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Date: Thu, 26 Apr 2001 22:33:44 -0400
From: "Brian" <brian@phyres.lan.mcgill.ca>
Subject: Subject: (exotica) Cartridges
Steve wrote:
>- - How many hours of play does a needle have before it gets damaged?
>I'm not sure exactly, but it would be in the thousands.
This seems high but depends on a number of factors, including the
composition of the stylus (diamond, sapphire..) the type of cantilever, the
tracking force, and of course, the condition of the record. With all of the
above factors at their worst case options, I'd say hundreds at best.
>- - How can you tell if it is damaged?
> If your records sound thin and a little distorted when they
> didn't use to sound like that, or when you notice that you
> are getting excessive wear from repeated playings, it's time
> to change the stylus.
This works in theory but not in principle as its usually not until you
change it that you notice how the sound has degraded. The degradation is
very slow and subtle. Of course you kick yourself for not noticing (as I've
done myself). Supposedly with a proper magnifying glas, you can tell if the
diamond has worn although i haven't had much success with this one myself.
If your one of those types you could record the hours of use but here if you
play
records regularly you could calculate the use a lot easier.
>- - Do scratchy records damage it?
> Not really, but dirty records can gum up a stylus.
I wouldn't think a skp that causes the needle to jump is good for the
diamond or the caltilever, and large scratches are doing much the same on a
smaller scale. Light scraches probably wouldn't be as severe. Dirt can gum
up a stylus but with the right products a stylus can be cleaned, although it
is fragile
so it takes great care. It would be easy to say clean the record first and
the sylus stays cleaner in an ideal world.
>- - Are some needles heartier than others?
> Yes, DJ cartridges have a very strong cantilever, and require
> a higher tracking force. They are generally more durable than
> audiophile cartridges that track at lighter weights.
That's for sure! Stanton are the industry standard and from experience at
our station I can see why! The Shure models we got didn't make it a
month... And its not a cost thing, as some of the most expensive cartridges
are the most fragile.
Of course you can get a wide range of cartridges, from a $10 cheapie
cartridge to a $2500 hand crafted wood model. I think I mentioned a while
back totally falling
for the moving coil type cartrigde as the sound was so much warmer and
detailed as compared to similar priced moving magnet models. The problem
with the moving coil is you may need a head amplifier stage as many of these
cartridges are lower output, and you cannot replace the stylus yourself.
Brian
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Date: Thu, 26 Apr 2001 23:56:46 EDT
From: Dj45rpm@aol.com
Subject: Re: (exotica) Graeme Revell - The Insect Musicians
In a message dated 4/26/01 7:38:38 PM Pacific Daylight Time, gannet@jtel.net
writes:
<< Oh, and my understanding is that Graeme (who is a film music producer now)
worked for a while as an assistant in an insane asylum. While there, he
made recordings of the patients and, you guessed it, tweaked them up and
made a record out of it. I'm on the lookout. :)
>>
Unless I'm spacing (which is possible) I do believe he was also in early
"industrial" group SPK, who put out some INTENSE music in their time that's
well worth checking out. Stay away from their later major-era material
(Machine Age Voodoo and after) though
- -DavidH.
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Date: Thu, 26 Apr 2001 21:01:40 -0700
From: "F. Cobalt" <fcobalt@lycos.com>
Subject: Re: (exotica) Ironic Enjoyment
>Speaking of perhaps novelty music, what do you guys >think about Wesley Willis? his music is on one hand >just plain funny, but on another hand, it elicits a >strong cult following that I personally feel pretty >strongly.
>Sure, hearing his vulgar phrases is humorous, but, >the music along with the lyrics always fires me up in >a genuine way. the fact that a schizophrenic
>person can present his thoughts in such a way as to >connect with so many people to me is amazing and >fabulous.
>
>christine
I'll tell you what isn't humorous: listening to Wesley's vulgar phrases repeated over and over and over and over and over again where you work, while he sits there and scares people, and then apologizes, and then does it all over again. But that's Tourettes for you. I wish I could laugh but I've spent too much time around Wesley, and not because I wanted to.
On the one hand, it's nice that he received the fame and money, considering that for years he spent so much of his time sitting outside on the sidewalk, doing these huge drawings with his markers (pretty much like the ones you find on his albums, except far bigger), and selling them to people for so litttle. But on the other, I feel sorry for the guy and his problems, and all the people who have tried to take advantage of him. Sometimes though, you reach the end of one of his songs, get to a commercial catch phrase, and it ties the whole thing together in his own askew brilliance.
Mr. Unlucky
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http://businesscards.lycos.com/vp/fastpath/
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Date: Thu, 26 Apr 2001 21:08:05 -0700
From: "F. Cobalt" <fcobalt@lycos.com>
Subject: (exotica) organs and vocal suggestions
Can someone give me a few suggestions of organ albums/songs with backing female vocals? As I recall there are some good ones by Lenny Dee but I don't own any, and I'm sure there are other organists out there that went down that path for a while.
