Richard Hayman And His Orchestra "Voodoo!" 1959

 

I was talking to my wife about Exotica records the other day, and we both agreed that there are a lot that sound quite similar to each other.  Because we both really like that sound, this is a good thing.  It’s really nice to know that when you pop on a Martin Denny or Arthur Lyman record, you are going to be taken to a place that is exotic, but after a while, familiar.  One thing I have noticed about Exotica records though is that most artists are not afraid to play a little with the formula and try to have at least one or two songs that are off the beaten path (to use an exotic sounding phrase.) 

                “Voodoo!” by Richard Hayman  is no exception.  At this point in my Exotica listening career, I should know what a “voodoo” song sounds like, but when I put on the first side of the record and hear “Danse Calinda,” I don’t get that vibe at all.  This sounds like a jaunty Mambo number if I ever heard one.  It is great for lots of reasons.  It makes me want to move my hips and find out what the lead instrument is.  It sounds like a giant kazoo to me.  When I think of voodoo, wiggling my hips and giant kazoos are not what should come to mind.  With that being said, it’s a fine opener to the album. 

“Mamba” and “Voodoo” are a little closer to what I would expect from an album title “Voodoo!”  Both feature the gut thundering drums that are all over this record.  “Mamba” also makes wonderful use of some ear splitting flutes/piccolos and squawking trombones.  You really get a Les Baxter movie soundtrack vibe from “Voodoo.”  It makes me feel like the characters are struggling with, or mystified by something.  Most people would need context for this type of music.  Without the “movie,” your average listener might just find himself struggling with, or mystified by this song itself. 

There are some songs on here that have more of a traditional Exotica sound to them.  “Spell of Deatra” comes to mind first.  This one is more Middle Eastern and creates some beautiful textures with octave piano notes mixed with strings.  “Gris-Gris” is one of the slower (but not relaxing) paced songs on the record, and “Afro” has a similar feel to Dave Brubeck’s “Take 5.”  It’s not in 5/4 time, but it does sound like a jungle version of that song.   

As I mentioned earlier, there is usually a song on Exotica records that seems to take a chance.  Arthur Lyman used to end his records with something that was totally off the wall compared to the songs that preceded it.  “Incantation” is that song here.  Staring down at the grooves of the records, I can see that it is about twice the length of any of the other songs.  It starts with a percussive groove that slowly ads tambourine, maracas, and toms.  After just under a minute, a “savage” starts to yell in some faux language.  Really, it sounds like a bunch of gibberish.  He does sing a few bent notes that are fairly interesting though.  After a huge gong explodes, a call and response ensues between the “savage” and the large group.  This conversation goes nowhere.  By that I mean the people he shouts at become less and less excited, and actually seem a little disappointed by the end.  It’s kind of weird.  The drums come back and the song and gibberish finish up.  This song sticks out like a recalcitrant hair on a finely combed pompadour (maybe Richard Hayman's?).  As a lover of Exotica, these songs are interesting to me for both sonic and cultural reasons.  However, this song is very much of its time, and I could see someone getting offended hearing this in the wrong context. 

Tones:  This is an orchestra record, and to me the horns play a very important role.  They have a thick pasty quality to them in places, especially on “Midnight Ritual.”  There is only a little guitar on this record, but it is very noticeable on “Conjuration.”  It is light, plucky, and sounds like someone getting hit continually with a pea shooter. 

Cover Note:  This looks more like a picture of a moon walk than anything having to do with Voodoo.  It’s more like a Voodoo cheerleader doll  that is filled with glee that it has found its way to lunar paradise.  The back however has one of the best pictures of an orchestra leader I have ever seen.  Richard Hayman, complete with horn rimmed glasses, shiny slicked back hair, and two inch dimples, has the biggest,  warmest smile I have ever seen.  This is the guy I want to meet at a party.  This is the cool kid I want to sit with at lunch. 

Price paid:  I had read good things about this record, so I forked over $7.00 for a very clean copy.  If you are heavily into Exotica then I think a few bucks more would be perfectly reasonable. 

