> 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. as it turns
>out, the only record in the lot i ever listen to is the one by the
>golden gate strings
Yeah I like that record a lot myself. I've always wondered how they got
permission to put that big Dylan head on the cover. My favorite tune on it
is Subterranean Homesick Blues.
Having said that, it's too bad the actual Dylan records didn't turn you on
to Dylan.
You can't argue taste, nor can you force someone to like what they don't
like.
And if you don't like him, then words like "important", "influential", and
"essential" won't matter to you.
But personally I can't imagine my life without Dylan's music.
I hardly ever listen to him but the other day at the record store, someone
was playing one of these Dylan bootlegs, of which a whole series has been
released. And I just stood there in the store for about an hour listening
to it. I didn't really want to buy it - partly because it was a three
volume set - but I couldn't stop listening to it.
It's too bad you missed Dylan.
AZ
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------------------------------
Date: Wed, 14 Mar 2001 11:47:20 -0800
From: "F. Cobalt" <fcobalt@lycos.com>
Subject: (exotica) Re: Recent finds...
>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?'
I bought almost my entire Herb Alpert and the Tijuana Brass collection in one day in thrifts in Akron. Nothing like lugging home 11 records all by one artist for under $11. And yes it was worth it. Still don't have the X-Mas album though. Looked at a CD of it this last December and thought about it, but then it didn't seem right not to have it on vinyl.
Mr. Unlucky
- ---
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------------------------------
Date: Wed, 14 Mar 2001 14:42:44 -0800
From: bigshot <bigshot@spumco.com>
Subject: (exotica) Lenny Dee WILD MAN!
exotica-digest wrote:
>Date: Wed, 14 Mar 2001 14:34:55 -0500
>From: Clayton Black <clayton.black@washcoll.edu>
>Subject: Re: (exotica) Lest we forget!.......
>
>I'm glad to see the subject of Lenny Dee come up--he's just such a bizarre
>figure. "My Favorite Things" was one of the first albums of his that I
>bought, and it's still one of my favorites. But it was in that period of
>transition to watered-down electronic versions of current pop.
Here is another example of an artist who was MUCH better before the
LP era. Check out this red hot organ playing...
http://www.spumco.com/mp3/plantationboogie.mp3
Does anyone know of any other Dee records like this one? I found
this in a batch of 78s I got for a quarter apiece and it's one of
my favorites. The record isn't all that clean, but it doesn't
matter when the performance grabs you by the throat like this.
See ya
Steve
Stephen Worth
bigshot@spumco.com
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 14:42:45 -0800
From: bigshot <bigshot@spumco.com>
Subject: (exotica) Cheating the Listener
exotica-digest wrote:
>
>Date: Wed, 14 Mar 2001 15:56:47 -0500
>From: George Hall <GeorgeH@rounder.com>
>Subject: (exotica) RE: Musical Luddite
>
>Still, fake strings &
>various machines can certainly help to get a decent sound for
>cheap when you have an idea in your head & no other means.
I steadfastly refuse to accept that. With old music I don't
have to settle for half a loaf.
See ya
Steve
Stephen Worth
bigshot@spumco.com
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 17:38:11 -0500
From: alan zweig <azed@pathcom.com>
Subject: Re: (exotica) Re: Musical Luddite
At 09:59 AM 3/14/01 -0500, Ross Orr wrote:
>
>A while back, a friend gave me a ticket to a Medeski, Martin & Wood
>show. Beforehand, I did not know a thing about them, other than that
>Medeski had played some Hammond with Marc Ribot. I had the impression
>they were brainy NYC jazzbos or something.
>
>I was a bit startled to arrive at the theater and discover a wild
>neo-deadhead pagan scene underway--where I was a good 20 years older
>than the average
That's a funny phenomenon, ain't it?
I don't just mean showing up at a concert where you're 20 years older than
everyone. That's something you just have to decide you're going to do. Or
not. If you're TOO self-conscious about it - which I sometimes am - then
you just stay home more often than not.
But anyway I'm talking about this Deadhead thing. I'm not really all that
surprised to find out that Medeski et al, appeal to the Deadhead crowd.
I must have missed Moritz saying anything about live music being "dead".
There's this donut shop near me. Actually right now it's more of an
upscale dessert and coffee place. But there's something about the location
that is cursed. For some reason, even though it's smack in the middle of a
very cool, kind of upscale yuppie neighbourhood, this location in all its
incarnations, has always attracted the tired, hungry and unwashed.
