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exotica-digest        Wednesday, March 14 2001        Volume 02 : Number 920



In This Digest:

Re: (exotica) Recent Finds...
(exotica) Downey = songwriter?
Re: (exotica) Downey = songwriter?
(exotica) LA
(exotica) Re: Musical Luddite
Re: (exotica) LA
Re: (exotica) LA
Re: (exotica) Recent Finds...
Re: (exotica) Re: swingle singers
(exotica) Eno vs Billie Holiday
(exotica) The Problem with Machines
Re: (exotica) Umbrellas of Cherbourg
Re: (exotica) Bach and other things
Re: (exotica) the problem with machines
(exotica) glass organs
Sv: (exotica) glass organs
(exotica) KPM - prices!
Re: (exotica) Bach and other things
(exotica) Vinnie Bell and his "super electric" guitar
Re: (exotica) Re: swingle singers
Re: (exotica) The Problem with Machines
Re: (exotica) Eno vs Billie Holiday
Re: (exotica) Re:  A Brighter View of Our Dark Age of Music
(exotica) those bossa comps someone asked about a while back...
RE: (exotica) Disappearing Records
Re: (exotica) Vinnie Bell and his "super electric" guitar
Re: (exotica) Umbrellas of Cherbourg / Demoiselles de Rochefort
Re: (exotica) LA

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

Date: Tue, 13 Mar 2001 22:53:43 -0500
From: [e-mail]
Subject: Re: (exotica) Recent Finds...

>  Are there any albums that folks see time and time again that are actually very
>
> good, and certainly worth the fifty cents or dollar ?

I'm not sure how good these are, but in the last 2 weeks I bought from
thriftstores ten Barbara Streisand albums from her 1960's period, and 5 of the
first 6 Jimmy Buffet albums.

I know that I've seen many of these records individually through the years, and I
guess I've learned to ignore them all this while.  Yet there must be a small part
of me that always wondered 'Gee, maybe there is actually something good about
them that made them so popular'

Part of the reason I bought them was to see if there are any songs I like on
them.  But another reason is that from now on if I ever see another copy of those
records, I can say 'Oh, I already have one of them' and I can feel better about
now passing them by.

There is something about seeing an almost complete collection in one location
that speaks to me.  I was willing to pay $15 for 10 Streisand LPs in one whole
bunch, but I would have never considered paying $1.50 on ten different trips for
10 different Streisand LPs.  It might have to do with a laziness factor .... by
purchasing the entire group at once, you don't have to worry about the 'Now which
of these LPs do I already own?'

It used to be a matter of pride for me that I didn't own any Jimmy Buffet records
...... to me the tropical setting should be rightfully claimed by the late 1950's
exotica pioneers, and not some recent artist who has a large following of yuppie
parrotheads who have never heard of Martin Denny.  But there are a large number
of my (sometimes boring) more mainstream peers who associate tropical drinks with
only Jimmy Buffet.  I think I bought my Buffet records to please the lowest
common denominator among us - so I can now say 'yeah, I own a bunch of Buffet's
albums - mostly his early stuff' and get on their good sides more quickly, rather
than tensing up for my 'Why I hate Buffet' monologue.

Also, I've bought most of the records I own from thriftstores.  I've found lots
of good stuff - duplicate copies of Barbarella soundtrack and the 101 Strings
'Astrosounds from the year 2000'   I've generally passed up on record stores
though, saying that it was hard to justify paying high record store prices for
items I had only paid $1 myself for.

But last week I was in a local used record store ..... and I admired during my
previous visits the elderly store-owner for sticking with his business and
keeping it running and being helpful for everyone who walked in.  So before I
went in the store I told myself "I'm going to buy a few records from this guy
today to show my support", and I didn't mind at all paying $20 for Ann-Margaret's
"Songs from 'The Swinger"  After listening to it, I'm glad I did I did buy it
- -there are lots of great songs on it.

But I also like the copy of "Pop! Goes the Westerns" featuring the hand clapping
dance rhythms of Luther Henderson and his orchestra that I got the same day in a
thrift for 50 cents.  It features versions of 'Riders in the Sky' and 'Deep in
the Heart of Texas' as performed for a urban hotel crowd dressed in tuxedos and
finest evening wear.

