What a great find! Somebody on a audio recording board posted this link.

It’s an animated movie explaining “loudness”. It’s a high average volume level. Meaning there’s less softer parts in the music. If you read this you probably have a chance of enjoying old music. You probably think about the old recordings as being played by real musicians, on real instruments, projecting real emotions and so forth. All fine an dandy with me. But that’s not all there is to it. They recorded it differently! The guys at the record companies enjoyed loud parts coming after quieter parts. A scary movie is most scary when nothing is really happening, but your senses tell you that something could and probably will happen. Then when all the screams come on, its not scary anymore. You are scared in the fracture of a second actually, the transition from quiet to loud.

With modern music it’s like horror screams all of the time. No wonder most people eventually turn away from it. At first (your early teens) you think “cool – it’s really loud”. But as an adult you will find that the dimensions offered in music are richer for your enjoyment.

Many professionals in the recording industry think that this loudness war is one thing that is hurting the music business of today. Also consider the fact that an artist will sound wimpy on stage by comparison to his recordings. You didn’t read about booed off the stage superstars in the 50s, 60s and 70s. Or even the 80s. It’s fans robbed off another illusion. And they start realizing they have one voice.

Folke Jensen engineered The Looney Tunes band’s second album Modern Sounds of… at his Ultraschall Studio in Hamburg, back in 1995.

Many consider this to be my former surf-band’s best album, and a key factor is the great sound Folke managed to capture on tape.

His project Ledernacken is here on MySpace.

That is a pioneering electronic thing, but trust me when I say he knows what great vintage sound is about.

Nancy Sinatra put some photos of her and the late Lee Hazlewood online. Click here.

Thanks to Robbie on the Exotica Mailing List.

Thanks to Lou Smith on The Exotica Mailing List

NPR – Weekend Edition Sunday, July 29, 2007

Lyle Ritz has logged over 5,000 sessions on the bass as a studio musician. But for his latest project, he wanted to figure out a way to make music on a computer. So Ritz bought an Apple laptop and a software program called GarageBand, designed for making home recordings. Six months later, he completed work on a new solo album.

‘Hardly anybody knew how to operate GarageBand, how to deal with it,’ Ritz says. ‘So I had to fool with it a couple of months.’

On No Frills, however, Ritz entered the bass line into the computer using a synthesizer. That’s because the album features Lyle Ritz’s other musical passion: the jazz ukulele.

Ritz is known as the ‘father of jazz ukulele’ for merging the genre with the four-stringed instrument, and his credits on bass include multiple pop hit singles. However, it was in college, while he was working at a Los Angeles music store, when Ritz first picked up either instrument.

‘This was in the 50s, when Arthur Godfrey, the entertainer, who liked to play the [ukulele], popularized the instrument, and so many people just had to have ukes,’ Ritz says. ‘And one day I picked it up, somebody wanted to see this beautiful, nice, big tenor uke, and I picked it up and played a few chords on it, and I was gone.’

After a stint with a U.S. Army Band during the Korean War—in which Ritz played tuba—he dropped by the music store and played a few tunes on the ukulele for his former boss. Ritz didn’t know that jazz guitarist Barney Kessel, the West Coast representative for Verve Records, was present.

‘I just about fell through the floor,’ Ritz says. ‘I couldn’t believe that I had actually played before this man.’

Kessel offered Ritz a record deal, and in 1957—50 years ago—Ritz recorded an LP called How About Uke?, the first album for jazz ukulele.

How About Uke and its follow-up 50th State Jazz generated little interest, however, and Ritz soon abandoned the ukulele for the bass. It was at that point when Ritz joined the ‘Wrecking Crew,’ the legendary group of studio musicians who played on many of the pop hits which came out of the Los Angeles area from the mid 1960s to the early 80s. Later, Ritz also played on film scores.

While Lyle Ritz’s bass was heard by millions, his jazz records for Verve were being studied by a generation of musicians in Hawaii, home of the ukulele.

Roy Sakuma is Hawaii’s foremost teacher of the instrument. ‘All of a sudden here comes Lyle with all these fantastic chord harmonies that just took music to a whole new level on the ukulele,’ Sakuma says. Sakuma tracked Ritz down in 1984, inviting him to headline his annual ukulele festival in Hawaii. Ritz ended up moving to the islands for some time.

Ritz currently lives in Portland, Ore., where he continues to experiment with music and new recording technology. He says he’s always fooling with his ukulele—after all, he did teach himself to play the instrument.

‘I’m a firm believer and exponent of the art of noodling,’ Ritz says. ‘You don’t necessarily have to have a goal in mind, you don’t have to have a specific phrase or song that you’re working on, but you just fool with it and things happen. And I call the result the fruit of the noodle.’