Mr. Unlucky
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Date: Fri, 27 Apr 2001 00:28:23 -0400
From: alan zweig <azed@pathcom.com>
Subject: Re: (exotica) soft pop tributaries
At 10:17 PM 4/26/01 -0400, m.ace wrote:
>
>I have "The Cowsills In Concert" -- it opens with a studio cover of "Hair"
>and the rest seems to be genuine live material. Side two gets sort of heavy
>with tunes like "Sunshine Of Your Love"
yeah that live album is not typical of their studio records. I have a
feeling that live they were trying to prove they're a real band and they
chose to do that through playing their instruments rather than sing their
harmonies. If that's the only record of theirs you have, don't judge them
by it.
I have a live Association record too. It's better than the Cowsills but
again, it's no "Birthday".
AZ
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Date: Fri, 27 Apr 2001 00:38:32 -0400
From: alan zweig <azed@pathcom.com>
Subject: Re: (exotica) organs and vocal suggestions
At 09:08 PM 4/26/01 -0700, F. Cobalt wrote:
>
>Can someone give me a few suggestions of organ albums/songs with backing
female vocals? As I recall there are some good ones by Lenny Dee but I
don't own any, and I'm sure there are other organists out there that went
down that path for a while.
Can you be more specific? Do you mean wordless vocals - as in oohing and
aahing- or do you mean the females actual sing words? I would assume that
I'd have an answer to this at my fingertips but I don't. And I don't want
to go looking without knowing what you want.
(But off the top of my head for instance, Lenny Dee does a version of
"Peace Train" with female backing vocals but they actually sing whole
sections of the chorus.)
AZ
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Date: Fri, 27 Apr 2001 01:05:13 -0500
From: "Indy Rutks" <rutks002@tc.umn.edu>
Subject: (exotica) Hyakugojyuuichi!!
Wow...
http://member.iquest.net/~derecho/pika.swf
- -Indy
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Date: 26 Apr 2001 23:26:48 -0700
From: bag@hubris.net
Subject: Re: (exotica) Re: anyone else call their pets exotica related names
When Marisa and I get together we will, I'm sure, get a cat...and we both
think "Esquivel" would be cool!
Byron
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Date: Fri, 27 Apr 2001 10:18:30 +0200 (CEST)
From: "Magnus Sandberg" <m.sandberg@telia.com>
Subject: Re: (exotica) Graeme Revell - The Insect Musicians
> << Oh, and my understanding is that Graeme (who is a film music=20
producer
> now)
> worked for a while as an assistant in an insane asylum. While=20
there, he
> made recordings of the patients and, you guessed it, tweaked them up=20
and
> made a record out of it. I'm on the lookout. :)
Maybe you are referring to the record he made together with nurse with=20
wound and one more band where he interpreted the music written by Adolf=20
W=F6lfi, an art brut painter from i think switzerland. Revells tracks on=20
that record is (was? it was some years ago and my taste have changed)=20
great. Very exotic sounding. One track was later used as the theme for=20
the australian film "Dead calm".=20
Check out Adolf W=F6lfi too, an amazing artist.
The insect record came out on vinyl in the mid to late 80s, I bought it=20
but I thought that Revells work on the W=F6lfi record was superior, so=20
you have something to look forward too! =20
Yes, Graeme Revell was SPK.
Magnus
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------------------------------
Date: Fri, 27 Apr 2001 04:58:08
From: jschwart@voicenet.com
Subject: (exotica) Come Love
>Who wrote "Come Love" ?
>Was it Van Dyke Parks or another of those Wonoker Warner Brothers
soft pop West Coast guys? For me Harpers Bizarre when they are not
being Wnchester Cathedrally are as good as it gets in the sunshine
pop or psychedlic pop vein, which I consider two seperate genres of
the larger soft pop scene.
The song is credited to Markes-Keith-Bergman. Not sure who they are.
The song was (originally?) released in 1966 by Bruce & Terry -- that's
Bruce Johnston and Terry Melcher -- on one of their many fine Columbia
singles. I think their version is much better than Harper's Bizarre's. You
can hear it on the Sundazed collection THE BEST OF BRUCE & TERRY. You can
also hear it on the probably very hard to find, and expensive even when it
was in print deluxe CD RARE MASTERS by Bruce and Terry, on the (defunct?)
Japanese M&M label. This label issued two versions, the fancier one boastng
a 56-page booklet and 34 tracks, some of them surf rock productions they
did for the likes of Pat Boone and Wayne Newton (don't laugh, they're
really good!). But the Sundazed collection is well worth having and
contains most of the best songs plus a few otherwise unreleased ones.
