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exotica-digest        Monday, November 6 2000        Volume 02 : Number 834



In This Digest:

Re: (exotica) ADORING THE ENEMY
Re: (exotica) EXOTICA-ADORING THE ENEMY
(exotica) arpais/vandalia 45's for sale
Re: (exotica) No Enemies
Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE ENEMY
Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE  ENEMY
Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE ENEMY
Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE  ENEMY
Re: (exotica) No Enemies
Re: (exotica) No Enemies
(exotica) secret agents, heroes & super villains
Re: (exotica) secret agents, heroes & super villains
Re: (exotica) secret agents, heroes & super villains
Re: (exotica) secret agents, heroes & super villains
Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE  ENEMY
Re: (exotica) secret agents, heroes & super villains
Re: (exotica) Retro Cocktail Hour
(exotica) Cowboy Bebop
(exotica) Tina Louise
(exotica) ADORING THE ENEMY
Re: (exotica) ADORING THE ENEMY
(exotica) ADORING THE ENEMY
(exotica) Re: Gold! Silver! Eggplant!
(exotica) soft pop
Re: (exotica) with enemies like these...
(exotica) soft pop

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

Date: Sat, 04 Nov 2000 19:14:41 -0500
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) ADORING THE ENEMY

>Now my point: don't you think that we ex punks finally managed to come
>to terms with the enemy, this being all the music/artists that our
>parents and grandparents used to listen to?

Well, not really. *Rock* revolted against the Easy Generation way back in
the 50s & 60s. In my neighborhood at least, punk was a denial of the
Woodstock Generation, classic rock, arena rock, FM AOR playlist fodder,
corporate-driven mainstream rock swill of all sorts. The Easy Generation
wasn't even in the picture. Our immediate problem was trying to get out
from under the likes of Styx, REO Speedwagon, Journey, The Eagles,
et-blech-cetera, on up to boomer rock deities I won't bother listing.

>Yet, after 25 years we started to adore the Rat Pack and
>all the Space Age pop stuff and many of us instigated the revival.
>What happened? We simply came to terms with the enemy, turning it upside down
>and recontextualizing it a way that suits us

I felt like the recovery of these pre-rock forms was more a continuation of
punk's anti-rock "project." Rock was the enemy, not Easy -- and as the
saying goes, "my enemy's enemy is my friend."

m.ace  [e-mail]
http://ookworld.com


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

Date: Sat, 4 Nov 2000 19:48:06 -0500
From: Ross Orr <[e-mail]>
Subject: Re: (exotica) EXOTICA-ADORING THE ENEMY

Francesco wrote:
>don't you think that we ex punks finally managed to come
>to terms with the enemy,

Growing up, the only music that really penetrated my awareness was
the Beatles, the Stones, etc.  All parental-type music just seemed so
Tainted and Unclean that I simply avoided it, to the extent I was
able to. By the 70s, Rock had a total stranglehold on the acceptable
parameters of coolness in music. Punk seemed more like a reaction to
rock becoming over-slick.

In 1993 when I brought home that first xylophone-crazed Enoch Light
album (perhaps it was _Far Away Places_), perhaps there was a little
bit of rebellious perversity involved--thinking, "gee our parents'
generation certainly had some peculiar ideas about music, didn't
they. . . "

At the point I got into exotica, I had actually lost both parents
(before I had a chance to come to terms with them as people not so
different from myself). So there was also this lingering curiosity
about that generation, whose artifacts were still all around me, but
who somehow seemed to come from a foreign and mysterious time.
Perhaps Exotica was "doubly exotic" to me for that reason.

As it happened, I had also subconsciously absorbed the melodies to a
lot of exotica standards (via decades of Musak and parental-type
radio stations), and it became kind of fun to hear the rather
startling and unfamiliar versions different artists gave those songs.
It was hardly soporific "easy listening," the way the Rock Generation
had demonized it.  So that's where musically it all ended up being
pretty refreshing and fun. . .

Alan wrote:
>Then there's the fact that there are way more of these records at the
>thrift stores than anything else except eighties rock.

There was that too!