Vern





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

Date: Tue, 13 Mar 2001 23:00:26
From: [e-mail]
Subject: (exotica) Downey = songwriter?

Ben Waugh <[e-mail]>:

>*the credit for authorship is given to Chantays band
members Carmen and Spickard, I believe.

- - --- [e-mail] wrote:

> Downey, ...., composing
> such hit surf-rock songs as ``Pipeline'' and
> ``Wipeout'' in the 1960s.
> (Is this true??? Somehow, I'm doubting it! - Lou)

The songwriting credit for Pipeline is indeed to Bob Spickard and Brian
Charman.
The songwriting credit for "Wipe Out" is to (Surfaris members?) Ron Wilson,
James Fuller, Robert Berryhill and Patrick Connolly.

I was able to look this up in five minutes (in the great book WHO WROTE
THAT SONG? by Dick & Harriet Jacobs). I guess the reporter couldn't be
bothered (and I'm pretty sure you can get this kind of information from the
BMI and ASCAP web sites). Think about that when you read a newspaper!



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

Date: Tue, 13 Mar 2001 23:31:09 -0500
From: Lou Smith <[e-mail]>
Subject: Re: (exotica) Downey = songwriter?

The latest MDjr obit has modified the claim a bit.
Lou

According to CNN:

Downey, who was the son of popular singer Morton Downey and his
dancer-wife, Barbara Bennett, pursued a number of professions including
businessman, author, radio host, singer and songwriter, composing songs
for small Los Angeles record labels in the early '60s. According to one
story, he composed the surf-rock hits "Pipeline" and "Wipeout," though
credits for those songs do not list him.

At 11:00 PM 3/13/01, jschwart wrote:
>
>
>I was able to look this up in five minutes (in the great book WHO WROTE
>THAT SONG? by Dick & Harriet Jacobs). I guess the reporter couldn't be
>bothered (and I'm pretty sure you can get this kind of information from the
>BMI and ASCAP web sites). Think about that when you read a newspaper!




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

Date: Tue, 13 Mar 2001 20:38:56 -0800
From: Christine Karkow <[e-mail]>
Subject: (exotica) LA

Soooo, I'm sure much of this has been discussed before, but I am going to
L.A. and would like to know what your suggestions are for:

good thrift stores where I can find groovy polyester shirts with loud
patterns and wide lapels

the best places to find vinyl

all and any tiki bars

all and any bars with red vinyl in them  (too bad they can't be smokey
anymore)

any place else groovy-

thanks!!!!

Christine-SoCal bound for spring break



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

Date: Tue, 13 Mar 2001 22:09:34 -0800
From: Paul Penna <[e-mail]>
Subject: (exotica) Re: Musical Luddite

Steve Worth spake:

>The sessions guys who made the percussion records of the fifties
>were 100 times the musicians of the people making similar sounding
>stuff today. And these guys were just *average* for their time!
>Kenny G gets a world record for the longest sustained note... Who
>cares? Louis Armstrong could chop or squeeze a note an make it
>sing. Expressiveness and craftsmanship aren't dead. They are just
>sleeping it off.

Man, you said it. I have a particular thing for minor-label knock-off big
band & percussion albums. For example, "Perspectives in Percussion," two
volumes, recorded by D.L. Miller of 101 Strings fame. Made to be sold
cheap, with re-re-re-pressings eventually winding up in 88-cent record
racks at places like W.T. Grant in the 1960s. But get a load of the talent:
Pete Candoli, Frank Rosolino, Jimmy Rowles, Irv Cottler, to name but a few,
and led by Skip Martin. The cream of the 1950s Hollywood session man crop.

And the sound! Particularly on the reel-to-reel tape versions. I just got a
reel of volume 1 of the above on eBay for the ridiculous price of $5.29
including shipping. The sound almost literally jumps from the speakers. And
for you album cover freaks, the box is covered in embossed silver foil,
with the obligatory Persuasive Percussionesque abstract geometric shapes
printed thereon. This one has a particularly fun "Bei Mir Bist Du Schoen."
Also, I'd never figured on hearing "Red River Valley" as a cha-cha.

