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exotica-digest         Thursday, June 7 2001         Volume 02 : Number 988



In This Digest:

(exotica) Jazz 2
(exotica) Re: ID wanted:  Snake dance...
Re:  (exotica) compilation for a newcomer
Re:  (exotica) Jazz 2
(exotica) Lil' Markie
(exotica) [obit] Marvin ``Smokey'' Montgomery, Michael Hazlewood
Re: (exotica) Jazz 1
(exotica) Hello Kitty!
Re: (exotica) Road trip-Route 66
(exotica) Snake Dance info
Re: (exotica) Snake Dance info
(exotica) Snake Dance info
(exotica) Soft Pop: The High Llamas
(exotica) Brother Cleve & His Lush Orchestra
Re: (exotica) Soft Pop: The High Llamas
Re: (exotica) Soft Pop: The High Llamas
Re: (exotica) Soft Pop: The High Llamas
Re: (exotica) Soft Pop: The High Llamas
Re: (exotica) Brother Cleve & His Lush Orchestra
Re: (exotica) compilation for a newcomer
Re: (exotica) compilation for a newcomer
(exotica) compilation suggestions
Re: (exotica) compilation for a newcomer
Re: (exotica) Soft Pop: The High Llamas
(exotica) Es wurde kein Bezug angegeben.
Re: (exotica) compilation for a newcomer

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

Date: Thu, 07 Jun 2001 00:04:16 +0200
From: Ton =?iso-8859-1?Q?R=FCckert?= <[e-mail]>
Subject: (exotica) Jazz 2

              The flute virtuoso Malik Mezzadri, who has occasionally
played in St. Germain, said
              recently: "St. Germain has changed the way the public thinks
about jazz in France =97
              don't put it in a box. You listen, you dance, this is what my
generation wants, the
              dance."

              Mr. Mezzadri is a charismatic figure on the Paris jazz scene.
Mere mention of his
              name is enough to fill any club there, and the makeup of the
musicians and the music
              on his latest album, "Magic Malik," reflect the racial
diversity of Paris, that most
              cosmopolitan of European cities. "In my band, I have South
American, African and
              Cuban musicians," he said. "I grew up in the West Indies, in
Guadeloupe, and this is
              a population that came from Africa, with slaves." His music
is rhythmically
              unambiguous while bursting with pan-ethnic frissons.

              Something of the excitement of the current Parisian jazz
scene is captured on
              "Candombe" from the saxophonist Julien Lourau's album
"Gambit," which was
              recorded live at the New Morning Club last year. With Mr.
Mezzadri as a featured
              sideman, the music is intense and compelling as Mr. Lourau's
tenor sax riffs mediate
              the ebb and flow of the powerful drum 'n' bass- influenced
grooves. "I want to play
              for people my own age and even younger because I think jazz
is not elitist," Mr.
              Lourau said.


              The new crop of Scandinavian jazz artists was inspired by an
earlier generation,
              particularly the Norwegian saxophonist Jan Garbarek, who
achieved international
              recognition on the Munich-based ECM label run by Manfred
Eicher. In the
              mid-90's, young musicians like Mr. Wesseltoft, Mr. Movaer,
the drummer Audun
              Kleive and the guitarist Eivind Aarset, all of whom are
Norwegian, rejected the
              contemplative calm of what Mr. Eicher called the "Nordic
tone" and began
              experimenting with dance-based grooves. Mr. Wesseltoft formed
his own record
              label, Jazzland, and his album, "New Conception of Jazz,"
sold more than 40,000
              copies across Europe =97 remarkable sales for a small
independent label. "Jazz is
              American, of course," he said. "But I feel the techno and
electronics scene is more
              European. The beats I'm using, the grooves, I feel I'm not
stealing from the black
              American music scene."

              In 1998 Mr. Aarset recorded "Electronique Noir" and created
one of the best post-
              Miles albums. "My approach has come out of the Nordic jazz
thing inspired by
              people like Jan Garbarek and Terje Rypdal, and the serious
ECM approach to
              music mixed with techno beats," he said.