Hey--who let all these intellectuals in here, anyway?

cheers,

  --Ross

|| Ross "Mambo Frenzy" Orr  <[e-mail]>
|| Ann Arbor, Michigan USA


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

Date: Sat, 04 Nov 2000 20:33:04 -0500
From: Michael Greenberg <[e-mail]>
Subject: (exotica) arpais/vandalia 45's for sale

Hi - I know selling things is not the norm here, so I hope posting a
brief message doesn't violate a sacred trust...

I recently bought a bunch of "new old stock" (aka unplayed) singles by
William Howard Arpaia on the Vandalia label and in the process of
selling some of them.  It occurred to me they might be of interest to
some folks on this list, who appreciate self-made musical men & women.
As some of you may know, these records are song-poem related.  If you
want to know more about Vandalia and Arpaia, please take a look at Phil
Milstein's nice introduction at:

http://www.aspma.com/labels/arpaia/vandalia.htm

If you want details about what I have for sale, please contact me
directly.  I wont take up any more list time on this.

thanks,

Michael




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

Date: Sat, 04 Nov 2000 21:30:14 -0600
From: Matt Marchese <[e-mail]>
Subject: Re: (exotica) No Enemies

ultrasuoni wrote:

> Now my point: don't you think that we ex punks finally managed to come
> to terms with the enemy, this being all the music/artists that our
> parents and grandparents used to listen to?

Not true in my case. Punk was primarily a way for me to rebel against what I
felt at the time to be the stifling constraints of prog rock. This was pretty
much epitomized by bands like Yes. Listening to  all those 20-minute songs on
"Tales From Topographic Oceans" was like a hearing a musical bullshit detector
going off in my head. I thought that rock and roll was utterly and completely
dead at that point. Punk was also a way for social misfits (like me) to form
their own little elitist clique in school and confound hippies (not terribly
difficult).

I never rebelled against my parent's music. I grew up listening to every kind
of style imaginable. I watched Dean Martin and Tom Jones religiously on TV and
listened to Sinatra on a daily basis. Even when deep in my punk phase, I still
kept British Invasion bands like the Yardbirds, classical music, Johnny Cash,
and even The Ray Conniff Singers in heavy rotation on my turntable. Dr. Demento
was a constant companion throughout these years as well.

> Don't you feel free, at last?

I don't believe that I was ever not free. The only reason that I finally
abandoned the punk scene was due to the excessive violence that started to take
over. When it got so that you couldn't go to a Ramones show without somebody
trying to coldcock you while pogoing, I decided that it was time to retire the
safety pins.

Really, the only parental music that I've "come to terms with" in recent years
is opera. I saw several operas while travelling in the Soviet Union as a child
and loved them. As a teenager, my mother's incessant playing of scratchy Maria
Callas records drove me around the twist. It's only been just in the last
couple of years that I've been able to start going to operas again, and I try
to stick to dark, murderous, and melancholy Russian ones.

- --
Matt Marchese
[e-mail]
http://reality.sgi.com/mattm_americas/
"Lucky Fruit, the dried corpse is horrible!" -Peacock King
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*




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

Date: Sun, 5 Nov 2000 03:19:48 EST
From: [e-mail]
Subject: Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE ENEMY

In a message dated 11/4/00 3:56:17 PM Pacific Standard Time, [e-mail]
writes:

<< If I'm understanding you correctly, you seem to be calling The Rat Pack and
 all that "the dominating culture".  If that's the theory, I don't see it
 that way.
 I grew up in the sixties somewhat frustrated by the apparent stranglehold
 the Rat Pack and their buddies had on the culture.  I liked their movies.
 I liked their devil-may-care attitude.  I just hated their music.  And I
 particularly hated how they put down "my" music.
 But I don't think they were the dominating culture.  I think they were
 always playing catch-up with the Beatles and the rest of the rock culture.
 They did everything they could to get back on top but it never could happen.
>>