Another great knock-off series was the "Salute to... [insert big-name
bandleader]" batch by Maxwell Davis for Crown, another budget label, and
again with top-flight L.A. session men. Once more, the reel-to-reel
versions (either on Crown or Omegatape) sound astonishing. Then there's
Francis Bay, for all you folks who didn't know Belgians could swing.

I'll settle for vinyl, however. Right now I just got finished listening to
"Golden Age of the Dancebands on Broadway," another D.L. Miller production
on his Somerset/Stereo Fidelity label. No personnel listed, unfortunately,
but they're obviously of similar calibre. All for a measly 99 cents at my
local used record emporium, where the same price got me "Spike Jones New
Band."




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

Date: Tue, 13 Mar 2001 22:47:43 -0800
From: Christine Karkow <[e-mail]>
Subject: Re: (exotica) LA

Hey thanks!!!! this rocks and will help me in my quest.
> Hi Christine,
>
> The best thing you could do for yourself is pick up a copy of "LA Bizarro" by
> Matt Maranian and Anthony Lovett. This has got more great sightseeing,
> shopping, and tiki bar listings per page than any other resource I know of. If
> you don't have time to order it off of Amazon, you can probably find a copy at
> better bookstores in your area.
>
>> good thrift stores where I can find groovy polyester shirts with loud
>> patterns and wide lapels
>
> Hidden Treasures in Topanga Canyon has the best all-around selection of
> polyester gear. There are also lots of retro-boutiques on Melrose.
>
>> all and any tiki bars
>
> I think that Trader Vic's in Beverly Hills is the penultimate, and you should
> definitely check out the Bahooka in Rosemead for completely whacked out drinks
> and decor. Tiki Ti on Hollywood Blvd and the Lava Lounge are also worth a stop
> if you have the time.
>
>> all and any bars with red vinyl in them
>
> Musso and Frank's Grill and the Formosa in Hollyweird.
> Bob Burns in Santa Monica
>
>> any place else groovy
>
> Hang out in the Melrose/Silverlake area for a tremendous variety of art
> galleries, fusion cuisine, weird shops, and retro-furniture stores. Expect to
> pay top dollah for everything tho'. The last time I was there I spotted a
> lime-green Eames chair for $600!
>
> Make a point of going to the LA International Airport to eat and drink at The
> Encounter Restaurant. Be sure to go at night to see all the lights...pretty,
> pretty lights...ooh!
>
> Have fun!
>
> --
> Matt Marchese
> "I've been havin' this nightmare.......a real swinger of a
> nightmare, too." -Frank Sinatra (The Manchurian Candidate)
> *~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
>
>



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

Date: Tue, 13 Mar 2001 22:50:52 -0800
From: Christine Karkow <[e-mail]>
Subject: Re: (exotica) LA

on 3/13/01 9:30 PM, Kevin Crossman at [e-mail] wrote:

Thanks!! This will be also very helpful.  I will try to have a good report.

Christine


> Christine Karkow wrote:
>> the best places to find vinyl
> DB Cooper's in Burbank was ok.
>
>> all and any tiki bars
>
> Check the Mai Tai site: http://www.kevdo.com/maitai/ (check by Geography)
>
> -Kevin



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

Date: Wed, 14 Mar 2001 00:26:22 -0700
From: kendoll <[e-mail]>
Subject: Re: (exotica) Recent Finds...