              Mr. Molvaer's 1997 album, "Khmer," has sold more than 100,000
copies in
              Europe. It led to Mr. Molvaer's nomination for the
prestigious Nordic Council
              Music Prize 2000 and several awards, including the annual
prize of the German
              Record Critics, and was voted Jazz Record of the Year by LA
Weekly.

              One of the most talked about groups currently on the European
circuit is the Esbjorn
              Svensson Trio (or E.S.T., as they call themselves), which saw
its latest album,
              "Good Morning Susie Soho," shoot to No. 15 on the pop album
chart in the group's
              native Sweden, alongside the likes of Madonna and Radiohead =
=97
a significant
              achievement for a jazz piano trio. Highlights of this album,
along with those from his
              1999 release, "From Gargarin's Point of View," are to be
issued by Sony Jazz in the
              United States in August as "Somewhere Else Before."

              Curiously, British jazz musicians have only tentatively
embraced the club-culture
              rhythms that largely emanated from London. The saxophonist
Courtney Pine is the
              best-known exception. His album, "Back in the Day," shows
that he has moved a
              considerable distance from the 1980's, when he was seen as
Europe's Wynton
              Marsalis. (He even recorded with Mr. Marsalis's father,
Ellis). His latest album uses
              samples and computer-generated rhythm tracks, underpinning
some torrid soloing
              on soprano and tenor saxophone.

              ALL these Europeans readily acknowledge that jazz is
America's gift to the world.
              But what impact will this fast-changing European scene have
on American jazz?
              Initially, the effect is most likely to be felt financially.
Money, as Cyndi Lauper once
              famously sang, changes everything. Europe has historically
been a key market for
              American jazz in album sales, in its extensive festival
circuit and in year-round gigs.
              Just how important was once highlighted by a comment made by
George Wein, the
              producer of the JVC festival: "No Europe, no jazz."

              If American jazz remains fixed in the certainties of the
mainstream, European jazz
              musicians may move into the space long occupied by Americans.
Indeed, Mr.
              Svensson is doing just that. Recently he was on the cover of
two major German jazz
              magazines as well as the influential French magazine Jazzman.
He was also hailed by
              the German news weekly Der Spiegel as "The Future of Jazz
Piano" (along with the
              American pianist Brad Mheldau), and his "Good Morning Susie
Soho" was named
              album of the year in a poll conducted by the critics of the
British magazine Jazzwise,
              an award that has hitherto been the province of American jazz
albums.

              The emergence of the European new jazz poses the intriguing
question of whether
              American jazz can maintain its stance without lapsing even
further into high-art
              marginality, given its dependence on the European market. As
the American
              saxophonist and clarinetist Michael Moore, who now lives in
the Netherlands, put it
              recently: "In America there's more pressure to be conformist,
and players can work
              a lot more if they play tunes in a traditional way. In Europe
there's a larger audience
              that grew up listening to experimental jazz over a 25- year
period, and they
              appreciate not hearing the same thing all the time."=20

              Suddenly there is real possibility that the stewardship of
the music may no longer
              remain exclusively American. "Europe is going to be the place
for jazz," Mr.
              Svensson said. "We're ready now. We like to sound different." =
=20

              Stuart Nicholson is a London-based music critic and author.
His most recent
              book is ``Reminiscing in Tempo: A Portrait of Duke
Ellington'' (Northeastern
              University Press).=20