For proof, just look at the myriad of "hip" covers done by members of the Rat
Pack as well as many other "Easy" artists of the day.  Maybe it's just me,
but it seems if they were the Dominating Culture of the day they wouldn't
have bothered trying to prove how "hip" they were (or at least trying to grab
a share of the market) by covering the songs of the younger generation.  (of
course, the sheer unintentional surrealness of some of these covers was
responsible for luring some folks - I'm not saying every one of us - onto the
pathway to Exotica)

>don't you think that we ex punks finally managed to come
>to terms with the enemy,

By the time I stumbled across punk, the musical "enemy" was more likely to
be the crap psuedo-metal big-hair bands or slick AOR/MTV bands (anyone
remember Mister Mister or the Escape Club?) clogging the airwaves at the
time; Sintara & Co. weren't even on the radar screen.  It can be just a case
of discovering what gems can be found in those garage sale/thrift store bins
rather than coming to terms with the Enemy.

Continuing guerilla warfare against "Young" country and "Quiet Storm" jazz,
DavidH
p.s. Actually not all of us can be labelled "Ex" Punks.  I still listen to
and play on my show Punk both old (Avengers, Damned, Buzzcocks, Husker Du)
and new (Aerobitch, Melt Banana, the late great Teengenerate) as well as the
latest exotica reissues and Italian 70s soundtrack imports.


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

Date: Sun, 05 Nov 2000 10:17:29 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE  ENEMY

ultrasuoni schrieb:

> Now my point: don't you think that we ex punks finally managed to come
> to terms with the enemy, this being all the music/artists that our
> parents and grandparents used to listen to?

I can say that I lived through a long rebellion phase in my life myself,
ranging from hippie drug use, resistance against all "values", radical
political activities up to punk, and I definitely had a couple of fights to
carry out with my father, but unlike common belief, it was never about the
music we listened to. My father used to listen to jazz and I never hated him
for that. In fact, when I was in my heavy jazz phase myself in the middle of
the 70s my father had the Beatles, the Beach Boys, Donna Summer, Frank Zappa
and the Doors in his record collection! He doesn't listen to this anymore,
he's got back into jazz and even classical music, and I don't listen to jazz
anymore like I used to. So I guess the changes that happened, were not a
result of the generation gap or the end of it. I don't know what happened.
It's an intersting question and I really enjoy the comments given so far by
everybody who posted.

I absolutely agree with those statements, that the enemy for punk were arena
rock post hippie groups like Yes, Genesis, Caravan and the likes. It was the
mountain-high towers of P.A. equipment erected against stupid mass audiences,
that turned one down in the late 70s, not even the hippie as a figure. In fact
many punks never quit smoking pot or taking LSD, although the culturally
correct drug was beer at the time. There was a bit of gender content in the
punk revolt, imho, namely this late 70s motherly hippie feminism, that made a
lot of boys want to gather in gangs again, instead of sitting at home
listening to the complaints and accusations of their girl friends. At that
time a decent tom-boyish companion was the choice of the hour, but when it
came to pogo even the toughest girls were somewhat swept from the dance
floors...  :-) it was a great time for many reasons.

Mo



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

Date: Sun, 5 Nov 2000 08:43:28 EST
From: [e-mail]
Subject: Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE ENEMY

great summary statement francesco.  sums it up nicely.

robert brooks
charleston, south carolina, USA

In a message dated 11/4/00 2:08:27 PM Eastern Standard Time,
[e-mail] writes:

<< Yet, after 25 years we started to adore the Rat Pack and
 all the Space Age pop stuff and many of us instigated the revival. What
 happened? We simply came to terms with the enemy, turning it upside down
 and recontextualizing it a way that suits us (think of the Julie
 London/Louis Prima remixes, think of techno and drum'n'bass
 appropriating the mambo etc.). Don't you feel free, at last?

 francesco adinolfi
  >>


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

Date: Sun, 05 Nov 2000 10:04:40 -0500
From: [e-mail]
Subject: Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE  ENEMY

> but it seems if they were the Dominating Culture of the day they wouldn't
> have bothered trying to prove how "hip" they were (or at least trying to grab
> a share of the market) by covering the songs of the younger generation.