[e-mail] wrote:

> There is something about seeing an almost complete collection in one location
> that speaks to me.  I was willing to pay $15 for 10 Streisand LPs in one whole
> bunch, but I would have never considered paying $1.50 on ten different trips for
> 10 different Streisand LPs.

i too have bought records i would normally pass over just because they
were part of what was obviously one person's collection. somehow bob
dylan has never meant much to me but one time i bought seven early dylan
albums just because they were all together in one place in the thrift
store. the really great thing was that in this collection of real dylan
records was a an easy listening record of dylan covers by the golden
gate strings. i can only guess that the person bought the record because
it had a big, beautiful photo of their hero on the cover. as it turns
out, the only record in the lot i ever listen to is the one by the
golden gate strings (i especially like their country hoedown take on
"mr. tambourine man").

mike


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

Date: Wed, 14 Mar 2001 02:28:34 -0500
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) Re: swingle singers

At 10:39 AM 3/14/01 +1100, Philip Jackson wrote:
>
>BTW anyone know anything about The Double Six of Paris? I have a great
>version of "Night in Tunisia by them but have never heard anything else.

I guess they were like the french Lambert Hendricks and Ross only better, I
would say. I had two great records by them.  One of them was produced by
Quincy Jones.
Their approach, material, arrangements etc were all much closer to "jazz"
than any similar group like the Hi-Lo's or L,H and R.
They were so good, they were almost too good.

AZ



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

Date: Wed, 14 Mar 2001 00:40:52 -0800
From: bigshot <[e-mail]>
Subject: (exotica) Eno vs Billie Holiday

exotica-digest wrote:

>I agree with most of this, especially Steve's comment about =
>musicianship being better then, but I wonder, does this include Eno =
>and Kraftwerk, whom I still adore?

As much as I like them both too, yes. They are a pale shadow of the
musicians of the past. Their intellectual cleverness *almost* makes up
for their lack of chops. But Brian Eno ain't no Duke Ellington and
Kraftwerk can't hold a candle to Nelson Riddle. It's like the difference
between an ice cube and a roaring flame. I know they are two different
animals, but you can still make a judgement based on the relative skill
involved and the impact the music makes.

Since the 60's all of the arts have moved away from craftsmanship in
favor of "concepts". I prefer to have both. Older music has that. Just
listen to Billie Holiday singing Strange Fruit and then listen to Eno's
Sombre Reptiles. They are both unique sounds and create weird moods.
The difference is that Billie Holiday is REAL. Her effortless delivery
belies real skill. The combination of heartfelt sincerity, prodigeous
talent and consumate skill packs a whallop that Eno's clinical
detachment and "oblique strategies" could never hope to match.

This sort of manifesto strays a long way from the field of "so bad
it's good" commercialized pop and goofy pseudo-foreign sounding
ping pong stereo records that normally fall into the "lounge"
category. I hope I'm not getting too far from the subject.

See ya
Steve

      Stephen Worth
      [e-mail]

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

      Spumco International
      1021 Grandview, 2nd Floor
      Glendale, CA 91201



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

Date: Wed, 14 Mar 2001 00:40:50 -0800
From: bigshot <[e-mail]>
Subject: (exotica) The Problem with Machines

exotica-digest wrote:

>Date: Wed, 14 Mar 2001 00:36:11 +0100
>From: Moritz R <[e-mail]>
>Subject: Re: (exotica) Re:  A Brighter View of Our Dark Age of Music
>
>I still don't quite understand Magnus's hate of the computer.

I don't want to speak for him, but I think I understand where he
is coming from... I feel the same way. I don't hate the computer.
I hate people who use it as a crutch to avoid developing a skill.
It's like when desktop publishing came in, and everyone was doing
hideously designed stuff with chrome plated letters with beveled
edges and glossy highlights on everything. Every layout screamed
"I have a computer!" None of it was half as good as what REAL
designers were doing.

When I hear a song based on a sampled riff, it only makes me want
to hear the source material. The creativity of chopping up someone
else's work and slapping your own name on it is lost on me. It's
musical vampirism as far as I'm concerned. Sit down and make your
own goddamn riff! Every time I hear that friggin Prez Prado
ripoff on the radio, my blood boils. I want to wring that idiot's
neck for cashing in on a REAL musician's work. Prado's version
is a gazillion times better that that stupid loop. The fact that
Prado's single phrase is able to be repeated so many times says
a lot more for his musicianship and musicality than it does for
the sampling monkey.

There is no computer shortcut to creativity. You can use the
computer as a tool, but you still have to put in the dues and
learn the skills needed. A lot of people in my business
(animation) learn computer programs like Flash before they
can DRAW! That is just plain bass ackwards.