For the people seeking more harmony soft pop in a post PET SOUNDS vein, I
recommend all of the recent Sagittarius/Millenium-related releases on the
British Poptones label, and also the great Harmony Grass CD.
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Date: Fri, 27 Apr 2001 12:37:17 +0200
From: Edjunkita <edjunkita@wanadoo.nl>
Subject: Re: (exotica) Graeme Revell - The Insect Musicians
gannet@jtel.net writes:
> << Oh, and my understanding is that Graeme (who is a film music producer now)
> worked for a while as an assistant in an insane asylum. While there, he
> made recordings of the patients and, you guessed it, tweaked them up and
> made a record out of it. I'm on the lookout. :)
> >>
Although not the one you're looking for, he is also on the compilation album
"Necropolis, Amphibians & Reptiles" (1986 Music Brut) which is interpretations
of the music of mental patient and outsider painter/musician Adolf Wolfli.
Also on this comp. are Nurse With Wound, a band well worth checking out.
There was also a CD + Book called "Musique Brut Collection" (1994) (Don't know
what's on it though)
Dj45rpm@aol.com wrote:
>Unless I'm spacing (which is possible) I do believe he was also in early
>"industrial" group SPK, who put out some INTENSE music in their time that's
>well worth checking out.
My guess is the early SPK stuff would be WAY to noisy for most exoticats here!
The abbreviation SPK stood for various things:
Socialist Patients Kollektiv (originally a group of german mental patients who
were inspired by the Baader-Meinhof terrorist gang and blew themselves up
while trying to make bombs in their mental hospital), Surgical Penis Klinik,
SepPuKu (japanese ritual suicide) etc.
>Stay away from their later major-era material (Machine Age Voodoo and after)
>though
That would be their middle period (yeah, it does suck), before Graeme Revell
bought
his Fairlight Computer. Then they (under the name SPK but Graeme solo as it was
most of the time) made the best SPK album ever called Zamia Lehmanni (1986). It
was
rereleased on CD by Mute in 1992.
Very atmospheric and very beautiful. Highly reccomended for exotica fans (who
are not
afraid of sampling). Reviews:
http://www.softwatch.freeserve.co.uk/spkzamia.htm
He reworked this album for his filmscore debut Dead Calm in1989, which
earned him an australian academy award and paved the way for Hollywood.
In the last twelve years he's had a highly prolific output, making soundtracks
for
The Hand that Rocks the Cradle, Body of Evidence (Madonna nekkid), Wim Wender's
Until the End of the World, From Dusk till Dawn, John Woo's Hard Target,
The Crow 1&2, Strange days, The Siege, Dune (TV version), Red Planet ,
Jennifer (daughter of David) Lynch's Boxing Helena, The Saint, and many, many
more.
Complete filmograpghy and interviews at:
http://www.graemerevell.com/
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Date: Fri, 27 Apr 2001 07:06:59 -0400
From: "Robert Cohen" <racprint@mediaone.net>
Subject: (exotica) Re: a new subgenre discovered
> Date: Thu, 26 Apr 2001 14:08:26 -0400
> From: alan zweig <azed@pathcom.com>
> Subject: (exotica) a new subgenre discovered
>
Gilbert O'Sullivan
Roy Budd
Big Jim Sullivan.
Tom Jones
Buddy Merrill
Duprees.
Happenings
Four Seasons
Ultimate Spinach
Free Design
Velvet Underground
Tim Buckley.
Orpheus
The Association
The Fifth Dimension
The Cowsills.
The Partridges
Tokens
Happenings
Hullabaloo
Love Generation
The Sunshine Company....
Dino Desi and Billy
> AZ
YIKES! Help! I've fallen and I can't get up.
Wow, I can't absorb all this information so quickly. Somebody send me a
list so I can know what to look for at yard sales this summer.
Thanks, Alan, for the amazing trip back through time.
I always go to yard sales with my friend Dan, and he also collects records.
Wait until I start picking up Gilbert O'Sullivan, the Cowsills, and Dino,
Desi, and Billy. He'll want to have me committed :-)
Bob Cohen
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Date: Fri, 27 Apr 2001 06:52:10 -0400
From: "Robert Cohen" <racprint@mediaone.net>
Subject: (exotica) Re: anyone else call their pets exotica related names
> Date: Thu, 26 Apr 2001 16:50:35 +0200
> From: Johan Dada Vis <quiet@village.uunet.be>
> Subject: (exotica) Re: anyone else call their pets exotica related names
>
> i named my cat "spike", after both spike milligan & spike jones, 2 of
> my fave novelty artists. and she (yes it's a female) is so funny
> sometimes too...
>
> Johan
Both of our cats came from yard sales, a year apart. No, we didn't buy
them, they were moving sales, and the people were looking for good homes for
pets they couldn't take with them.