But that's what the rat pack generation singers did throughout their entire
careers - they chose their favorite songs, usually written by other persons, and
recorded their own interpretations of them.  They covered Broadway standards in
the 50's, Mancini songs in the early 60's, Bacharach songs in the mid 60's .... so
they were simply continuing this practise when they decided to do their own
versions of hits by the Doors and other rock artists.

What was different was that the younger generation tended to think of the rock
songs as the exclusive property of the original artist.  It's so locked into their
minds that the only version of 'Hotel California' is the one recorded by the
Eagles... how many re-interpretations of this song have you ever heard by a top
artist?   When the younger generation saw someone else trying to attempt a cover
version of a rock song, their initial interaction was 'Hey, Go back to your own
turf ... this is our music!!'

Is it really greedy when someone decides to do a cover version of a song written
by someone else?    What better way to show respect and admiration for a song than
by recording another version, knowing that the songwriting/publishing royalties
are not going to you, but probably to the original songwriter.   One of my
favorite Sinatra stories is when he said that George Harrison's 'Something in the
Way She Moves' was the greatest love song of the century ... and he honored the
song by recording his version of it.   Sinatra didn't do this because his career
was in a downswing and he was in need of a hit - he recorded it in 1970 when he
was still experiencing the glow of his 60's resurgence.

Contrast this attitude to the 70's rock era, where the tendency was to record only
the songs that you yourself wrote and published, keeping all royalty credits to
yourself.

From this perspective, the Rat Pack generation can be seen as the 'hip' artists
and the younger generation as the ones who were more shallow.

Vern



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

Date: Sun, 05 Nov 2000 10:35:15 -0500
From: [e-mail]
Subject: Re: (exotica) No Enemies

> Not true in my case. Punk was primarily a way for me to rebel against what I
> felt at the time to be the stifling constraints of prog rock.

I discovered punk while in college, I believe the same semester when the guys in
the next room over played their boombox constantly.  For the whole semester they
only had two tapes, Michael Jackson's 'Off the Wall' and Huey Lewis's 'Sport' which
they played over and over.....

For myself, punk was rebelling against whatever cultural elements and attitudes
were repeated over and over and over again without any consideration or curiousity
that there might be new interesting things beyond the horizon.  It was easy for me
to bitch about Jackson and Lewis back then, but I suspect I would have been just as
frustrated if they played the Dead Kennedys or Joy Divison over and over ...... or
if it was Bacharach and Mancini over and over and over....

About the same time I was buying punk LPs, I remember going to a yard sale and
buying two of those huge Reader's Digest boxed sets, full of EZ versions of 60's
and 70's tunes such as 'A Horse with No Name.'  I recorded two full cassettes of my
favorite songs, and would listen to these tapes quite often.  So although my
listening habits were heavily slanted to the louder modern stuff back then, I do
have a sense of punk and EZ co-existing then and not being two different entities.
The listening ratios may have switched from 95-5 to 5-95, but they have always
co-existed.

over and out,
Vern





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

Date: Sun, 05 Nov 2000 18:26:57 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) No Enemies

[e-mail] schrieb:

> I do have a sense of punk and EZ co-existing then and not being two different
> entities.

I remember the time around '82 when an increasing interest for latin american music
clashed into the current new wave style and made me record cassettes mixed with both
those two styles. It was perfect; sounded like Mexican radio or something at that
time. I still enjoy these cassettes every once in a while and they give me an intense
feeling of that time at the beginning of the 80s, when "everything was possible".

Alan wrote:

>I think it has to do with finding out that in a lot of cases, the people
>you thought were cool, were no cooler than the supposedly uncool.  Finding
>out that the records you loved in the sixties were produced and arranged
>and created by some of the same people behind the records you hated.
>It's obviously more complicated than that but if you've seen the rock
>cycles come around enough times, you start to see behind the curtain.  And
>you begin to see that it's almost all manufactured.
>So the idea of "rock credibility" is brought into question.

Exactely. I remember when I started to hate Johnny Rotten. All this big artsy fartsy
fuss when he was hip in New York and to see these pretentious rebellious faces he made
every time a camera was around. I mean, punk never took itself all too serious, but
this was just very sad and poor.