I don't see a lot of real craftsmanship in music right now.
There are isolated musicians who are really talented and have
studied and perfected their art. But the majority are all
image and no substance. It's depressing when you have a
clear understanding of where music came from. It has been
a steady slide downward since the early 60s. Just listen
to film music now. Dmitri Tiompkin and the Warner Symphony
Orchestra has been replaced by some ultra-hip jerk with a
two tone haircut and a synthesizer that spits out drones
to any length necessary.

Back in the 30s, 40s and 50s, music *WAS* live performance.
If you weren't good standing on a stage playing your
instrument, you got booed off stage and someone better
replaced you. The musicians honed their chops with week
after week of performance. They were REALLY GOOD at what
they did. Even the C string players then had more chops
than the A string musicians do now.

Now you have a guy in front of a computer chopping up his
music note by note to assemble a passable performance. Hand
them a guitar and ask them to play and they won't sound any
better than the kid in the garage next door. Music should be
spontaneous and expressive. You don't get that kind of sound
by programming a computer to play for you.

The more I hear of old music, the more convinced I am that
we have thrown out the baby and saved the bathwater. Until
musicians start focusing on things that count instead of
new technologies to allow them to crank out MORE mediocrity,
I will stick with records from the past. There is an incredibly
rich heritage there... more good stuff than I can possibly
listen to in my lifetime. (But I'm sure as hell gonna try
to listen to all of it!)

See ya
Steve

      Stephen Worth
      [e-mail]

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

      Spumco International
      1021 Grandview, 2nd Floor
      Glendale, CA 91201



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

Date: Wed, 14 Mar 2001 11:44:58 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Umbrellas of Cherbourg

Do you know "Les Demoiselles the Rochefort"? If not, you have to see that too!

Mo

- --
studio R
senses for a senseless world
http://moritzR.de
.........................................................................
n.e.u.
Thierschstrasse 43
D 80538 Munchen
Germany






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Date: Wed, 14 Mar 2001 11:45:02 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Bach and other things

[e-mail] schrieb:

> Sometimes I am really claustrophobic when I found out that in this city=
 I live in (Bogot=E1, aprox pop: 7 million) people tend to run in circles=
. And you end up in a party chatting with the same guys you went to the n=
ursery with. That's scary for me. And the list is some kind of antidote f=
or that "shrinking world" feeling I get when that happens.

this list is full of paranoids, so welcome, brother. As you live in Bogot=
a, you possibly have access to a local music scene that nobody else on th=
is list could ever cover, so I would like to encourage you to report abou=
t things happening there, whenever you like. You will face no competition=
 by people who "know more", or something.

Mo

- --
studio R
senses for a senseless world
http://moritzR.de
.........................................................................
n.e.u.
Thierschstrasse 43
D 80538 Munchen
Germany





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Date: Wed, 14 Mar 2001 11:58:05 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) the problem with machines

I liked your manifesto for the real artist. I really do not deny craftmanship and skills. My only remark would be, that you shouldn't overlook the innovations that happen. To be able to deal with samples is a skill of its own and some people are better in it than others. It's just a new technology and has nothing to do with being able to tell the good from the bad and or achieving a craftmanship or making interesting music. The computer is a development unlike any other in history and will definitely change our understanding of things like craftmanship, learning and copyright.

Mo
- --
studio R
senses for a senseless world
http://moritzR.de
.........................................................................
n.e.u.
Thierschstrasse 43
D 80538 Munchen
Germany




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Date: Wed, 14 Mar 2001 11:05:45 -0000
From: [e-mail]
Subject: (exotica) glass organs

Someone mentioned that Mozart amongst others wrote for the Glass Organ,
what did he write?  Is it available at all?

cheers

El Maestro Con Queso

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


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Date: Wed, 14 Mar 2001 12:43:06 +0100
From: "James" <[e-mail]>
Subject: Sv: (exotica) glass organs

There is on I know of: "Music For Glass Harmonica" on the US based "Vox
Unique" label featuring Bruno Hoffmann on the
Glass Harmonica. Perhaps he is to Glass Harmonicas what Samuel J. Hoffmann
was to theremins?
The Cd features works of Mozart and a few other German composers


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Date: Wed, 14 Mar 2001 10:04:24 -0000
From: "Paul Hodge" <[e-mail]>
Subject: (exotica) KPM - prices!