 *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ***=20
 *** Ton R=FCckert  Mozartstraat 12  5914RB Venlo  The Netherlands ***
 *** [e-mail]  http://www.plex.nl/~mojoto   31/0 773545386 ***
 ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~
 ~~~ ~~~ ~~~ ~~~    http://www.psychedelicado.com    ~~~ ~~~ ~~~ ~~~
 ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~


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

Date: Wed, 6 Jun 2001 16:38:03 -0700
From: Paul Penna <[e-mail]>
Subject: (exotica) Re: ID wanted:  Snake dance...

You're right, this thing often gets asked about in cartoon forums. Since a
lot of familiar but hard-to-nail-down cartoon melodies came from theme
books written for use in accompanying silent films (Carl Stalling started
out doing that,e actually), I've posed the question on the
alt.movies.silent newsgroup, wher a number of silent film music experts and
accompnists hang out. I'll let you know if there are any replies.




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

Date: Wed, 6 Jun 2001 20:51:07 EDT
From: [e-mail]
Subject: Re:  (exotica) compilation for a newcomer

Welcome Randy...Cocktail Nation, still forming, is always hoping new members
board the train...Our engine is just fine, but we're still deciding whether
to go freight or passenger....You are a contribution to the latter
hopefully...James Botticelli


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

Date: Wed, 6 Jun 2001 20:55:29 EDT
From: [e-mail]
Subject: Re:  (exotica) Jazz 2

In a message dated 6/6/1 5:05:19 PM, [e-mail] wrote:

>ALL these Europeans readily acknowledge that jazz is
>America's gift to the world.

There is a sign greeting visitors to Trenton, NJ, USA.  It reads thusly:
"Trenton Makes, The World Takes"


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

Date: Wed, 06 Jun 2001 18:35:27 -0700
From: "F. Cobalt" <[e-mail]>
Subject: (exotica) Lil' Markie

I love the Lil' Markie record! I never thought I'd see/hear of another copy! I guess I wanted to believe mine was the only one in existence. But better yet I want to believe there are others. It seems to me like Little Marcy was the inspiration, except there doesn't seem to be any kind of weird puppet action. Still, the idea of an adult trying to sound like a child singing about being a drug addict at age 3 is pretty jaw-dropping. Why did you kill me mommy? indeed!

Mr. Unlucky








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

Date: Thu, 07 Jun 2001 06:25:17 -0400
From: Lou Smith <[e-mail]>
Subject: (exotica) [obit] Marvin ``Smokey'' Montgomery, Michael Hazlewood

DALLAS (AP) - Marvin ``Smokey'' Montgomery, the longtime banjo picker for the
seminal Western swing band The Light Crust Doughboys, died Wednesday after a
long battle with leukemia. He was 88.

Montgomery joined the band in 1935, four years after it was founded, and was
still performing as late as last month. The band was nominated for three Grammy
awards in recent years.

``I'll get ladies in their 70s coming up and saying, `I listened to you in
grade school,''' Montgomery said in 1996. ``I can't play quite as fast as I
used to, but I can still keep up.''

The Light Crust Doughboys were founded in 1931 by W. Lee ``Pappy'' O'Daniel to
advertise his Fort Worth-based flour company, Burrus Mill, and its Light Crust
Flour. It was a pioneer in the style of Western swing, a combination of jazz,
country blues and fiddle music.

In their heyday, The Light Crust Doughboys could be heard on 170 radio stations
with their signature opening, ``The Light Crust Doughboys are on the air!''

Montgomery joined the band in 1935, around the time Bob Wills, Western swing's
greatest star, left to start the Texas Playboys.

``We'd pull into the square in some little town that didn't have but 5,000
people living in it, and there would be 10,000 people in the crowd,''
Montgomery once recalled.

Montgomery regrouped the band after World War II intervened and split it up.
Their repertoire included old cowboy songs, Spanish classics and what was then
popularly called ``hillbilly'' music. But they played a hymn every day,
Montgomery said, and avoided dance halls or honky-tonks.

``That's why Bob Wills left the band. He wanted to play the dances, and the
Doughboys didn't do that,'' Montgomery said.

The Doughboys quit recording in 1985, and Montgomery appeared only occasionally
with the band. But newcomer Art Greenhaw persuaded the members to regroup in
1993.

The group shared a Grammy nomination this year in the category of Southern,
country or bluegrass gospel album for ``The Great Gospel Hit Parade: From