The entire idea of destruction and trash became doubtful for me, since I started to
make music myself and saw how much more difficult it was to create interesting musical
structures instead of just poses of denial. That's when I started to really admire the
big composers and arrangers of the 20th century. I don't think this meant that my
attitude towards what I saw as the "enemies" of humanity (or so) changed. I think it
rather meant I got a different understanding of what humanity meant, i.e. good art for
instance.

Mo



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

Date: Sun, 5 Nov 2000 17:44:25 -0000
From: "Paul Hodge" <[e-mail]>
Subject: (exotica) secret agents, heroes & super villains

Hi everyone

Slightly unusual request this.

I'm having a 'Secret Agents, Heroes and Super Villains' party.

The music is going to be a wild mixture of funky lounge eg mel torme -
secert agent man, nancy sinatra
- - last of the secret agents, etc.

I wonder if anyone could help me out by giving me the URL of a website that
has a comprehensive list
of TV and film secret agents, heroes and super villains

If not, any personally put-together lists would be gratefully received.

Thanks in advance

Paul



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

Date: Sun, 05 Nov 2000 14:11:28 -0500
From: Lou Smith <[e-mail]>
Subject: Re: (exotica) secret agents, heroes & super villains

At 05:44 PM 11/5/00 -0000, you wrote:
>
>
>I wonder if anyone could help me out by giving me the URL of a website that
>has a comprehensive list
>of TV and film secret agents, heroes and super villains
>
>Paul


http://www.cia.gov/spy_fi/index.html




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

Date: Sun, 5 Nov 2000 14:15:00 EST
From: [e-mail]
Subject: Re: (exotica) secret agents, heroes & super villains

Personal list to get you started:

Private Eyes:
Peter Gunn
Ricard Diamond
Amos Burke
Honey West
Edd "Kookie" Byrnes
other characters from, 77 Sunset Strip, Hawaiian Eye, Bourbon Beat

Spies:
Emma Peel
John Steed
Derek Flint
Matt Helm
Modesty Blaise

TV Superheroes:
Batman
Robin
Batgirl
Catwoman
Joker etc.
Green Hornet
Kato
Wonder Woman
Superman
The Hulk
Buffy the Vampire Slayer
et al.


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

Date: Sun, 05 Nov 2000 23:22:06 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) secret agents, heroes & super villains

Private Eyes:


Magnum, great title track!
Miami Vice

In your case I would get me a couple of those Television's Greatest Hits
compilations. They are all great.

Mo



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

Date: Sun, 05 Nov 2000 17:58:22 -0500
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) MONDO EXOTICA-A SPACE AGE POP BOOK FROM ITALY/ADORING THE  ENEMY

At 10:04 AM 11/5/00 -0500, [e-mail] wrote:
>
>But that's what the rat pack generation singers did throughout their entire
>careers - they chose their favorite songs, usually written by other
persons, and
>recorded their own interpretations of them.  They covered Broadway
standards in
>the 50's, Mancini songs in the early 60's, Bacharach songs in the mid 60's
.... so
>they were simply continuing this practise when they decided to do their own
>versions of hits by the Doors and other rock artists.
>
>What was different was that the younger generation tended to think of the
rock
>songs as the exclusive property of the original artist.

Interesting perspective vern.  And there's lots of truth in what you say.
At the time, I wasn't really aware of how many of these tunes they were
actually recording since I never came near their records and that wasn't
the kind of thing my father would buy.  I saw/heard them do these things on
TV.  And maybe that had something to do with my contempt for it.
Invariably when one of these guys - or gals - did a "rock" tune on TV,
they'd do some huge production number around them with the June Taylor
dancers doing fake go-go and the colours going all "psychedelic" etc etc.
It didn't exactly help give their versions credibility.
I think the biggest reason I was intolerant for their versions of "my"
songs was their obvious intolerance for the music and the musicians.  They
made jokes about them far past the time when "is that a boy or a girl with
all that long hair" was funny.  And they were very clear about the fact
that they thought the music was bad, the singers were bad, the musicians
were bad.
And the fact that in a lot of cases they were right, was lost to me at the
time.
But the truth was that these bad singers and bad musicians could do
something they couldn't do.  Rock.
And the proof was how feeble the guitar solos were when their house bands
attempted them.  The guitarist on Merv Griffin's show was Herb Ellis.  A
master guitarist.  But when Herb did a rock solo, it sucked.
And then there's the fact that even though I still hear people put down Bob
Dylan's voice (or Leonard Cohen or you name it...), it's irrelevant that
Dylan can't sing as well as Buddy Greco.  In that sense, Buddy was also
better than Hank Williams but as fond as I am of Buddy's Hank Williams
record, there's something a little more authentic about Hank's versions.