Lyle Ritz on iTunes

Dumb Angel Blog is delivering the goods here. The next best thing to being there at the time is knowing all the good stuff.
All the themed night-clubs. The recording studios and labels. The Doo-Wop groups, the R&B and soul acts. The garage bands who covered them. The cool jazz-acts. Early Doors, artists and mindblowing interior design. Pheww… You owe it to yourself to check out this update of the Dumb Angel Blog.

Quoting from their MySpace profile:

Surf Soundtracks 1964 – 1974 Released on July 2nd on Harmless Records

Never mind the Beach Boys, Chairman Of The Board is a collection of vintage soundtracks from iconic cult surf films. Underground film makers wanted original music, a harder sound to reflect the new wilder cinematic expression now possible on the face of a wave. The soundtrack they chose to enhance this visual experimentation was the mellower stoner blues and psychedelic rock, which perfectly captured the cerebral highs of living the alternative dream. The music featured on this compilation, some of which has never been released, originates from six of these classic surf films.

I have some of the films on VHS or DVD, and some of the released soundtracks on vinyl. It’s a really great genre with a very high musical standard. And it’s something you can play to people if they ask you what music surfers listened to, in the 60s (and early 70s in this case).

Ingfried Hoffmann – Plays Jazz for Secret Agents

Fantastic organ led spy-jazz cd. Mostly Bond titles from the early movies, but some great originals too. A nifty guitar player is involved here as well!!!

iTunes link

forwarded from Luxuriamusic:

Luxuriants,

A bill has been introduced that will save independent internet radio from the huge royalty payments that the CRB recently handed down. Call your Representative right now and ask them to co-sponsor the “Internet Radio Equality Act”, introduced by Representative Jay Inslee. This bill will set royalty rates that internet radio pays to the same reasonable level that satellite radio pays.

Please call the House switchboard at (202) 224-3121 and ask to speak to your representative.

If you don’t know who your representative is, you can find them here

Go to www.savenetradio.org for more information

Then tell them:

– I am a constituent and I’m calling to ask Congressman/woman ________ to save Internet radio by co-sponsoring the Internet Radio Equality Act.

– Due to the recent Copyright Royalty Boards decision to significantly
increase royalty rates for webcasters. In the case of most independent
Internet radio stations, the royalties amount to several times their gross revenues!

– Without this bill, my favorite Internet radio stations will be forced off the air and I do NOT want that to happen. Please tell Congressman/woman ________ to co-sponsor the Internet Radio Equality Act, which sets royalties for Internet radio that is fair and in-line with what other digital radio services pay.

Other information you may want to share:

– Internet radio stations have been paying royalties, and are happy to pay reasonable royalties that fairly compensate artists for the music they make. But putting webcasters out of business by royalties that are
several times their gross revenues will actually harm artists who depend on independent Internet radio to get their music out to fans, build new audiences and sell their music. When internet radio goes off the air, so do artists.

Feel free to mention how much music you’ve discovered through LuxuriaMusic, or that you’ve learned about music that you never heard any place else.

Also, please forward this to your friends who love internet radio, and help get the word out. Since getting a bill passed in Congress is a difficult, we need to contact our representatives NOW!

Thank you for your help,

The LuxuriaMusic Team

Here’s a page on the subject.

This thread at Tiki Central is the place to plug a Tiki-related podcast, if you make or know one. I hope this is going to be a good, complete reference list. It’s a great idea, because there are only few podcasts in that niche – but they don’t have to be so far between!

This interesting Bulletin came thru this morning on MySpace:

Rock Hall Voting Scandal: Rock Group Actually Won

According to sources knowledgeable about the mysterious ways of the Rock and Roll Hall of Fame Foundation, British Invasion group The Dave Clark Five and not Grandmaster Flash finished fifth in the final voting of the nominating committee and should have been inducted on Monday night.

According to sources, Rolling Stone publisher Jann Wenner, who recently appointed himself chairman of the Foundation after the death of Ahmet Ertegun, ignored the final voting and chose Grandmaster Flash over the DC5 for this year’s ceremony.

“Jann went back to a previous ballot instead of taking the final vote as the last word,” my source insisted. “He used a technicality about the day votes were due in. In reality, The Dave Clark Five got six more votes than Grandmaster Flash. But he felt we couldn’t go another year without a rap act.”

R.E.M., Van Halen, The Ronettes and Patti Smith were the top four vote-getters, with Grandmaster Flash finishing fifth when the votes were counted on the first date ballots were due in to the Rock Hall office.