An insatiable love of cosmic organ grooves has finally brought me to the
point
where I'm actually considering buying original KPM LPs - but the prices man!
Unbelievable.

But just the thought of getting my hands on more Mansfield/ Hawkshaw tunes
is enough to
send me prowling around ebay for these lps.

However, I'll just have to make do with the compilations (Sound Gallery,
Blow Up - exclusive blend
series, etc.). Any more organ groove recommendations?

One I missed out on though was the KPM soundclash LP - I think it may have
been deleted.
Would anyone know if there's a copy on sale anywhere? I saw a copy for sale
on Ebay but it
went for over ú50!!! Or is that the price that list members would expect to
pay for that KPM reissue?

Also, some of the list members have been talking about the film Smashing
Time. Does anyone know
if it's available on PAL? I think it's on DVD (but I don't have a DVD yet!)

Big thanks in advance

Paul



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

Date: Wed, 14 Mar 2001 14:01:43 +0100 (CET)
From: "Magnus Sandberg" <[e-mail]>
Subject: Re: (exotica) Bach and other things

citerar Moritz R <[e-mail]>:

> this list is full of paranoids, so welcome, brother. As you live in
Bogota,
> you possibly have access to a local music scene that nobody else on
this
> list could ever cover, so I would like to encourage you to report
about
> things happening there, whenever you like. You will face no
competition by
> people who "know more", or something.



I agree with Mo, I want to know everything about Bogota! Go ahead and
post.

Paranoid Magnus



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

Date: Wed, 14 Mar 2001 14:28:35 +0100 (CET)
From: "Magnus Sandberg" <[e-mail]>
Subject: (exotica) Vinnie Bell and his "super electric" guitar

That underwater sounds that Vincent Bell has on Moon gas, on "maid of
the moon" it sounds like he is saying "Hello" on it, I love that sound,
it makes the LP so wonderful. I have three records with him, Popgoes
the electric sitar and "greatest hits of" which is a reissue of an
earlier LP. It has that underwater sound too on some of the tracks.
Then there is the Airport love theme LP. Do I miss something else?


Magnus


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Date: Wed, 14 Mar 2001 08:40:13 EST
From: [e-mail]
Subject: Re: (exotica) Re: swingle singers

In a message dated 3/14/01 2:26:56 AM EST, [e-mail] writes:

<< >BTW anyone know anything about The Double Six of Paris? I have a great
 >version of "Night in Tunisia by them but have never heard anything else.

 I guess they were like the french Lambert Hendricks and Ross only better, I
 would say. I had two great records by them.  One of them was produced by
 Quincy Jones.
 Their approach, material, arrangements etc were all much closer to "jazz"
 than any similar group like the Hi-Lo's or L,H and R.
 They were so good, they were almost too good. >>


I got that Double Six CD and I must admit after about 6 songs I want to go
postal.

ashley


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Date: Wed, 14 Mar 2001 09:37:54 -0500
From: [e-mail]
Subject: Re: (exotica) The Problem with Machines

>The creativity of chopping up someone else's work and slapping your >own name on it is lost on me.

Much of this may not be creative but some sampled work requires a great amount of talent, skill and work: people such as John Oswald, Otomo Yoshihide, John Wall, RZA, DJ Shadow, etc.  Whether or not the resulting music is good or bad is a completely separate question as is whether originality should be considered a virtue (an idea that's only developed over the past two or three centuries).


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Date: Wed, 14 Mar 2001 09:46:48 -0500
From: Clayton Black <[e-mail]>
Subject: Re: (exotica) Eno vs Billie Holiday

>> I agree with most of this, especially Steve's comment about =
>> musicianship being better then, but I wonder, does this include Eno =
>> and Kraftwerk, whom I still adore?
>
> As much as I like them both too, yes. They are a pale shadow of the
> musicians of the past. Their intellectual cleverness *almost* makes up
> for their lack of chops. But Brian Eno ain't no Duke Ellington and
> Kraftwerk can't hold a candle to Nelson Riddle.