Anyway for some God-knows-what reason, they have music there. Open mike
nights, old folky stuff, all very low key.
Last time I was there just to take a load off, there was this duo "onstage"
(there is no stage).
There was a guy singing and playing guitar and a guy playing bass. The
singer was kind of dusty and sang in an old fashioned, flat uninflected
style. (For you Canadians, he sang like Stompin Tom. For you Americans,
old Johnny Cash).
The bass player must have been some slumming jazzbo because he was playing
twenty notes for every chord the guitar player played. The singer is
mumbling his way through "Folsom Prison" and the bass player is doing his
Jaco Pastorius imitation.
And yet it kind of worked.
How can you argue with live music when you can experience stuff like that?
I'm not about to go to a Deadhead-style concert but you can't experience
that kind of ritual on a record at home alone.
Then again, Yanni and John Tesh also play for Deadhead-like fans.
This post was a mess, I know. Kind of Deadheadish.
AZ
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------------------------------
Date: Wed, 14 Mar 2001 18:07:00 -0500
From: alan zweig <azed@pathcom.com>
Subject: (exotica) Lenny and Fausto at the disco
At 02:34 PM 3/14/01 -0500, Clayton Black wrote:
>
>I'm glad to see the subject of Lenny Dee come up--he's just such a bizarre
>figure. ". I don't particularly like "Easy Come, Easy Go" or the other
late albums, but the early stuff is incomparable.
Well let me put in a vote for the late stuff. The later the better. I
particularly like the disco period, for instance his version of "Love Train".
It's true that on the early records, Lenny generally played a more fancy,
energetic organ style. And on principle, I always think that fancy
fast-fingered organ playing is more interesting than the more lazy style.
It's almost like the organ was created for that kind of nimble-fingered
soloing.
But after buying a half dozen of those early Lenny records, with their
great covers and titles (DEE-Facto is one of my favorites followed closely
by "Lenny Dee-stroys his organ"), I got tired of the relentless happy
bouncy polka-like rhythms.
I love the tune "Cotton Walk" but I can't take too much of that kind of stuff.
On the other hand, I can't get enough of the later stuff.
I wish I had the language to talk about stuff like this.
But I often find myself choosing the apparently-boring muzak over the more
fancy stuff.
For instance I made a CDR of Fausto Pepetti records, some of which feature
a similar kind of faux-disco rhythm as those later Lenny records.
And obviously I love it (or I wouldn't mention it)
I have two Lenny Dee CDR's. One with the fancy nimble fingered stuff, one
with the other stuff I prefer. I'm going to include the playlist on a
separate post. Don't ask me why.
AZ
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------------------------------
Date: Wed, 14 Mar 2001 18:12:14 -0500
From: alan zweig <azed@pathcom.com>
Subject: Re: (exotica) Eno vs Billie Holiday
At 12:40 AM 3/14/01 -0800, bigshot wrote:
> 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.
Which one is the ice cube and which the roaring flame?
I think I prefer the ice cube.
I hope the ice cube was Nelson Riddle.
But I like Kraftwerk too.
AZ
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------------------------------
Date: Wed, 14 Mar 2001 18:13:48 -0500
From: alan zweig <azed@pathcom.com>
Subject: (exotica) Watching Lenny Die
Here's that playlist I promised (God knows why)
WATCHING LENNY DEE
1. Downtown 16. Snowbird
2. Taste of honey 17. One less bell
3. Everybody's talkin 18. How can you mend...?
4. Odd Couple 19. Superstar
5. Hang em high 20.The night they drove Ole Dixie
6. Raindrops keep fallin 21. Where is the love?
7. Folsom Prison Blues 22. Brandy
8. Unchained melody 23. Sealed with a kiss
9. Hurt so bad 24. Love will keep us together
10. Spinnin Wheel 25. How sweet it is..
11. Odds n ends 26. Rose Garden
12. Traces 27. At seventeen
13. This guy's in love 28. Watching Scotty Grow
14. Wichita Lineman
15. Ruby don't take your love to town
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------------------------------
Date: Wed, 14 Mar 2001 18:36:16 -0500
From: alan zweig <azed@pathcom.com>
Subject: (exotica) The Problem with people who have a problem with Machines
At 12:40 AM 3/14/01 -0800, bigshot wrote:
>
>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.
I want to say "That's silly" but I won't.