Memphis to Nashville to Texas,'' recorded with James Blackwood and The
Jordanaires. Similar collaborations brought Grammy nominations in 1998 and
1999.

Montgomery was born Marvin Wetter in Rinard, Iowa. His show business name came
from his favorite actor, Robert Montgomery.
================
Variety has a belated report of the death of Michael Hazlewood, who
co-wrote (with Albert Hammond) the songs "The Air That I Breathe" and
"It Never Rains in Southern California."  Hazlewood died of a heart
attack on May 6 while on vacation in Italy.

http://dailynews.yahoo.com/h/nm/20010605/re/people_hazlewood_dc_1.html
======
Don Dixon, co-producer of the first two REM albums, suffered a heart
attack and had a quadruple bypass last Thursday. He is currently
recovering at home.He is still married to Marti Jones and is working on her
next album.




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

Date: Thu, 07 Jun 2001 11:26:24 +0100
From: Michael Jemmeson <[e-mail]>
Subject: Re: (exotica) Jazz 1

Ton Rⁿckert wrote:
>
>
>
> The following article in today's New York Times happens to coincide
> with Ken Burns' series starting coming Saturday on BBC 2. After the
> stir "Jazz" caused among the Northamericans on this list I'm curious
> about how it's going to be perceived over here.
>

Well, The Guardian had an article the other week, entitled 'Jazz: The
Obituary'

( http://www.guardian.co.uk/Archive/Article/0,4273,4192193,00.html )

The series they're about to show here is slightly shortened evidently,
and they're also showing it on consecutive days which is really odd.
(and inconvenient)


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

Date: Thu, 07 Jun 2001 11:11:32
From: "Robert McKenna" <[e-mail]>
Subject: (exotica) Hello Kitty!

I believe we were discussing Hello Kitty

http://www.geocities.com/SiliconValley/Drive/4406/hk_vibrator.htm

Is it really new though?
rob
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------------------------------

Date: Thu, 7 Jun 2001 05:44:00 -0700 (PDT)
From: Ben Waugh <[e-mail]>
Subject: Re: (exotica) Road trip-Route 66

Yes. Every time I begin to lose patience with the 90
degree snakebreeding jungle heat out my way, I check
the weather in Phoenix and think of my pals there in
their asbestos togas in the steady 115 degree blaze
(they say with all the asphalt there it doesn't get
all that cool at night anymore). Stopped there on the
way to Las Vegas last summer. I could smell my hair
curling as I stepped off the plane. Strangely
beautiful state, though.

- --- Colleen Pyles <[e-mail]> wrote:

> I was raised in Arizona and saw a lot of Rt. 66 in
> the southwest,
> have not seen the northern part.  I'm anxious to see
> that, although
> the south west part is sooo unique.  "Last stop for
> gas/water 300
> miles".....


=====
"What I need is a shot of Drambuie and some clean sheets."

          - Jack Nance

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

Date: Thu, 7 Jun 2001 08:14:55 -0700
From: Paul Penna <[e-mail]>
Subject: (exotica) Snake Dance info

Graham Newton <[e-mail]> wrote:

>There have been apparently many names for this piece over the years.
>Everyone has probably heard it in Warner Brothers or other cartoons, and on
>various old radio shows as a "gag" piece, but nobody has been able to identify
>it positively or suggest a composer.

Someone on alt.movies.silent responded with this URL, which tells just
about everything one would want to know:

http://www.shira.net/streets-of-cairo.htm




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

Date: Thu, 7 Jun 2001 11:23:02 -0400
From: "R. Schultz" <[e-mail]>
Subject: Re: (exotica) Snake Dance info

It's funny, because that made me think of that other song. It's sort  of
Persian and I believe it was used in that Bugs Bunny cartoon with the
genie (voiced by Jim Backus). I'm sure you guys know the one I'm talking
about I hope. It's usually used to establish that something is taking
place in Persia and played as you see a wide shot of a Persian city. It's
placed on that same type of snake charmer flute.


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

Date: Thu, 07 Jun 2001 11:50:57 -0400
From: Graham Newton <[e-mail]>
Subject: (exotica) Snake Dance info

Paul Penna <[e-mail]> wrote:

> Someone on alt.movies.silent responded with this URL, which tells just
> about everything one would want to know:

> http://www.shira.net/streets-of-cairo.htm

Others had already pointed me to that... thanks anyway, and yes it does answer
all the questions.

For those who are interested, the sheet music can be found here:-