But when all the ballots were counted a few days later, the DC5 had pulled ahead. Wenner decided to ignore that and stick with the earlier tally.

“We begged Jann to allow all six acts to be inducted. But he insisted that he couldn’t because there wouldn’t be enough time,” my source said. “He wanted to have Aretha Franklin come and perform in memory of Ahmet Ertegun.”

The Ertegun tribute, while very nice, was deemed unnecessary by members of the main committee because the Atlantic Records co-founder will be memorialized in New York on April 17.

“But Jann wanted to do his own tribute. It was insane, especially since he took over Ahmet’s position on the board before Ahmet even had a memorial. Jann simply sent papers around informing everyone that he was now the chairman,” my source said.

The Dave Clark Five ballot tampering, however, stings the most. The group, part of the British Invasion of the ’60s, should have been inducted long ago for their hits like “Glad All Over,” “Bits & Pieces” and “Catch Me If You Can.” Making them wait has turned out to be a huge mistake, as their fortunes have not been great.

In December 2006, sax player Denis Payton succumbed to cancer at age 63. Lead singer Mike Smith has been paralyzed since 2003 after falling off a ladder at his home in Spain.

In August 2005, a terrific fundraising effort for Smith at B.B. King’s in New York was supposed to be the prelude to finally recognizing the group that had several memorable hits in the mid-’60s.

Wenner’s cruel axing of them from the show and the Hall of Fame should be painful to many who are intimately involved with the Hall, like Paul Shaffer, who runs the Hall of Fame band and produced and emceed the Smith tribute.

So what happened here? My sources also say that Wenner’s motivation may have sprung from a controversial speech that was delivered by new administrative head Joel Peresman to the nominating committee last winter.

“He stood up there and told us that we should vote for who we thought would be most commercial, and who be best on the TV show,” a source said. “It was outrageous. Some people tried to stop him and asked him to leave, but he wouldn’t. He said, ‘I’m not leaving.’ The director is never supposed to speak to the nominating committee.”

Peresman came to the Rock and Roll Hall of Fame Foundation last year when Wenner arbitrarily ousted the long-time chief of the group, Suzan Evans Hochberg, after two decades of loyalty.

“We couldn’t believe Jann stood up there last night and said Suzan was retiring. But when the seating plan went crazy the other day, Jann called and begged her to come in and help. Peresman knows nothing about the business,” a source said.

Peresman came to the Foundation from gigs booking shows at Madison Square Garden and with Clear Channel, the radio giant that many feel has strangled the music business with intransigent radio play policies and suggestions — actually, government investigations — of payola.

In the old days, such a hire would have been considered anathema by Wenner.

None of this should come as any surprise to those who have followed the roller-coaster world of the Rock Hall. According to the group’s most recent tax filing, for example, they gave only $9,000 to indigent musicians from their $11 million in holdings.

Even worse: Wenner sent a tax-free $10,000 to something called Jazz Casuals in San Francisco. It’s really just the archives of Ralph J. Gleason, the late jazz writer who periodically wrote for Rolling Stone in its early days. It was the only donation made by the Foundation to any group last year.

“Again, outrageous,” a source said. “With all of Jann’s money, he could have just sent a check. He didn’t need to use the Foundation’s money.”

By contrast, the Foundation gave only $53,000 to the Rock and Roll Hall of Fame Museum in Cleveland. Attorney Allen Grubman’s law firm took another $50,000 for legal services rendered. Evans received her usual $300,000 salary. Peresman is said to be receiving even more.

And then there’s the matter of who has left on the nominating committee. I’m told that nearly half the group is gone, leaving 32 members. Many of the remaining members are former or current Wenner employees, like Rolling Stone’s Nathan Brackett, David Fricke, Jim Henke, Joe Levy, Brian Keizer and Anthony DeCurtis.

Jon Landau, Bruce Springsteen‘s manager and a former Rolling Stone writer, is the chairman of the committee and considered the last truly mediating influence on Wenner.

There are only three actual musicians: Paul Shaffer, Steven van Zandt and Robbie Robertson. Three are female. One of them is black. There are only two other black members: journalist Toure and Reginald C. Dennis

Wenner, I’m told, “weeded out everyone he didn’t like.” He even got rid of the veteran New York Post and Vanity Fair writer Lisa Robinson.

Wenner almost bumped Claudia Perry, a Newark Star Ledger sports writer and former pop music critic. After a scuffle, she managed to hang on, which was good news. As a black woman she fulfilled two minorities on the board (Edna Gundersen and Elyssa Gardner of USA Today are the other females).

“This is the opposite of what Ahmet would have wanted,” a source said. “He liked a big committee that reflected lots of different tastes.”