Bottom line:  I wouldn't say this is a must have record, but it is a very good record.  This kind of record will plant you firmly into “Exotic nerd” territory, or “Weirdo music” land.  It is tough for me to think of a good context to play this for someone.  For me it is one that is best enjoyed with headphones.     

Speedy West "Steel Guitar" 1960

                In both its pedal and non-pedal forms, steel guitar is one of my favorite instruments.  It’s a highly emotional instrument with very few limits.  While many instruments (such as horns) are limited to single notes, steel guitars can play single note melodies, double note harmonies, and full complex chords.  Notes can also be slid into, and volume and tone (thanks to electricity) can be altered to great effect.  Speedy West makes use of every sound imaginable from this amazing instrument.  He also creates sounds that are other worldly and downright weird.  If you are looking for a record that contains only pleasant background steel guitar playing, then “Steel Guitar” is not your record.  If you are looking for a record with playing that is fun, playful, strange, bombastic, innovative, and smile inducing, then “Steel Guitar” is your record. 

                “Speedin’ West” starts things off with a vivacious beat and some fancy twin lead playing.  I would be interested in talking to Speedy to see what kind of emotion he was trying to express in this song.  There is a playful, cartoon jubilance that bounces straight off this song into your ears.  The solos are about as zany as you can get.  You might be fooled into thinking Speedy was just messing around if the things he came up with weren’t so difficult to play and express.  If you tried to convey what Speedy plays with only words and facial expressions, it would be extremely difficult.  Either that or people would think you are a delightful maniac. 

                There is a lumbering exotic vibe to “West of Samoa.”  A slippery low guitar, which descends like a boa constrictor down a tree, sets the tone.  In the background, birdcalls (an Exotica staple) are created by an electric guitar.  It’s only an approximation of a birdcall, which makes it sound that much stranger.  The main melody is a wonderful Hawaiian tune that drips with humidity.  It’s lazy, breezy, and calm.  Back and forth, the two parts of the song alternate between the dark and the daylight.  It’s the perfect mix of eeriness and beauty. 

                It is important to recognize the work of Jimmy Bryant, who plays guitar on this album as well.  Not doing so would be like not mentioning Art Garfunkel when you talk about Paul Simon, or Billy Strayhorn when you talk about Duke Ellington.  Speedy and Jimmy were musical partners and pushed each other on their respective instruments.  Jimmy incorporated a lot of Be-Bop into his country licks.  He was also the first guitarist to kill it on the Telecaster.  This guy absolutely rips, and his Telecaster really gave him as distinctive tone compared to other jazz and country players of the day.  Take a song like “Caffeine Patrol.”  Jimmy trades solos with Speedy, and starts with some lyrical and catchy playing that experiments with wide intervals between notes.  In his second break, he pulls out some straight up Charlie Parker Bop, that sounds like a line of freshly blown bubbles popping in succession.   

                Other highlights on this album include “This Ain’t the Blues,” which has Speedy creating some vocal like effects on the steel.  As I listen to this song, the sounds (which I love) remind me of my high school Spanish class (which I loathed.)  I remember my teacher showing us how to “roll our R’s” with our tongues.  Speedy actually creates a similar sound as he plays the melody.  “Stealin’ the Moonlight” is a slow moving beauty with some juicy triplets that keeps things interesting.  This is exactly the song you (as in me) would want to hear at 1:30 in the morning at a smoky bar.  Also, pay attention to Jimmy Bryant’s dazzling guitar lick at the very end of the song.

Tones:  Picture the craziest Psychedelic 60’s album cover you can imagine.  That is what Speedy’s playing sounds like to me.  He is able to create some of the most out there tones on the steel guitar that I have ever encountered.  Sometimes it sounds like a synthesizer, and sometimes it sounds like a squirt of water in the face. He also gets some great wah wah sounds by playing with his tone control.  It’s not all weird though; he can also rein it in and play sweetly and elegantly. 

Cover note:  Lots of steel guitars!  Did I mention I like the look of steel guitars as well?  They are so simple, sleek and clean.  I count at least 18 (some are just pieces though) on the cover.  I like the purple one to the left of Speedy’s head best. 