http://levysheetmusic.mse.jhu.edu/advancedsearch.html

Search on "cairo" to find it.


... Graham Newton

- --
Audio Restoration by Graham Newton, http://www.audio-restoration.com
World class professional services applied to phonograph and tape
recordings for consumers and re-releases, featuring CEDAR processes.


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

Date: Thu, 07 Jun 2001 17:58:42 +0200
From: Moritz R <[e-mail]>
Subject: (exotica) Soft Pop: The High Llamas

Since there are 3 albums out now by the High Llamas, it's time to mention=
 this eminent soft pop band again. I knew "Cold And Bouncy" for quite a w=
hile and always enjoyed it. The other two albums are called "Buzzle Bee" =
and "Snowbug", I think I like "Buzzle Bee" the best, although the music o=
f all three albums doesn't sound that different, because the musical rang=
e of this band is slightly narrow. Maybe this is because all songs are co=
mposed by one person, who I think is the band leader, Sean O'Hagan. In a =
postive way you could say, the High Llamas found their style, they know w=
hat they want and the listener is rewarded by some nice song lyrics for w=
hat s/he might miss in musical diversity. I'm not saying that if you have=
 heard one song, you've heard them all, no not at all, not that similar. =
It's more the general way these songs are made, their rhythm, their harmo=
nies, their attitude, that makes them all sound very - homogenous, to say=
 the least. Their sound reminds one a bit of the Beatles and as a matter =
of fact at least one album of theirs was mixed in the Abbey Road Studios.=
 I also recognize a proximity to the later and more melodic and soft work=
s of the band XTC, as in their best album of all times, Unsuch. The High =
Llamas are British and you can hear it, but they develop their very own v=
ersion of exoticism with a couple of strange instruments, that they use t=
o lend from their friends.

Mo
- --
studio R
senses for a senseless world
http://moritzR.de
=2E......................................................................=
=2E.
Thierschstrasse 43, D 80538 Munchen, Germany
e-mail: [e-mail]




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

Date: Thu, 07 Jun 2001 17:59:35 +0200
From: Moritz R <[e-mail]>
Subject: (exotica) Brother Cleve & His Lush Orchestra

Way coool. Got a copy of House Industries mag #25 in the mail today with an incredible full page Andy Cruz painting of Br. Cleve's very own band on the cover, standing in front of a vermilion colored 2001-type of monolith declared as the road sign of a House Casino Hotel with "its original shareholders" in front, which apparently are Andy Cruz, Br. Cleve etc., you name it...

And there's a CD with music by Brother Cleve & His Lush Orchestra that you can buy for 125$. 125$? Yes, 125$. It comes along with a set of House Industries fonts called Las Vegas...

Also I (uhumm!) got a copy of Combustible Edison's "The Impossible World" CD today and for the first time in my life I listened to it! I can't believe how this could happen, it's so unlikely. I mean, I listen to this kind of music half of my life, I'm in the same mailing list with one of the band members and the cover designer of the CD is a friend of mine... and still it could happen that this album didn't get in my way until this very day.

It's a great album, not a bit dated... wow, I can't believe what I missed! But of course you all know this anyway, so I better shut up and keep on listening...

BTW: Brother Cleve, is there any chance to listen to the material of that House Ind. CD for less than 125$?


Mo

- --
studio R
senses for a senseless world
http://moritzR.de
.........................................................................
Thierschstrasse 43, D 80538 Munchen, Germany
e-mail: [e-mail]




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

Date: Thu, 07 Jun 2001 12:05:18 -0400
From: [e-mail]
Subject: Re: (exotica) Soft Pop: The High Llamas

Just a quick response to say the High Llamas have more than 3 albums (and I hear more Beach Boys than Beatles in their [his?] stuff):
1992 Santa Barbara
1994 Gideon Gaye
1996 Hawaii
1998 Cold & Bouncy
1999 Snowbug
2000 Buzzle Bee

[e-mail]



Moritz R <[e-mail]> wrote:
>