One is Cheshire, the other is Kelton. Alice in Wonderland is pretty exotic,
so I think Cheshire qualifies, even though we didn't actually name him.
Bob Cohen
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Date: Fri, 27 Apr 2001 13:21:03 +0200
From: Edjunkita <edjunkita@wanadoo.nl>
Subject: Re: (exotica) Hyakugojyuuichi!!
Indy Rutks wrote:
> Wow...
>
> http://member.iquest.net/~derecho/pika.swf
>
> -Indy
This is already a huge net phenomena. The kid who
made it is only 14 years old. All his stuff is on:
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Date: Fri, 27 Apr 2001 12:36:45 -0400
From: Brian Phillips <hagar@mindspring.net>
Subject: Re: (exotica) Hyakugojyuuichi!!
>Wow is right! Damn! Do you suppose there is any sense to be made of that
>(i.e. in Japanese) or do you think the lyrics are as schizophrenic as the
>images?
I translated it as:
"Xtabay, Xtabay is pronounced..."
Sorry.
In the Salon article, it mentions something about being a Pokemon anthem,
so the meaning of the lyrics may not be as nuts as we think.
Gotta catch 'em all (Registered Trademark),
Brian Phillips
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Date: Fri, 27 Apr 2001 12:57:13 -0400
From: nytab@pipeline.com
Subject: (exotica) [obit] Al Hibbler
April 27, 2001
Al Hibbler, a Singer With Ellington's Band, Dies at 85
By BEN RATLIFF
Al Hibbler, the blind baritone singer who came to prominence with Duke Ellington's orchestra in the 1940's and then scored a hit with his version of the Alex North song "Unchained Melody," died on Tuesday at Holy Cross Hospital in Chicago. He was 85 and lived in Chicago.
Mr. Hibbler's singing voice was mannered and strange. He used a fast, muscular vibrato; growled and crooned; put on an English accent; and turned songs into emotional rides. Ellington called it "tonal pantomime."
Mr. Hibbler was blind at birth, in Tyro, Miss., and did not attend school until he was 15, when he went to the Arkansas School for the Blind. He sang in the school choir as a soprano, but by the end of his teenage years his voice had dropped, and he was soon singing the blues in Arkansas and Texas bars.
He first tried out for Ellington's band in 1942, but, as he often recalled in what was seemingly his favorite story, he sang a song onstage with the band in Little Rock, Ark., got a good audience response, and then celebrated by getting drunk. The next day Ellington told him he wasn't ready to join the band. "I can handle a blind man," Mr. Hibbler said Ellington told him, "but not a blind drunk." Instead, he wound up working with Jay McShann's band for a year and a half, and returned to Ellington in 1943.
Ellington wrote "Do Nothin' Til You Hear From Me" as a special number for Mr. Hibbler, and it became one of the band's hits.
The eight years that Mr. Hibbler spent with the band were not among the creative high points of Ellington's career, but the audience did not wane; finally, however, Mr. Hibbler left the band over a payment dispute (said to have involved raising Mr. Hibbler's salary).
Toward the end of time with Ellington, Mr. Hibbler's specialties became songs like "Trees" and "Danny Boy" ù oddments in an Ellington show but indicative of the singer's future career as a ballads-and-standards singer.
While with Ellington, Mr. Hibbler also recorded with Harry Carney, Mercer Ellington, Billy Kyle, Billy Taylor and others.
Mr. Hibbler next signed with Verve, and made records for the next four years that included some of his former Ellington-band colleagues, but he hit pay dirt during his next contract, with Decca. In 1955 he recorded "Unchained Melody," from the prison film "Unchained." Though the film was not a hit, North's theme song was, and Mr. Hibbler's version and one by Les Baxter hit the charts the same week in April 1955. Baxter's rose to No. 1; Mr. Hibbler's peaked at No. 3. The next year Mr. Hibbler had another hit with "After the Lights Go Down Low." He filled an odd musical niche in this period because he could croon songbook standards and also sing earthy blues.
When he became involved with the civil rights movement in the 1960's ù marching with protesters and being arrested in 1959 and 1963 ù the luster came off his recording career and labels were afraid to sign him. Frank Sinatra, however, contracted him for one album on his Reprise label, "Monday Every Day."
In 1972 he recorded with the multi- instrumentalist Rahsaan Roland Kirk on the album "A Meeting of the Times," but otherwise performed and recorded infrequently. His last public appearance was in January 1999, at a Jazz at Lincoln Center evening of Ellington alumni, when he performed at a late-evening party. Seated, and using a vibrato as over- the-top as ever, he sang "Time After Time."
He is survived by a sister, Christine Noland, and a brother, Hubert Hibbler, both of Chicago.
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