Price Paid:  $1 or $2 at a record show at the fairgrounds.  It did not have an inner sleeve, but it looked like it was in good condition (which it was.)  I had never heard of Speedy, I just knew I liked steel guitars, and his name sounded awesome (which it is.)  It is one of my great pleasures in life to be able to try new music on vinyl for small amounts of money.  Some are duds, but then you find fun stuff like this.  What a joy!

Bottom line.  Good for people who like Country, Jazz, Texas Swing, Hawaiian, Exotica, and novelty music.  It’s the kind of record that you can play for your family because it’s fun on a superficial level.  They can be diggin’ how fun it sounds, but you can be grooving on all the cool technical stuff Speedy and Jimmy play.  Not only that, you can point out all of the amazing musicianship to your buddies who are music lovers like you.  $3, $4, or $5 would be a nice asking price. One more thing, this is not a stereo recording.  It plays in glorious mono!

Duke Ellington "Far East Suit" 1967

                The title sounds exotic, right?  And it is, just in a heavily jazzy way.  I bought this with no prior knowledge other than the fact that Duke is the king, and the cover and title were appealing.  The funny thing is that even though it is supposed to be inspired by the Far East, it actually has more of a jungle vibe than many other records with “jungle” in the title do.  This is dark and pulsating, thick and hot, complex and woody.  It’s very much a “Far East” record, but it has that low rumble of a jungle LP. 

                The opening chord played by the horns in “Tourist Point of View” is so dense, the notes so close together, that it feels like someone’s put a mosquito net on your face.  The ride cymbal in the background clanks away and the sax moans and moans then screams like a flaming teapot.  This reminds me of some heavy Mingus stuff.  I know Mingus was inspired by Duke, but I’m more familiar with Mingus’ music.  As I’m listening to this, my pulse is a bit elevated, and my breaths are shorter than usual.  Its burning intensity affects you physically.  It’s like the coals at the bottom of the fire. 

                “Bluebird of Delhi (Mynah)” is brilliant.  Birdcalls are some of the bread and butter in Exotica, but rarely are they actually played by instruments.  In this case, a clarinet plays a repeating figure before launching into an almost cartoonesque (as in animated, fun, and energetic) solo.  Have you ever walked into a room and suddenly been confronted by an animal staring at you.  It’s a weird feeling.  If I had to write a story to this song, I would say this: A man walks into a room and sees a bird staring at him.  The bird makes some strange noise at him, and then suddenly flies around the room knocking every piece of glass off the shelves it can find.  It then settles, stares deeply into the man’s eyes, and gives the same call as before, just as the man’s friends walk into the room. 

                “Blue Pepper” is my favorite on the record, and is typically the one I have to listen to more than once.  This one has some serious swankiness to it and really grooves to that “Now Sound” beat.  There are massive amounts of space in the solos, which really lets you concentrate on how fat that groove is.  This is part spy movie, and part old-school strip tease.  The melody is slippery as an eel, but still easy to hold onto.  I am not sure I would want this to be my theme song, but if people happened to think of this song as I walked into a room, then I think we would all be better off.  Also, is it just me or does the trumpet seem impossibly high?

                “Amad” sounds the most Middle Eastern out of the lot.  I love jazz with lots of chord changes, but a song like this (with none) really hits the spot for me.  Duke’s melody ideas over the single chord really show you why he is so impressive.  The harmonies scratch at you like a tiger and the metallic piano bubbles in the background.

Tones:  The doubled saxophone on many of these numbers is very appealing.  It’s a very jazzy sound in general, and it sits in my gut well.  There is also some very good use of stereo panning.  Nothing really ping-pongs per se.  It’s more of a call and response between two sets of horns.  You get mid range horns on the left, baritone horns on the right, and solos in the middle.  The drums get a lot of my attention as the songs goes by too. 

Cover Note:  This cover is a cornucopia of Far East imagery.  I feel like the orange background color (lovely by the way) feels a bit like a desert.  Instead of the usually lush and wet Exotica covers, you get one more sandy and arid. 