Geez.  My father is dead but there's a part of me that will always be that
little kid trying to prove to my father that rock music is worth something.
 Ironically I was always trying to prove to him that the rock stars DID
have good voices in his sense of the word, rather than argue it like I do now.
Gary Puckett and the Union Gap - or some such band - would be on Ed
Sullivan and I'd call my Dad in and say "Don't you think HE's got a good
voice????"
"No". And he was right of course.
But that's not the point.





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

Date: Mon, 6 Nov 2000 08:05:30 -0500
From: "Risser Family" <[e-mail]>
Subject: Re: (exotica) secret agents, heroes & super villains

> > Charlie's Angels, James West and Artemus Gordon, James Bond, Joe Friday,
> > Crockett and Tubbs, Maxwell Smart, Inspector Gadget, Hawaii 5-0 and
Magnum
> > PI.  Inspector Clouseau.
> >
> > Lex Luthor, Solomon Grundy, Braniac, Joker, Riddler, Penguin, Egghead,
Mr.
> > Mztlplk (?)
> >
> > Green Lantern, Spiderman, Aquaman




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

Date: Mon, 06 Nov 2000 08:35:42 -0500
From: "Nathan Miner" <[e-mail]>
Subject: Re: (exotica) Retro Cocktail Hour

Darrell:

Cowboy Bebop on Retro Cocktail Hour?  Whoa!  Talk about "hyper-frenetic =
big-bang-swingishness"........this Japanimation theme song wins it hands =
down!

Anyone on the list into Japanimation soundtrack music?  I've not heard too =
much of it but was curious.......

- - Nate




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Date: Mon, 6 Nov 2000 08:01:48 -0600
From: "Darrell Brogdon" <[e-mail]>
Subject: (exotica) Cowboy Bebop

> Cowboy Bebop on Retro Cocktail Hour?  Whoa!  Talk about
"hyper-frenetic
> big-bang-swingishness"........this Japanimation theme song wins
>it hands down!
> Anyone on the list into Japanimation soundtrack music?  I've not
>heard too much of it but was curious.......

Nate,

Glad you enjoyed "Cowboy Bebop".  I've been meaning to post
something to the list about this CD.  A Retro Cocktail Hour listener
told me about it, and the music by Toru Kanno and the Seatbelts
really knocked me out!  It's mostly what I'd call private eye jazz-
type stuff, with blazing bongos and a hard-swinging big band.
Great stuff!  Since playing it this week, I've already been contacted
by several "Cowboy Bebop" fans.

There are apparently four CDs drawn from the series.  I've spot
listened to all of them, and the first is the best, in my opinion.
Don't know a damn thing about anime, but I loved this soundtrack!

Another movie theme in a similar vein is from an '80s movie called
"T.A.G.: The Assassination Game".  The main theme is a
swinging, edgy spy-private eye thing by Craig Safan.  I'll sit through
the movie just to hear the music!  No soundtrack CD that I know of,
unfortunately.


Darrell Brogdon
The Retro Cocktail Hour
KANU FM 91.5
Visit The Retro Cocktail Hour at:
http://kanu.ukans.edu/retro.html
Listen to The Retro Cocktail Hour at:
http://kanu.ukans.edu/retro/retrolisten.htm


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Date: Mon, 06 Nov 2000 16:01:21 GMT
From: "Albert Fish" <[e-mail]>
Subject: (exotica) Tina Louise

Does anyone have a Tina Louise album cover ONLY that they want to sell or
trade for???

