â€œExoticaâ€ is a musical genre born at the post-war intersection of jet travel and high fidelity. Itâ€™s name was coined for Martin Dennyâ€™s pioneering debut album, and itâ€™s sound offered an intoxicating blend of world percussion, tribal rhythms, orchestral arrangements, wordless vocals, jazz changes and modern instrumentation. Exotica offered an invitation to an exotic Shangri-La through expansive, often culturally ersatz, sounds. Though born in tropical climes, exotica expanded, particularly in retrospect, to include Asian and Latin influences. The genreâ€™s 1990â€™s revival, amid a broader look back at â€œspace age bachelor padâ€ culture, spurred numerous reissues of thrift store rarities, artist anthologies and genre compilations, alongside new books, visual art, weekenders and analyses of the revival itself.
Canadian artist Gordon Monahan posited a holy trinity of exotica songs in â€œTaboo,â€ â€œCaravanâ€ and â€œQuiet Village,â€ repeating them in triplet form in both performance and on record. â€œTaboo,â€ though written by Cuban singer and composer Margarita Lecuona, is closely associated with Hawaiian vibraphonist Arthur Lyman. â€œCaravanâ€ began its life as a jazz standard written by Juan Tizol and Duke Ellington, and though first performed by the latter in 1936, became an exotica staple in the 1950s. Itâ€™s offered here by percussionist Bobby Christian, with a twangy guitar lead and a sirenâ€™s ghostly vocal from Christianâ€™s daughter. â€œQuiet Village,â€ written and originally recorded by Les Baxter, was turned into exoticaâ€™s national anthem by Martin Dennyâ€™s 1957 arrangement. It appears here in a vocal version by former Our Gang actress Darla Hood, as well as a vibraphone-led instrumental by Five Glow Tones.
Numero expands on Monahanâ€™s trio of exotica pillars with 54 (48 for the LP release) expertly curated rarities. A few of the titles may be familiar, such as â€œThe Moon of Manakooraâ€ and â€œNature Boy,â€ but theyâ€™re presented here in versions all but the most devout have not likely heard. And given that â€œexoticaâ€ is more a retrospective label applied by crate-digging collectors than a cohesive musical category, collections such as this define the borders for themselves. Disc 1, titled â€œDaiquiri Dirges,â€ focuses on guitar instrumentals, including a surprisingly mellow early recording from the Pacific Northwestâ€™s Wailers entitled â€œDriftwood,â€ the Blazersâ€™ surf-tinged â€œSound of Mecca,â€ the Palatonâ€™s languorous â€œJungle Guitar,â€ the Voodoosâ€™ Quiet Village-inspired â€œThe Voodoo Walk,â€ and the Chaynsâ€™ earworm â€œLive With the Moon.â€
Disc 2, titled â€œRhum Rhapsodies,â€ expands the program to vocal tracks, giving a feel for some of the not-particularly-exotic acts that hitched a ride on the good ship exotica. In addition to a second track by Darla Hood (â€œSilent Island,â€ also rendered in a wonderfully moody orchestral arrangement by Modesto Duran), thereâ€™s a dramatic harmony chorus on film composer Andre Brummerâ€™s â€œTumba,â€ comic actress Martha Raye cover of the exotica chestnut â€œLotus Land,â€ Jerry Warrenâ€™s Paul Anka-styled B-side â€œEnchantress,â€ the Potted Palmâ€™s AIP-soundtrack-ready â€œMy House of Grass,â€ and Akimâ€™s frantic â€œVoodoo Drums.â€ Don Reedâ€™s sax-heavy cover of â€œNature Boyâ€ gains a dollop of exotica cred from its haunting, Yma Sumac-styled vocal, and the Centuriesâ€™ â€œPolynesian Paradiseâ€ faintly suggests folk and surf origins, even as the wordless vocalist loses track of the islandsâ€™ tranquil feeling.
The setâ€™s third disc, titled â€œMai Tai Mambos,â€ returns to instrumentals, sailing into port with Latin, guitar, jazz and orchestral arrangements from Cuban conga player Modesto Duran, Canadian rockabilly Arnie Derksen, Americans Nick Roberts, Eddie â€œThe Sheikâ€ Kochak and Jimmy McGriff, and others. The percussive arrangements and pulse-racing rhythms revive the setâ€™s exotica vibe, with even soul singer Bobby Paris finding an Afro-Cuban groove for 1961â€™s â€œDark Continent.â€ The instrumentalists take the exotica elements as new flavors – rhythms, instruments, melodic lines and song titles to be imbibed – rather than overt commercial opportunities to be chugged. Each of the three discs harbors unique charms, and listeners may find their favorite shifting with the sybaritic tide.
The CD setâ€™s 129-page hard-cover book is perhaps even more impressive than the CDs. Ken Shipleyâ€™s liner notes provide a scene-setting introduction, and the song notes are spectacular in their encyclopedia detail. Michael Graves has conjured magic in his audio restoration of the mixed bag of tape and vinyl he was served, knitting together the disparate sources into a smoothly flowing program. The book is filled with period photos and record label reproductions, and while the overall design is beautiful, some of the backgrounds make the text hard to read. The selection of lesser known artists and songs makes this set a terrific complement to exoticaâ€™s best known recordings, and a set that both the novice and experienced fan can enjoy. [Â©2018 Hyperbolium]