Lounge - Gloria
In a message dated 5/11/0 1:03:20 PM, Stilgloria@aol.com wrote:
>I don't know Jack although I've met him a couple
>of times and talked with him, and he IS a cutie!!
Then you can call me Rock Needleman..JB/met Jack before ;--)
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Date: Thu, 11 May 2000 13:01:49 -0700
From: "Stephen W. Worth" <bigshot@spumco.com>
Subject: (exotica) Bobby Darin / Johnnie Ray / Billy Daniels
>Date: Wed, 10 May 2000 18:37:58 -0500
>From: "Colleen Pyles" <colleen7@ireland.com>
>By the way...anybody a big fan of Bobby Darin...didn't care for his rock
>and roll stuff....but his pop/lounge stuff is great!
>Colleen in Texas
To be honest, I can't tell the difference between "rock", "lounge"
or "folk" Bobby Darin. They all sound like Darin to me. I really
like his stuff. I just got a Johnnie Ray CD called "High Drama"
and it blew me away. I'm going to be looking for more of his
stuff. There is also a great CD by Billy Daniels called "The
Touch of Your Lips" that has David Seville-like saxes. (It was
arranged by Dave Pell.) I would love to find more stuff by
Billy Daniels, but this seems to be the only CD out there.
All these guys have passion to spare.
See ya
Steve
Stephen Worth
bigshot@spumco.com
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: Thu, 11 May 2000 12:57:16 -0700 (PDT)
From: tikiman <taboorecords@yahoo.com>
Subject: Re: (exotica) Jane Fondles' Question about Don Tiki's next release
- --- Kevin Crossman <kevin@kevdo.com> wrote:
> I don't suppose you'd be taking "requests" as to
> what songs we'd be
> interested in hearing Don Tiki cover...
> I could suggest the "usual suspects" such as "Quiet
> Village", "Taboo",
> or "Caravan" but my vote would be "Love Dance".
all good suggestions, although we may do only
originals for the phantom "next one." the Don does
Caravan live... one can never get enough of that tune!
Jerry Martini, ex saxman for Sly Stone lives here now
and loves to sit it on that one. many moons ago,
P.E.T. (pacific-ethno-techno), Perry Coma's avant
group performed Quiet Village that started with bird
calls and ended with jack hammers to reflect the
concrete jungle that Honolulu was becoming. i did the
"prepared tapes" and sound f/x. as Tiki Bob states, it
is hard to cover such a signature tune. "Love Dance"
is a good call, but if Mr. Denny is willing to sit in
again, we would probably leave the song selection up