Since there are 3 albums out now by the High Llamas, it's time to mention this eminent soft pop band again. I knew "Cold And Bouncy" for quite a while and always enjoyed it. The other two albums are called "Buzzle Bee" and "Snowbug", I think I like "Buzzle Bee" the best, although the music of all three albums doesn't sound that different, because the musical range of this band is slightly narrow. Maybe this is because all songs are composed by one person, who I think is the band leader, Sean O'Hagan. In a postive way you could say, the High Llamas found their style, they know what they want and the listener is rewarded by some nice song lyrics for what s/he might miss in musical diversity. I'm not saying that if you have heard one song, you've heard them all, no not at all, not that similar. It's more the general way these songs are made, their rhythm, their harmonies, their attitude, that makes them all sound very - homogenous, to say the least. Their sound reminds one a bit !
!
of the Beatles and as a matter of fact at least one album of theirs was mixed in the Abbey Road Studios. I also recognize a proximity to the later and more melodic and soft works of the band XTC, as in their best album of all times, Unsuch. The High Llamas are British and you can hear it, but they develop their very own version of exoticism with a couple of strange instruments, that they use to lend from their friends.

Mo
- --
studio R
senses for a senseless world
http://moritzR.de
.........................................................................
Thierschstrasse 43, D 80538 Munchen, Germany
e-mail: [e-mail]




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

Date: Thu, 7 Jun 2001 12:07:33 EDT
From: [e-mail]
Subject: Re: (exotica) Soft Pop: The High Llamas

I've loved the Llamas since I heard "Hawaii" in 1996. There's a two-disc
version of this that's not to be missed.

Also, don't overlook the Llamas remix album, "Lollo Rosso," with cool
contributions from Kid Loco, Cornelius and others.

- --Rod
www.hitchmagazine.com


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

Date: Thu, 07 Jun 2001 17:15:28 +0100
From: Michael Jemmeson <[e-mail]>
Subject: Re: (exotica) Soft Pop: The High Llamas

Moritz R wrote:
>
> Since there are 3 albums out now by the High Llamas, it's time to mention this eminent soft pop band again. I knew "Cold And Bouncy" for quite a while and always enjoyed it. The other two albums are called "Buzzle Bee" and "Snowbug", I think I like "Buzzle Bee" the best, although the music of all three albums doesn't sound
There's also 'Gideon Gaye' and 'Hawaii', and a remix album, the title of
which i've forgotten offhand...

Haven't heard the remix album, but the others are all very good.


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

Date: Thu, 07 Jun 2001 16:32:09
From: "Robert McKenna" <[e-mail]>
Subject: Re: (exotica) Soft Pop: The High Llamas

>Just a quick response to say the High Llamas have more than 3 albums (and I
>hear more Beach Boys than Beatles in their [his?] stuff):
>1992 Santa Barbara
>1994 Gideon Gaye
>1996 Hawaii
>1998 Cold & Bouncy
>1999 Snowbug
>2000 Buzzle Bee
>
And prior to that (1990?) Sean O'Hagan had a solo album out called 'High
Llamas'. Plus of course he was in seminal 80s Cork band Microdisney (notice
the Microdisney mix of a Cornelius tune), they had about 6 albums and a
bunch of EPs. And he does Stereolab's string arrangements and plays the odd
bit and piece with them. Also did an album with two of them. I have a
feeling he was involved in one of the Experimental Audio Research releases.
And he played with Will Oldham.
Actually he did a lot of other stuff and pops up as a banjo player for
people other than Cornelius.
He was hired to produce the Beach Boys reunion album with Brian Wilson which
never happened about 4-5 years ago but Mike Love (of course) walked out
saying he wasn't going to work with an 'English faggot'.
Charming man, but I think Sean found the experience of working with them an
absolute nightmare.
rob

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Date: Thu, 7 Jun 2001 12:45:16 -0400
From: [e-mail] (Bump Stadelman)
Subject: Re: (exotica) Brother Cleve & His Lush Orchestra

way cool indeed.
i am lucky enough to have a copy of this cd and it is groovin' for sure.
can't wait for the full length LP!
deep lounge to fast and fun exoticlubhouse, to coin a new phrase. (maybe)
(it was nice to hear ol' liberace speaking to me once again)
very swank packaging to boot.

and i just may buy those fonts too!

go bro go!
cheers
bump


>Way coool. Got a copy of House Industries mag #25 in the mail today with
>an incredible full page Andy Cruz painting of Br. Cleve's very own band on
>the cover, standing in front of a vermilion colored 2001-type of monolith
>declared as the road sign of a House Casino Hotel with "its original
>shareholders" in front, which apparently are Andy Cruz, Br. Cleve etc.,
>you name it...
>
>And there's a CD with music by Brother Cleve & His Lush Orchestra that you