I can agree with this.  But I'm thankful that I can have both.  I see from a
note that I missed the first time around (or perhaps read differently the
first time) that your rant (and Magnus's) is primarily against those who use
artificial means for what they ought to be doing themselves (drum machines,
etc.), and it seems to me that Eno et al are doing something
different--musicianship isn't really their point (although that can be a
slippery slope of argumentation).  The older generations clearly win hands
down on skill.  I'd say that another lamentable loss is the disappearance of
the songwriter.  No more are the Cole Porters, Irving Berlins, Jerome Kerns,
etc.  Everybody's got to be their own songwriter, and frankly, VERY few of
them even approach genuine skill in that category.  I'd rather listen to
"Night and Day" a hundred different ways, each with its own subtleties, than
the broad assortment of mediocre "singer-songwriters" that vie for
popularity today.  Having said that, I don't mean to suggest, following up
on the earlier thread, that I don't think there's anything good happening
now.
    By the way, without being too schizophrenic, does anybody have "Death by
Chocolate" available at http://jetset.sinner.com/ ?  I downloaded the clip
from the site and loved it.

Clayton



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Date: Wed, 14 Mar 2001 09:51:49 -0500
From: "m.ace" <[e-mail]>
Subject: Re: (exotica) Re:  A Brighter View of Our Dark Age of Music

Aw, come on, Mo. You complain about Magnus dismissing machine music, but
then you dismiss live music as impractical and old fashioned. Are you just
trolling for reactions now?

Even if people do play near-perfect, they still don't sound like machines.
And the better musicians are the ones who also inject incalculable
expressiveness into their playing.

I could get into a lot of issues here, but then the server would probably
bounce my post. I'll just limit it to this point. "Fabricated" pieces of
music are inert objects, like paintings or sculptures. This is not a point
for dismissal... paintings and sculptures are fine things, and fabricated
music can be too. "Live music" on the other hand, always has an element of
danger, and even a ritual aspect. Every time a piece is performed, it's a
resurrection of the initial creation. It's never exactly the same, and
there's always the possibility of a zig or a zag (and don't forget free
improv).

- --m.ace



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Date: Wed, 14 Mar 2001 14:23:53 +0000
From: Michael Jemmeson <[e-mail]>
Subject: (exotica) those bossa comps someone asked about a while back...

Someone was asking about these compilations (the series with the
body-painted women on the covers):


VARIOUS "The Bossa Nova Exciting Jazz Samba Rhythms Vol. 4 - The Rare
Tunes
Collection" ***1/2
lp/cd - 2000 - Rare Groove / Tutti Frutti / Food For Fantasy (RG2009) -
53'16" (lp) / 72'30" (cd)

"Conceived & selected by Philippe Renault Jr for the talented
listeners!"
it says. And indeed, volume 4 is once again lovely, bringing groovy
Brazilian bossa-samba jazz by the likes of Adderley, Donato, Jobim,
Mendes,
Peterson or Wanderley, and by lesser-known acts such as os 6 em Ponto,
G/9
Group, os Copa Vips, Quarteto Novo, Bossa Tres [= trΦs groovy] or the
Billy
Mitchell Quintet. There's no _bomb_ here like there was on the first
volume
(Odell Brown & the Organizers' ****1/2 long workout of "Mas que nada"),
but
the album swings throughout with lesser-known titles or surprising
covers
of classic titles. As usual, the cd contains extra tracks: Donald Byrd's
"(Canto) Bossa", Dave Pike's "Sausalito" and Stan Getz & Laurindo
Almeida's
version of "Corcovado". At least one more volume is projected in this
Italian series which presents the perfect 'next step' for those who want
to
explore classic bossa nova & samba a bit further than the perennially
obvious major label compilations allow them to (e.g. the ones on
Verve)...
though there's always still that sublime "Brazilian Beats" v/a
compilation
on Mr. Bongo (a second volume of which is to be released soon). (pv)