Price paid:  $5.00 at Gary’s backyard record sale. 

Bottom line:  If you are someone who does not really like jazz a lot, but are into exotic type sounds, this may be good for you.  It’s important to remember that Duke was a composer, so there is a lot more going on here texture wise other than just solos and rhythm.  It’s also nice to have the focus on Middle Eastern sounds in addition to the jungle stuff.  Most of my exotic albums are of the Hawaiian, African, or Latin variety.  This is a wonderful change up.  I think this could easily go in the $10.00 range. 

Nino Nardini an Roger Roger "Jungle Obsession" (1971)

Special thanks to Flashstrap Blog for making this album available.

          I have been getting into Exotica over the past few years, and as a result, have become more excited about music than I have since my good friend Vic turned me onto The Beach Boys back in 2001. Every Exotica record I own is either from the 50’s or 60’s though. So, imagine my surprise when I found out that the genre was still being practiced in the 70’s, and that stellar artists were actually pushing the boundaries of Exotica forward. “Jungle Obsession” by Nino Nardini and Roger Roger (great name by the way) is one of those records. Picture everything you love about Exotica (animal sounds, floating strings, mounds of percussion, and marimbas) and mix it with funky drums, moogs, and guitars rife with wah wah, tremolo, delay, and reverb effects. There is a lot of really good stuff going on here.
          My wife digs this record a lot too. Part of being an explorer of music is figuring out what can be played in the house when others, such as your wife and kids, are around, and what is relegated to headphone land. My wife has always been very open minded when it comes to new music, and will give everything a fair chance, no matter how weird. As a result, “Jungle Obsession” has been rolling through our house during breakfast, lunch, and dinner for days now. My son has been getting some good head bobs in as this one plays as well.
          The song “Jungle Obsession” starts off with bongos, and a bass line played by a moog. I love this updated sound. “Murmuring Leaves” follows and really kicks in with that mellow exotic vibe. The synthesizer they use to play the solo reminds me of the lofty flutes solos from more classic Exotica. Some high pitched whistles, that are almost Theremin like, are very interesting as well.
          There is a bit of a “Jungle Book” theme with some of the track names. “Mowgli” has a wonderfully compressed wah-wah guitar sound. The tone sounds like some of the garage rock clean guitar sounds I have heard on some compilations. The volume is loud, but it is played very softly. It’s right on the verge of breaking up. The strings that start in “Bagheera” are replaced with some string ensemble synthesizer in the second verse. What a great idea! Like I said, this is updated Exotica. All these late 60’s sounds were just begging to be put on an Exotica record. These ideas were just there for the taking, and Nino and Roger took ‘em. “Shere Khan” is as creepy as the name implies and it’s hard to listen to without feeling like someone, or something, is staring at you.
          I really can’t say enough good things about this record, however there are two comments about the percussion from my sister and wife that were very interesting to me. First, I burned a copy of this for my sister (who has great musical taste) and she really liked it. She did say that the rubbing sound (the one that sounds like two pieces of paper being rubbed against each other) in “Creeping Danger” was horrible, and made her teeth hurt. Interesting, I really liked it. She does have a weird quirk where she can’t stand to hear the sound of cotton being pulled apart, so I think it’s part of that whole thing. Yeah I know. It’s strange. Everybody has their sounds they can’t stand, and one of hers just happened to be on “Jungle Obsession.” Secondly, my wife said that the clacking percussion of “Murmuring Leaves” sounded like she was “walking through a Hawaiian gift shop.” I couldn’t possibly come up with a more interesting way to describe it. It’s quite accurate.

Tones:  The bass on this record is very cool.  It has a delightful thump on the front end, and a thick sustain.  “Bali Girl” is a great example of this.  I love how the sound fills up the whole stereo spectrum, but isn’t overwhelming.  This is a credit to the phenomenal mixing on this record.  Speaking of “Bali Girl,” I love that clanky guitar sound.  It’s almost got a little pop to it.  Very tasty.  The rest of the album also has wonderful string sounds that are voluptuously thick and humid.