A few weeks ago, a friend of mine played me some tune, I think it was by
Tony Mottola. But it was definitely some fairly familiar Command/Project 3
artist or someone like that. The reason he was playing it was because the
opening riff of the tune was "sampled" and used as the opening riff of a
very familiar tune by, I think, Tipsy.
(If you know what i'm talking about here, please reply)
It's a cool riff. In the original it leads to a nice arrangement of some
tune which I can't remember. But let's say it was a Bacharach tune.
The people that sampled it used it as an opening riff and went in an
entirely different direction.
They're both good.
If someone hears a tune with lots of samples and says "Gee I'd like to hear
some of the original tunes that were sampled", then I can understand that.
It's fun to find those original samples... though I must say that the vast
majority of samples just fly by me without me knowing I just heard a "sample".
But when someone says "I would PREFER to hear the original tune", I find
that just bizarre. And highly suspicious too.
First of all, a lot of this sample-based music uses music that a lot of us
would actually hate if we were to listen to the originals.
But second of all, they're just two different things entirely.
To say I just want to hear the original, to me, is as stupid as saying "Oh
when I see a collage, it just makes me want to see the original magazine
article that the photos were cut out of"
Maybe stupid is too strong a word.
How about nonsensical?
This is what I was talking about when I originally talked about
philosophical or aesthetic choices as opposed to "musical" choices.
IF you don't like the genre of music that often features sampling, so be it.
But it seems to me that you're saying " I don't like this music because I
philosophically oppose the very concept of sampling".
To which I can only ask "On what basis"?
Is it because you philosophically oppose the use of computers in the making
of music?
If so, you better kill yourself now. It's only going to get more
unbearable for you.
I'll leave it to others more musically educated than me to argue for the
legitimacy of sample-based music.
Myself I just like what I like and I really could not give a rat's ass HOW
it was made.
AZ
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------------------------------
Date: Wed, 14 Mar 2001 17:37:58 -0600
From: "Colleen Pyles" <colleen7@ireland.com>
Subject: Re: Re: (exotica) RE: Musical Luddite
Mag wrote:
Why are the elderly so silent! It is their right to
hear decent music on the radio.
^^^^^^^^^^^^^^^^^^
Uh...how old is elderly? I'm thinkin' I'm the oldest one one the list
and it's kinda scaring me.....
Colleen
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------------------------------
Date: 14 Mar 2001 18:55:27 EST
From: Clayton.Black@washcoll.edu (Clayton Black)
Subject: Re: (exotica) Lenny and Fausto at the disco
- --- You wrote:
by "Lenny Dee-stroys his organ"), I got tired of the relentless =
happy
bouncy polka-like rhythms.
I love the tune "Cotton Walk" but I can't take too much of that =
kind of stuff.
On the other hand, I can't get enough of the later stuff.
I wish I had the language to talk about stuff like this.
- --- end of quote ---
Your language is perfect for this. I had great difficulty myself =
coming up with a description, precisely because I was unable to =
come up with "relentless happy bouncy polka-like rhythms."
Bravo.
Clayton
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------------------------------
Date: 14 Mar 2001 16:57:40 -0800
From: bag@hubris.net
Subject: Re: (exotica) Re: Musical Luddite
At 10:09 PM 13-03-01 -0800, Paul Penna wrote:
>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
There was actually a third volume called Motion in Percussion, recorded
October 1960 and directed by D.L. Miller with the Hollywood "Pops"
Orchestra and conducted by Robert Lowden (not Skip Martin as the other two
were), Sonic Workship Project No. 0100. Same sort of stuff...I consider
this album together with the other two because it has many of the same
people involved.
This is the one with the changing display on the front cover (what do they
call that, venticular?).
I see it now and then on ebay. I got mine on ebay with no
competition...probably because they didn't have a picture of it.
Byron
___...--''''***^^^^^^""""""^^^^^***''''---___
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minutes a day. In 2001 each human laughs only
6 minutes a day. Its time to return to our |
1950's laugh prosperity!" |||
||| ---Byron "Chuckles" Caloz |||
|||bag AT hubris DOT net Portland, OR, USA|||
"""^^^'''***----...__________...----'''^^^"""
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------------------------------
Date: Wed, 14 Mar 2001 20:09:15 EST
From: Rcbrooksod@aol.com
Subject: Re: (exotica) Lenny Dee WILD MAN!