Thanks Heaps.

- -A. Fish.
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Date: Mon, 6 Nov 2000 08:26:36 -0800 (PST)
From: chuck <[e-mail]>
Subject: (exotica) ADORING THE ENEMY

I was reading the liner notes to the "Nuggets Box Set" on Rhino and
I share some of the viewpoints stated therein.   When the First
Nuggets lp was released in 1972 they used the term (for the first
time) "PUNK" to describe what is now called 1960s garage rock.
They also called the Sun Sessions & rockabilly proto punk.  Back in
the 1950s and 1960s there were tons of independent record labels
releasing "sincere" un-commercialized bands.  Surf bands in
California and the Midwest,  frat bands most everywhere else.
Local bands popular in their own towns, states or even a few
states.  Worldwide this phenomenon was going on even in Japan.
This music was bubbling and ready to explode and did finally in
1965/1966.  This punk attitude was stomped upon (in the US) by
radio stations that quit playing local artists and a variety of
music.  From 1969 through the 1970s pop music radio generally
sucked.

There is just no keeping down the non-commercial, independent raw
"punk" attitude in rock and roll so it was inevitable that Punk
Rock would rise up in the late 70s.  Punk as m.ace stated was a
revolt against the classic rock that came to being in 1968 or so.
It was also a revolt against the commercialization of music.  It
was about attitude.  However as the Nuggets liner notes pointed out
"Punk rock seemed one dimensional".  This attitude though continued
onto the indie pop scene of the early 1980s in England where vinyl
7 inch records ruled once again.  This independent attitude also
gave rise to the anger felt by many Nirvana fans when Nirvana let
their second album get overly "Produced"

Exotica was never the enemy of punk attitudes.  In fact you can
look at it and see most exotica died around 1970, the same time
rock and roll died and ROCK became king.  Its natural for punks to
embrace exotica.  It never seemed pompous like 1970s arena rock.
It always seemed to bubble under the top 100 as a kind of
underground music not embraced by the rock establishment.

The attitude of exotica performers from easy listening to moog to
Exotica with a capital E seems less pompous then 70s rock. Some of
the attitudes seem downright sincere.  What were
Baxter/Ravel/Hoffman up to on "Music For Piece of Mind" or Baxter
on his Exotica albums, or Denny even on his 3rd or 4th album,
"Hypnotique"  The same balls to the wall attitude comes out when
Rat Pack singers cover "Light My Fire".  Did they really expect
their remake would soar up the charts or did they just "know" they
could do it.... better.    This ballsy attitude seems more akin to
the attitude of Sun Records, Dick Dale, The Trashmen, The Seeds,
The Music Machine The Clash The Sex Pistols and vinyl 7 inch indie
pop freaks of today!

Garage Rockin in the Big Easy
Chuck


- --- "m.ace" <[e-mail]> wrote:
 Well, not really. *Rock* revolted against the Easy Generation way
> back in the 50s & 60s. In my neighborhood at least, punk was a
denial of the> Woodstock Generation, classic rock, arena rock, FM
AOR playlist fodder, corporate-driven mainstream rock swill of all
sorts. The Easy Generation wasn't even in the picture. Our
immediate problem was trying to get out from under the likes of
Styx, REO Speedwagon, Journey, The Eagles,> et-blech-cetera, on up
to boomer rock deities I won't bother listing.



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Date: Mon, 06 Nov 2000 11:37:44 -0500
From: [e-mail]
Subject: Re: (exotica) ADORING THE ENEMY

>Nuggets lp was released in 1972 they used the term (for the first
>time) "PUNK" to describe what is now called 1960s garage rock.

OED's first usage is:

1971 D. MARSH in Creem May 43/3 He's [sc. Rudi Martinez is] doing the knee-drop, and the splits and every other James Brown move. He's the only one in punk-rock who's still got 'em and he's makin' a comeback.