(from the UZINE mailing list http://www.dma.be/p/ultra/ )


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Date: Wed, 14 Mar 2001 09:56:38 -0500
From: "Rajnai, Charles, NNAD" <[e-mail]>
Subject: RE: (exotica) Disappearing Records

> I think employees at thrift stores pull out all the good stuff and
the definition of good stuff has been expanded due to ebayazation.
Now good stuff includes lots of exotica and soundtracks or just any
cool cover.   Really I believe that is why Elvis and the Beatles
never appear in thrifts unless you go through the box that is
dropped off before the thrift store employees do.

There is no question about it.  THe last used record salesman I spoke =
with
operates at a seasonal outdoor flea market.  One batch he paid $50 for
included over 20 Beatles and Elvis records which he *promptly* put up =
on
ebay.  They never even made it to his *own* used bins.  Others that he
pulled out were some of our favorites, like Keely Smith, which got a =
stiff
price tag before goin into the bins. =20

I am convinced that the only good way left to get records is to go into =
the
antique business and scour through astate sales. =20

=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=
=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=20
Charlieman=20
"Everything that can be invented, has been invented."
=A0=A0=A0=A0=A0=A0=A0 - Charles H. Duell, 1899=A0
=A0=20


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Date: Wed, 14 Mar 2001 09:59:34 -0500
From: Clayton Black <[e-mail]>
Subject: Re: (exotica) Vinnie Bell and his "super electric" guitar

> That underwater sounds that Vincent Bell has on Moon gas, on "maid of
> the moon" it sounds like he is saying "Hello" on it, I love that sound,
> it makes the LP so wonderful. I have three records with him, Popgoes
> the electric sitar and "greatest hits of" which is a reissue of an
> earlier LP. It has that underwater sound too on some of the tracks.
> Then there is the Airport love theme LP. Do I miss something else?


The interview with Ferrante and Teicher on Luxuria.com this past Monday
featured a track with Vinnie Bell that was great (I can't remember which
one, maybe theme to Midnight Cowboy or Clockwork Orange?).  Apparently he
shows up on a lot of their stuff.  By the way, thanks to Millionaire for
that interview.  Of course, having set aside that half-hour to listen, it
would have to happen that two students stopped by "just to chat"--and this
is Spring Break!  I tried to be nice as I shooed them out of my office.  I'm
committed to my students, but some things take priority.

Clayton



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Date: Wed, 14 Mar 2001 16:06:59 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) Umbrellas of Cherbourg / Demoiselles de Rochefort

Magnus Sandberg schrieb:

> citerar Moritz R <[e-mail]>:
>
> > Do you know "Les Demoiselles the Rochefort"? If not, you have to see =
that too!

> Is that also sung? Thanks, I was aware of it, now I regret not buying
> the soundtracks, when seeing them before.

yes, it's a musical too. But you've gotta SEE it. Catherine Deneuve plays=
 in it and her older sister Fran=E7oise Dorl=E9ac, who is even more beaut=
iful, and who died in a car crash that same year the film was made. The d=
irector filmed on location in a small village in France, but painted enti=
re streets, so everything looks really bright and colorful. A highlight o=
f European culture of the 20th century.


Mo
- --
studio R
senses for a senseless world
http://moritzR.de
.........................................................................
n.e.u.
Thierschstrasse 43
D 80538 Munchen
Germany


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Date: Wed, 14 Mar 2001 16:08:48 +0100
From: Moritz R <[e-mail]>
Subject: Re: (exotica) LA

BARS (all in Los Feliz, Silverlake):
Tiki Ti
Good Luck Bar
Dresden Room
Big Foot Lodge

Check out Stores near and further up from the Dresden

Also:
Mex Restaurants:
Mexico City
El Chavo's

Polynesian:
Daimon's in Glendale on Brand Blvd.

Fleamarkets:
Every 2nd Sunday at THE ROSEBOWL in Pasadena
Every 1st Sunday at Pasadena City College, Huge Vinyl section on the side


Mo


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End of exotica-digest V2 #920
*****************************