In a message dated 3/14/01 2:36:05 PM Pacific Standard Time,
bigshot@spumco.com writes:
<< Here is another example of an artist who was MUCH better before the
LP era. Check out this red hot organ playing... >>
are there ANY good CD out with some of Lenny's music? or does anybody have
some for trade, etc.?
tb
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------------------------------
Date: 14 Mar 2001 18:01:15 -0800
From: mkg@calle22.com
Subject: (exotica) Electronic music
Maye people that complain about electronic music should take a listen to the more experimental stuff out there... I have heard really good things, adventurous, imaginative, talented, funny, smart...
OK... maybe it can not be put on some kind of pedestal to be worshipped as is the case with those 'squeezed Louis Armstrong notes' but so what? It's music. It makes people feel things. Maybe it doesn't make you feel jelous of the guy playing the guitar or in awe of him, but then those are things that distract you from the music itself.
If the problem you are having is with trance music, there are several electronic genres that are very different from that repetitive beat. Try people like Mouse on Mars, Marumari, To Rococo Rot, Schlammpeitziger... Or IsolΘe, Rinocerose and Pluxus. Or downbeat (Thievery Corporation, Howie B., etc.)
Possibly this whole discussion is more than about music. It is also about curiosity. And some people seem to be able only to feel curiosity for things made by dead people. And that seems a little strange to me. Would you prefer to know how the world used to be than to know how it is now?
I'm sure there are very reassuring things if you take that path... And that can also be a way of taking refuge of the chaos of the present. But personally I think that's what's so fascinating about living in this time.
Anyway... I'll try to look for something exotica related here in Bogota and tell you about it...
Cheers,
Manuel
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------------------------------
Date: Wed, 14 Mar 2001 18:08:42 -0800
From: "Ron Grandia" <rgrandia@xtabay.com>
Subject: (exotica) Lenticular rekkids
>>>This is the one with the changing display on the front cover (what do
they
call that, venticular?).
Close - LENticular. I have "Swingin' with Prince Igor" Project #200. Same
deal on the cover: Lenticular "Swingin."
I really prize my few lenticular album covers - especially the one by the
singing hypnotist who's name escapes me at the moment. It's a spooky eye
that follows you 'round the room.
Anybody else care to share theirs?
Ron
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------------------------------
Date: Wed, 14 Mar 2001 21:32:40 EST
From: RoyGBivIM@aol.com
Subject: (exotica) Back in a trading mood
I haven't posted in 9 months, but I thought I'd pop in just to see if anyone
is interested in hearing any music. I've currently got about 550 albums/CDs
some are my own but the majority have come from the kind folks on this list.
I've converted them to highest quality mp3s. If anyone wants to listen to
something (mp3s only) just stop by my house, bring cookies. If you can't
make it by the house maybe we can work something out. Drop me a line.
Later,
Roy
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------------------------------
Date: Wed, 14 Mar 2001 16:31:34 -0600
From: Brad Bigelow <spaceagepop@earthlink.net>
Subject: (exotica) Space Age Pop is very much on line
The Space Age Pop site is still on line and will be for years to come.
It's *moved*, however, to its own URL:
www.spaceagepop.com
The old pages are still available at home.earthlink.net/~spaceagepop, but
they'll redirect you to the new home page.
Brad
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------------------------------
Date: Wed, 14 Mar 2001 22:42:53 -0500
From: "m.ace" <mace@ookworld.com>
Subject: Re: (exotica) Fabricated Music
At 01:30 PM 3/14/2001, bigshot wrote:
> >From: "m.ace" <mace@ookworld.com>
> >
> >"Fabricated" pieces of
> >music are inert objects, like paintings or sculptures. This is not a point
> >for dismissal...
>
>Any good artist will tell you that the act of creation is NOT fabrication,
>but *performance*. It's a spontaneous expression made possible by years
>of concentrated study of technique. Paintings and sculptures are no
>different from Dizzy Gillespie standing on stage at Birdland improvising.
>The medium may be different, but the creative process is the same.
Now it was my turn to be misinterpreted. Yes, yes, the creative process is
all in the family, but when a painting, a sculpture, or an audio piece that
is only possible as a recording is *completed*, it is an object. On the
other hand, a performable musical piece (or theater or dance) has a
different sort of life as an ongoing process (and yes, any of those can be
recorded and also exist as an fixed object).
I think one thing that has missed clarification here, and maybe he can
confirm... I *think* maybe the stuff that's been driving Magnus crazy is
mainstream techno? The really generic stuff? No? Yes?