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Date: Mon, 6 Nov 2000 09:10:41 -0800 (PST)
From: chuck <[e-mail]>
Subject: (exotica) ADORING THE ENEMY

Good ole Dave Marsh.  I got his Book on the 1001 greatest rock and
roll songs and I'm still frustrated every time I think about how he
put Louie Louie at number 11!

Punk-Rock sounds like a Lester Bangs term, but he claims to have
coined "Heavy Metal" I recommend his book Psychotic Reactions.

Both Marsh and Bangs suggested songs for the original Nuggets lp.
The liner notes in this claim to have influenced the Ramones, Dolls
and many late 70's punk bands who all owned copies.

I thought Bangs was done well in Hi-Fidelity.
Also in that movie Peter Frampton seemed to be THE ENEMY. I laughed
out loud when the girl sang that Frampton song and they all said:
"I never thought I'd like a Peter Frampton song"

Thanks
Chuck

- --- [e-mail] wrote:

> 1971 D. MARSH in Creem May 43/3 He's [sc. Rudi Martinez is] doing
> the knee-drop, and the splits and every other James Brown move.
> He's the only one in punk-rock who's still got 'em and he's
> makin' a comeback.


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Date: Mon, 6 Nov 2000 16:16:58 +0100
From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Re: Gold! Silver! Eggplant!

(1) first of all, the green discs are already on the market since 1989!

(2) a local "ProAudio" mag had an article about it. they assure that
most pro people EXPECT those green ones to live about 70 years, the
gold ones more than 100 years, but ONLY IF:

(3) you keep them out of the sunlight and away from heat and
humidity, since the used dye (that holds the digital data) reacts to
ultra-violet light and heat, and the aluminium could react with
oxygen. the gold dye reacts the least to ultra-violet light, the
green ones the most, the blue ones somewhere inbetween.


         Johan

         -----



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Date: Mon, 06 Nov 2000 14:04:10 -0500
From: alan  zweig <[e-mail]>
Subject: (exotica) soft pop

We used to talk about Bacharach and soft pop and Free Design and High
Llamas here.  Not much anymore.
But for old times sake, I have another recommendation.
If you like the High Llamas and old Todd Rundgren and the Beach Boys and
the Free Design and Bacharach....
The Pearlfishers.  CD called "The Young Picknickers".
One of the guys from Teenage Fanclub sings on the CD but it's not really
Teenage Fanclubby, except in the sense that they both do "harmony pop".
I had to check the songwriting credits to make sure some of them weren't
just Bacharach tunes I was unfamiliar with.;
It feels a bit silly to be recommending a young English rock band here but
to be honest, I have no idea what this list is really about anymore.
AZ



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Date: Mon, 06 Nov 2000 14:14:41 -0500
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) with enemies like these...

Prog rock... hmmm, I dunno... *some* of that is odd enough to acquire an
"incredibly strange" enjoyment value. And I don't mean in just a
teasing-the-pain-threshold kinda way. But the more prosaic bands (Journey,
Foreigner, etc) are just... forever odious.

Coincidentally enough, the latest edition of Perfect Sound Forever has an
eerily relevant column:
http://www.furious.com/perfect/1970s.html

Our exotica obsessions even get referenced.

Mom! They're writin' about us again!


m.ace  [e-mail]
http://ookworld.com


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Date: Mon, 6 Nov 2000 12:28:53 -0800 (PST)
From: chuck <[e-mail]>
Subject: (exotica) soft pop

Hi Alan

Thanks for posting this to the list.  Recommendations from
exoticats are always welcome.  You think this list is confusing, my
friend on the Captain Beefheart list says the list is hardly ever
about Beefheart anymore.

This cd sounds great!  Any other modern soft pop cds out there
you'd recomend?

Thanks
Easy listening in the Big Easy
Chuck

- --- alan  zweig <[e-mail]> wrote:
> But for old times sake, I have another recommendation.

> The Pearlfishers.  CD called "The Young Picknickers".
> It feels a bit silly to be recommending a young English rock band
> here but to be honest, I have no idea what this list is really
about anymore.



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End of exotica-digest V2 #834
*****************************