Cover Note:  There are two!  I really like the one with the bananas on it though.  That green color is so lush.  Here is the other one:

Price Paid:  Not a thing.  I found this record over at Flashstrap Blog for download. If you have not checked out this guy’s site, you are in for a treat.  His writing is great and the stuff he puts up will blow your mind.  I am so grateful he put this record up.  It’s very special.  Finish reading this, and go check his site out. 

Bottom Line:  I have never seen a vinyl copy of this.  If you see it, and you have the means, I say just buy it.  If you paid $30.00 or $40.00 for a nice copy, it would be very reasonable.  The words “Lost Classic” get thrown around a lot, but this really is one.  It’s a must hear.   

Arthur Lyman "Hawaiian Sunset" (1959)

                What a sleepy little record.  This may be one of the quietest albums I own.  Literally, the amount of sound coming off the grooves is far less than any other album I have.  However, what it lacks in volume, it make up for in dynamic range.  The playing is so soft that I feel like if someone dropped a glass in the background, my headphones would explode.  When instruments are played this softly, it almost can make you feel somewhat uneasy.  I went to an experimental music show at a Boston conservatory once.  I was told it would be a very quiet show, but I had no idea that the lack of sound would actually make me feel anxious.  It was almost like the sound of my own breathing was interrupting the songs or something.  This record is not that extreme, but does have some elements of that.  At the end of the day, I really do like this record, but I think it makes my wife feel weird.  I can get that.  There are also these big conch shell bellows that explode the volume (I’m looking at you “Ke Kali Nei Au.”)  The whole trip is intriguing. 

                As I mentioned in my post of Hugo Winterhalter’s album “Goes…Hawaiian,” I love “Hawaiian War Chant.”  This version may be one of my favorites, just because it is so different.  First, it starts off in a minor key instead of the traditional major.  It changes to major, but not just the major version of the regular key.  It moves to the relative major.  It is a very basic song to start with, so I really like how Arthur and the boys make it their own. 

                “Hilawe” is only 1:11 seconds long and the group makes every second count.  My buddies and I used to do a lot of “Top 5” lists and one of the topics was songs under 2 minutes.  They are pretty rare to begin with unless you really dig punk music.  “Hilawe” would make my list any day of the week.  It feels a little anachronistic on the record because it is a guitar number and has no vibraphone.  It’s quite charming in its simplicity and performance though.  You can even hear that Arthur’s lowest string on his guitar is a bit desafinado.  Perhaps the concept of the exceptionally short song is somewhat underexplored.  It sure does work here. 

                Because this record is so quiet, there is also strange background noise to be heard.  Strap on some headphones and listen to “Island of Golden Dreams.”  There is a tinkling sound that can be heard right at the beginning behind the band.  Humming and breathing are heard often as well.  Because this album, as well as many of his others, was recorded at the Henry J. Kaiser Aluminum Dome, you can hear creaks of metal as well.  These superfluous bits are part of the Lyman sound as far as I am concerned, and they certainly add to the strange quality of these recordings. 

Tones:  I don’t think I mentioned how beautiful the playing actually is.  Arthur’s tone is soft as rabbit’s fur and makes you feel like your eyes are closed even when they aren’t.  The guitars are also barely strummed and have that old string tone I enjoy so much (I never change my strings on my acoustic until they break.)  Check out the bowed double bass on “Harbor Lights.”  The tone is so low that strings must be about to 15 feet long to obtain it.  I also want to own a celesta one day after hearing this album. It’s not all “Dance of the Sugar Plum Fairy” with that instrument.     

                  

Cover Note:  Very basic, but fitting.  How can you not enjoy a picture of a Hawaiian Sunset?  There are also two little silhouettes at the bottom right if you have never noticed them. 

Price Paid:  $5.00 at an antique shop.

Bottom Line:  After writing this I have concluded that this is a very avant-garde album.  It never truly settles in and even when it starts to, something weird happens.  With that being said, I am always glad I listened to it, and feel better for having done so.  I’d pay $1.00-$5.00 for a clean copy.  Don’t buy a scratchy copy though.  It’s too quiet for that.    