- --m.ace
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------------------------------
Date: Wed, 14 Mar 2001 09:47:58 -0600
From: "Colleen Pyles" <colleen7@ireland.com>
Subject: (exotica) Re: Re: finer with age?
tb wrote:
so now i am curious, how old are you?
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Ok...now I KNOW I am the oldest on this list...I'm (gulp) *51*
But I'm young at heart...and all that crap.
Colleen
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Date: Wed, 14 Mar 2001 22:51:00 -0500
From: itsvern@attglobal.net
Subject: (exotica) Disney and tiki
> Would you prefer to know how the world used to be than to know how it is now?
> I'm sure there are very reassuring things if you take that path...
Interestingly enough, I read this post after returning home for a opening lecture/reception at D.C's National Building Museum for an exhibit titled "Designing Disney's Theme Parks - the Architecture of Reassurance"
Overall it is a good exhibit - lots of drawings and scale models for some of the original Disney parks from the 1950's era. This era pretty much coincides with the era that much of the mainstream exotica music was produced. .... one can see definite links between Martin Denny creating albums with different global musical themes with
Disney's Themepark with different 'themes' showing different types of neighborhoods - the adventureland, the fantsayland, and the tomorrowlands.
It was interesting to hear a lecture from an architectural viewpoint -- and hear new things - like one of the purposes of the steam train that circles the original park. It sits on a tall earthen berm, which prevents people inside the park from looking outside and seeing the everyday surburban sprawl.
This exhibit had one very bittersweet item displayed - one of the original animatronic birds from the Enchanted Tiki Room. It was nice to see the bird still working and moving, but it seems so wrong to see it displayed in a plexiglass box on a pedestal in a museum display, without all the accompanying tiki decor around it. (I pondered
whether this would be the same fate as some of the tiki items from the Kahiki restaurant) The wall displays had some of the original drawings for the tiki room display, included a sign that says the attraction requires an 'E' ticket -- on a range from 'A' to 'E', 'E' tickets were for the best exhibits. The animatronics were so novel and
so new when they first appeared - you needed the best ticket to see it, but as the years progressed, the required ticket required went lower and lower.
It's been a while since someone posted a link to the friends of the enchanted tiki room, so I thought I'd provide it here. http://www.geocities.com/disneyguy55/friendsoftiki.html
I'll close with an excerpt from the Disney exhibit book .... "The history of Disneyland makes it abundantly clear that Walt Disney saw the park as an alternative to things he didn't like about L.A., including automobility, suburban sameness, and the lack of a memorable civic center. But there were things he liked very much about the city
and intensified within the confines of the berm. Fantasy buildings, shaped like derby hats and hot dogs, that suggested what a malleable, pictorial medium architecture could be. "
Vern
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------------------------------
Date: Wed, 14 Mar 2001 21:01:49 -0500
From: "Brian" <brian@phyres.lan.mcgill.ca>
Subject: Re: (exotica) Re: A Brighter View of Our Dark Age of Music
Magnus wrote:
> I dont hate the computer!!!! I just dont like mechanical music. It seems
that I
> cant make myself clear at all.
Here's one to confuse things even more. One of my favourite recordings is
made up of just that... Well not exactly... Actually Pierre Bastien's
"Musiques machinales" is recordings composed of layered loops which he plays
(or should I say sets in motion) using mechanized instruments which he
designs and builds. It resembles some kind of victorian workbench creation
in appearance but African in sound.
>I AM EXPOSED TO CRAP!!!!!!!!
>when I leave the house. Or on TV, radio etc.
Magnus, you should be thankful you don't live in our (North American) part
of the world. Sure you can get records cheap, but it's much harder to shut
the crap out! I know as I go to great pains to do so myself and it takes
serious effort and committment!
Brian
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Date: Wed, 14 Mar 2001 21:43:55 -0500
From: "Brian" <brian@phyres.lan.mcgill.ca>
Subject: Re: (exotica) Disappearing Records
Chuck wrote:
> I think employees at thrift stores pull out all the good stuff and
> the definition of good stuff has been expanded due to ebayazation.
I remember being shocked to find by accident on a web search that Value
Village, a "chain" thrift store is in the very business of selling rare
records. It was their own website that shouted this out! This means the
store is actually picking through the take before they put anything out for
the public in their stores and in fact the website implied they didn't stop
this practice with records. Not so reprehensible if its a genuine charity
but Value Village is a for profit corporation!