>can buy for 125$. 125$? Yes, 125$. It comes along with a set of House
>Industries fonts called Las Vegas...




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Date: Thu, 7 Jun 2001 11:57:44 -0500
From: "Colleen Pyles" <[e-mail]>
Subject: Re: (exotica) compilation for a newcomer

Randy wrote:

Anyway, I love cocktail-making and how exotica stuff
symbolizes just having good times with a shaker, some good music and
friends.
                           ****************

Wow, Randy, you just summed up the group!!!!   Welcome, you are in
the right place.  And you entered into your first controversy.  Some
of of love comps, some of us hate them.  If you're just getting
started, like me...you love them.  But after a while, you want the
stuff that's harder to get (like drugs).  So you start going to
seedy, out of the way places, where you KNOW you'll find that certain
record...but you don't...so you start asking around, and someone
always knows a place where they found one, but it's not there.  So
you start gettin' desperate, see, and ya think if you spend a lotta
money, you'll find it...so you go to ebay...and they've got it, but
it won't come cheap.  And before you know it, you're hooked, a
monkey's on your back and ya gotta have the stuff.  Glassy eyed, you
stumble around, spouting things about Perez Prado and Martin
Denny...but it's okay, we're your friends, and some of us even have
things to sell...heh, heh, heh,heh........


 Colleen
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Date: Thu, 7 Jun 2001 11:57:49 -0500
From: "Colleen Pyles" <[e-mail]>
Subject: Re: (exotica) compilation for a newcomer

Randy wrote:

Anyway, I love cocktail-making and how exotica stuff
symbolizes just having good times with a shaker, some good music and
friends.
                           ****************

Wow, Randy, you just summed up the group!!!!   Welcome, you are in
the right place.  And you entered into your first controversy.  Some
of of love comps, some of us hate them.  If you're just getting
started, like me...you love them.  But after a while, you want the
stuff that's harder to get (like drugs).  So you start going to
seedy, out of the way places, where you KNOW you'll find that certain
record...but you don't...so you start asking around, and someone
always knows a place where they found one, but it's not there.  So
you start gettin' desperate, see, and ya think if you spend a lotta
money, you'll find it...so you go to ebay...and they've got it, but
it won't come cheap.  And before you know it, you're hooked, a
monkey's on your back and ya gotta have the stuff.  Glassy eyed, you
stumble around, spouting things about Perez Prado and Martin
Denny...but it's okay, we're your friends, and some of us even have
things to sell...heh, heh, heh,heh........


 Colleen
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Date: Fri, 8 Jun 2001 01:10:31 +0800
From: "William" <[e-mail]>
Subject: (exotica) compilation suggestions

> Kind of a general question, but does anyone have some good suggestions on
> some compilation CDs that would be good for someone looking to start
> collecting exotica music? There are just so many out there and I would
> appreciate any advice.
>
> Randy


    welcome to the list randy!

           i'm sure by now, others have given you some fine reccomendations.
i'd reccomend the  RCA SPACE AGE POP series:

                        vol. 1. melodies and mischeif
                         vol. 2. mallets in wonderland
                        vol. 3. the stereoaction dimension

   there's some great stuff on these. esquivel, henri rene, mancini, perez
prado, the three suns, ...

         i believe they are out of print now but you can still find them
used. i picked up some of mine on line at http://www.djangos.com/ for a
decent price.

                                 william in taipei.



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Date: Thu, 7 Jun 2001 13:20:39 -0400
From: "R. Schultz" <[e-mail]>
Subject: Re: (exotica) compilation for a newcomer

On Thu, 7 Jun 2001 11:57:44 -0500 "Colleen Pyles" <[e-mail]>
writes:
> you start gettin' desperate, see, and ya think if you spend a lotta
>
> money, you'll find it...so you go to ebay...and they've got it, but
>
> it won't come cheap.  And before you know it, you're hooked, a
> monkey's on your back and ya gotta have the stuff.

Thanks for the warm, if bleak, introduction. ;-)

Yeah, I can def see where comps are kind of lame to those of you who are
more familiar with this music. But I gotta start somewhere. Man, put me