Edmon De Luca's "Safari" (1958)

            This is Symphonic Exotica at its best.  I’m putting this up there with Les Baxter.  Right from the get go, this record is so epic.  This is not your easy listening, Martin Denny, Arthur Lyman Exotica.  This is a full-fledged orchestra with all the trimmings.  The overall concept is pretty cool too, at least for the first side.  There are six tracks each coinciding with some part of a safari.  You really can pop on a pair of good ole headphones and be transported straight to Africa. 

            “Port Pangani” is very ominous and really quite heavy.  The melody is a far cry from easy listening.   But what it lacks in pleasantness, it makes up for in bravado.  There are so many instruments as well, like lots of stings, and horns, as well as marimbas and other thumping percussion.  I really get the feeling I am looking out on some African land I’m about to explore.

            “The Trek” has more of a typical cocktail/lounge feel to it, but the sheer amount of guys playing on the track really expands the scope.  It’s just big.  Everything on this album is big.  This one is really nice and relaxing, but still has some weird sounding stuff.  It’s the kind of song you play someone because it’s the most normal track you think they would enjoy.  It’s only when you listen to it with someone else that you realize there is some weird stuff going on. This is about how far my wife gets in the album.  Then I know it’s time to turn it off.  Here’s why.

            “The Chase and the Kill” is bone chilling if you actually picture what the music does such a good job evoking.  This was made in the days when killing “Big Game” was more accepted and perhaps more legal.  I always assumed it was an elephant they killed because of all the horns blaring.  Anyway, my wife hates it and I understand why.  There is a big shot when they shoot the “The Beast,” and you can hear it hit the ground.  It’s shocking, and loud, and upsetting, but totally freakin’ awesome!  I certainly don’t condone killing elephants, but nobody got bad karma from writing a song about it.  Right?  It’s just darn exciting, and as a piece of art, it’s thrilling.  Great music is not always supposed to make you feel all warm and fuzzy.  It’s supposed to make you feel something deep.  This does that very well. 

            I think it goes without saying that I would not play this for my 1 year old boy, although he did hear it the first time I played it myself.  Somehow, I wasn't expecting it to all be so intense. 

           The second side has two extended pieces that are not written by De Luca.  They fit in with the feel of the first side, but are not as cool.  There is nothing wrong with them, but it’s almost like another album.  I sort of consider this record to be an E.P. with two extra tracks.  The second side is cool though and I don’t want to undersell it.  I like it. 

Tones:  I can’t think of what they did to make the sound of that gun blast when the elephant is killed, but that makes it more fun for me.  It’s almost like they recorded a crack of thunder, but I doubt they did.  There are also a lot of wordless vocals and chanting on here.  I’d bet over 50 dudes must be singing at the same time.  It’s thick. 

Cover Note:  When I saw this cover, I swear my heart skipped a beat.  It’s the kind of record you pull out just to show people the artwork.  It’s also super pink.  I have no other record with that much pink on it.  That includes Rock and Pop.  It’s a thrilling and perfect representation of the music inside.  Someone should get a tattoo of this. 

Price Paid:  $2.00 at the Central Florida Fairground record show.  I had $20.00 to spend, and I used most of it up on one vendor.  I also found a cool Esquivel record that day and saw an old friend who had recently grown a very large and unexpected beard.  It was a perfect morning. 

Bottom line:  Don’t scare your family with this, but get it if it’s in the $5-$7 range.  It’s high quality work.  

Hugo Winterhalter "Goes...Hawaiian" (1961)

                So, I’m just going to say it. I am a sucker for “Hawaiian War Chant.”  My wife has been singing it to our 1 year old boy all day and he has been laughing his butt off to it.  I have been playing it on the guitar and it just feels so doggone right.  The first time I heard this tune was on Arthur Lyman’s “Hawaiian Sunset.”  I liked the heck out of it then, even though I would later find out that it was not a very “straight” version.  In fact, it may well be the most laid back version on record.  Every other interpretation is always kicking in some way.  Hugo Winterhalter’s version is no exception.    