> Really, Herb Alpert's Whipped Cream has even disappeared from the
> thrifts down here.
Almost the same here but as I noted we're positively drowning in Lucien Hetu
records. Ironically you never find any old Celine Dion records as these
likely have serious value to people from other places and get taken out.
The way I see it, it all comes down to how much time you can devote to
looking and I have to agree if you have the time and the inclination there
are probably good things to be had cheap. I take the middle ground by
shopping at the next level up ie. used record stores. Ebay would be yet one
more step up as the records are then priced for the global market instead of
what the local (that's in those 50 cent Canadian dollars) will bear. I think
we get good records a lot cheaper here as a result of this!
Brian
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Date: Wed, 14 Mar 2001 21:29:45 -0500
From: "Brian" <brian@phyres.lan.mcgill.ca>
Subject: Re: (exotica) Re: A Brighter View of Our Dark Age of Music
Moritz wrote:
> what's the point i this discussion? I'm certainly not arguing about
personal taste. > I think it's a pity if some dismisses anything new, just
because computers were
> used to create it. To me this has nothing to do with the quality of the
music, nor > with craftmanship of the producers. Even old handplayed music
can sound dull > and soulless. the entire thread started with the explicit
statements "music was
> better then than now" and someone had to disagree...
Hasn't every successive generation made the same claim that their "anything"
was better? As if you can easily quantify and qualify what "better" means,
when things like music and art are so subjective you could never hope to
gain any consensus anyway! History has been continuously "mined" and there
is no reason to assume that will ever change. I don't argue people are now
perceived to be lazier than ever given so much is handed out without
requiring much thought, but at the same time people are exposed to more now
than in any time in history, and for many its a natural escape from the fast
paced-fast changing world we live in. Not that this should in any way impede
creativity, in fact if anything I see it as the complete opposite. I guess
its obvious I also fundamentally disagree with the statement that "older is
naturally better", but the real question is "can there really be anything
that is entirely new"?
Brian
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Date: Thu, 15 Mar 2001 08:49:42 +0100 (CET)
From: "Magnus Sandberg" <m.sandberg@telia.com>
Subject: Re: (exotica) Electronic music
citerar mkg@calle22.com:
Maybe it doesn't make you feel jelous
> of the guy playing the guitar or in awe of him, but then those are
things
> that distract you from the music itself.
No. Rubbish! When Vinnie Bell says hello in "maid of the moon" he does
a magical thing to me and the music lifts up to a whole new level.
Robert Johnson without his guitar... Nah.
(Thievery Corporation,
I have tried this, Nothing to recommend.
Magnus
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Date: Thu, 15 Mar 2001 08:58:31 +0100 (CET)
From: "Magnus Sandberg" <m.sandberg@telia.com>
Subject: Re: (exotica) Fabricated Music
citerar "m.ace" <mace@ookworld.com>:
> I think one thing that has missed clarification here, and maybe he can
> confirm... I *think* maybe the stuff that's been driving Magnus crazy
is
> mainstream techno? The really generic stuff? No? Yes?
Actually no, Everything I hear outside of my little private room upsets
me, and it is the hits of the day, or in rhyme: when I go out for a
beer, the dancemusic I hear.
Magnus
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Date: Thu, 15 Mar 2001 10:13:17
From: "Robert McKenna" <rmckenna@hotmail.com>
Subject: Re: (exotica) Fabricated Music
>Removing spontaneous expression and mastry of technique from either music
>or art reduces it to a cheap manufacturing process, not a creative one.
>"Fabricated" music is about as valuable as those production line "sofa
>sized oil paintings" you see lined up against the wall at the gas
>station. I find no problem at all with dismissing it out of hand.
>
So how does animation stack up as a spontaneous improvised synchronous act
of creation in front of a live audience?
I think it's art personally (even if we use computers to make the process
easier). A long time ago you made a good point, when you were slightly
annoyed at people equating drugs and artistic inspiration, that no one made
good animation ripped to the tits on drink and drugs and they, in fact,
tended to have to stay at home and do a lot of work.
Electronic music in general requires you to stay at home and do an awful lot
of work poring over minutae. A house tracks excellence is not contained in
the simple tune but in the detail of the sound, timbre, rhythm and the exact
dynamics.
You do have a point about fabricated music, but shall we apply that term to