on a time machine and send me back to those times for a week or two!

Randy


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Date: Thu, 07 Jun 2001 13:49:29 -0400
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) Soft Pop: The High Llamas

At 12:07 PM 6/7/01 EDT, [e-mail] wrote:
>
>I've loved the Llamas since I heard "Hawaii" in 1996. There's a two-disc
>version of this that's not to be missed.
.
This is still my favorite.  The second disc is not absolutely necessary,
just an interesting bonus.  I understand Mo saying all the records sound
alike.  That's true for most bands but I'd say it's particularly true for
the Llamas.  I recently tried to make a compilation for someone using the
three records I have (I skipped Buzzle Bee) and I couldn't really
distinguish one cut from another.  Which is not a bad thing but usually
it's not a problem for me to come up with the cuts I like more than others.
I'm still trying to figure out what happened to make Mo zoom in out of
nowhere with a review of the High Llama "oeuvre".
Maybe tomorrow someone can give us an overview of the five records put out
by the Tindersticks.

AZ



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Date: Thu, 07 Jun 2001 20:13:46 +0100
From: SH <[e-mail]>
Subject: (exotica) Es wurde kein Bezug angegeben.

exotica

1st ò Brother CleveÆs new band is on the cover of House Industries new
catalogue (which advertises Las
   Vegas styled/themed fonts)
   go to http://www.houseindustries.com

   2nd ò go to
   http://lupo.besonic.com:80/User/0,1391,g0r0l1t0o0i131349,00.html
   to listen to a newly downloadable track called
   The Tiki & The Guitar
   currently its a short version, I will upload the full length
recording tomorrow (friday)

   3rd ò you might even go to
   http://lupo.besonic.com:80/User/0,1391,g0r0l1t0o0i206665,FF.html
   to listen to Wah Factor 3

   Hope you find something to enjoy,

   Kawentzmann



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Date: Thu, 07 Jun 2001 14:15:18 -0400
From: alan  zweig <[e-mail]>
Subject: Re: (exotica) compilation for a newcomer

At 11:57 AM 6/7/01 -0500, Colleen Pyles wrote:
.>..  And you entered into your first controversy.  Some
>of of love comps, some of us hate them.  If you're just getting
>started, like me...you love them.  But after a while, you want the
>stuff that's harder to get (like drugs)..

As someone who avoided the compilations, I have to say that I didn't "hate"
them.  They just didn't do it for me.  And it's not some inherent response
to the idea of a compilation.  It's about context.  Or if you will,
"decontextualization".
You could say that I didn't like the music enough - on its own - to be able
to appreciate it divorced from the original context in which it was
released.  I needed the object - the pictures, the album cover, the liner
notes, the warm crackle of slightly used vinyl.  You could say I needed to
touch the past.  The music wasn't enough for me.
Or maybe it's a stubborn streak.  I can't allow anyone to do the work for me.
But now things have changed somewhat and I make my own compilations and
I've gotten rid of 90 percent of the lounge/easy/exotica records I had and
I can listen to a tune and it's almost like all that stuff I once needed is
in a file somewhere in my head.  I can draw on it without needing to hold
it in my hand.
(I do wish someone had come around at the moment I was getting rid of all
the objects.  And I could have said "200 dollars and you can have an
instant exotica collection".)
Anyway welcome to the list Randy.  I hope you help revive us old
heard-it-all, had-it-all farts.  And let me just say a couple more things
about compilations versus the original records.   What I have to say is
actually kind of contradictory (which is no news to anyone who knows me).
On the one hand, it turns out that quite a number of the artists and even
the particular cuts that you find on these compilations are in fact some of
the very best individual cuts you will ever find even if you have the best
collection of original records imaginable.  It doesn't get much better than
"Danny's Inferno" by the Three Suns which I originally heard on a comp.  On
the other hand, you can go out and pick up any record that kind of looks
like it "fits" and maybe you'll never find any of the artists or cuts that
are on these comps and you can still have as good a collection of this
stuff as someone who went out and got the records he first heard on the
compilations.
If that makes sense to you.

AZ



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End of exotica-digest V2 #988
*****************************