                The best way for me to describe this song and record as a whole is to say it that sounds like a heartbeat underwater. The way the upright bass and drums hit against the massive reverb wall is astounding.   You thought “Pet Sounds” had a lot of reverb.  Hugo has taken the plunge and has invited us to drown with him.  The strings, however, seem to float on top of the rhythm, slightly out of the reverb.  It makes for a great combo.  I wonder if old Hugo had any say in the amount and placement of the reverb, or if it was just the engineer.  Either way, it’s a defining quality of the album.  The guitar is also awash and totally beautiful in both tone and affect. 

                The song selection is mostly Hawaiian standards with no originals that I can see.  This is not a bad thing though.  “Hawaiian Wedding Song,” “Sweet Leilani,” and “Hawaiian Sunset” were all played to death in the 50’s and 60’s, but they were done so for a reason.  The melodies are beautiful and stick with you.  

Cover Note:  What’s not to like?  There is a lone Hawaiian girl, a lone pineapple, and a lone straw hat.  None of which are interacting.    I’m not even sure the girl is really Hawaiian, but who the heck cares.  When I’m looking through record bins, these kinds of covers make me stop and at least give the song list a second look. 

Price paid: $1.00 at a pawn shop.  When I asked the lady behind the counter if the store got records in very often, she said that they do not buy them anymore.  That’s a shame because I picked up about 7 cool records there, and they were all in nice shape, and all $1.00. 

Botton line:  Far above average Hawaiian record with tons of reverb, cool strings, and good song selection.  This is better than background music and worth a listen with headphones if you got ‘em.  Pick it up if you find it. 

Xavier Cugat "VIVA Cugat!" (1961)

                In my effort to play at least 200 records for my son before his 1^st birthday, I have mostly focused on mellow albums.  For obvious reasons, these seem to go over much better.  Early on I did attempt to play him “Axis: Bold as Love” and “Rocket to Russia,” however neither went well.  As a result, my record shopping has leaned more towards the Exotic/Lounge/Hawaiian/Easy Listening genres as of late.  I didn’t really know what to make of this record, but the song titles looked good and I always like it when there is a layout of the instrument placement used for the recording inside the gatefold. 

                “Jungle Concerto” kicks off this record, and much to my surprise, it’s straight up Exotica!  The horns are blaring, the flutes are fluttering and a phalanx of percussion is moving at quite a fast clip.  Judging by the cover, I thought this would be more of a Latin record, and there is a large element of that, but Exotica seems more pervasive.  What I really like about this is how the Latin and exotic elements mix together.  Nothing seems forced, and it makes for an original sounding record.  Also, the strings are not too syrupy, which can sometimes make these albums real sleepers. 

                Speaking of strings, I cannot neglect to mention “Island of Capri.”  Holy Moly.  This one will tear your heart out.  The way the strings play that same pattern over and over just gets me.  You have to wonder if the string guys knew they were playing on something special.  I pretty much always listen to side one and give this one an extra spin. 

Tones:  One thing I love about these Mercury: Perfect Presence Sound Series records is their clarity.  They are easily on par with Command Records.  I love how the percussion sounds like it was recorded with a microphone placed far away.  It’s a nice touch that lets you really hear and feel the studio they were in. It’s so beautiful and gives you so much presence.  What the heck ever happened to this?  What is with people miking things so closely nowadays?  I also like the Spaghetti Western sound the guitar has.  It’s not that style, but it is that sound. 

Cover Note:  Like I said, it’s very Latin.  Bongos, Congas, Maracas, and Scratchers are all over the place.  It may not be the best cover ever, but the jacket is high quality and has extensive song notation.  It also has a cute little cartoon sketch of Xavier Cugat on the inside. 

Price paid:  Mine has a $.99 sticker on it, but I seem to remember paying $5.00.  I got it from one of my local record sale guys who sets up in his back yard every few months.  I think $5.00 was fair, but I wouldn't pay more than that. 

Bottom Line:  Not an all time classic, but a very good record and worth it for “Island of Capri.”  I have also seen it at other sales, so I wouldn't pay more than $5.00 if you find it.  You should be able to find it at a good price if someone isn't trying to gouge you.