Hotel Exotica

Two CD set. Four albums plus bonus tracks from the master of exotica Martin Denny. Mono reproductions of the key albums that launched the space age bachelor pad music trend in the late 1950s. Complete with bird calls, deranged percussion, super cool vibes and Denny's distinctive piano. Including a host of hit records that launched a thousand copyists and ensured that the tiki trend, easy listening and the call of the islands would blossom. Featuring the super expensive (if you seek them out on vinyl) original mono mixes. It was 1957, down in Hawaii; some jazz guys had come in to take up the slack at the bar, playing subtle cool sounds while people drank and talked. It was the Hawaiian Village Hotel in Wakiki. The room was filled with palm trees and bamboo curtains, it was a sanctuary in the madness of the place, a stopping off point for the weary traveller, a refuge from reality. The band did long stints, fuelled by the free bar; the exotic setting slowly infused itself into their music, got under their skin. What started as a few bird calls amid the scraped percussion, shuffling drums, tinkling piano and offset vibes soon became the signature sound of the bar. The "sound effects", created by the players, increased and through chance, misfortune, rum and possibly initially boredom, exotica was born.

It was a musical cocktail born in a marketing meeting: Two parts easy listening, one part jazz, a healthy dollop of conga drums, a sprinkling of bird calls, and a pinch of textless choir. Serve garnished with an alluring woman on the album jacket for best results. Liberty Records co-founder Si Waronker called it Exotica; the soundtrack for a mythical air conditioned Eden, packaged for mid-century, tiki torch-wielding armchair safariers. In the five years after Exotica—Martin Denny’s 1957 landmark Liberty debut—arrived, hundreds of other ethnographic forgeries washed up in record racks all over the U.S., bearing titles like Sophisticated Savage, Sacred Idol, Chant of the Jungle, Polynesian Paradise, Exotic Paradise, Taboo, Primitiva, Forbidden Island, Afrodesia, Hypnotique, Percussion Exotique, and a barrel’s worth of other portmanteaus. “All of those ica and itiva endings I came up with because I thought I was being cute,” Waronker said. “And I don’t know why, but nobody got wise.”

It was a musical cocktail born in a marketing meeting: Two parts easy listening, one part jazz, a healthy dollop of conga drums, a sprinkling of bird calls, and a pinch of textless choir. Serve garnished with an alluring woman on the album jacket for best results. Liberty Records co-founder Si Waronker called it Exotica; the soundtrack for a mythical air conditioned Eden, packaged for mid-century, tiki torch-wielding armchair safariers. In the five years after Exotica—Martin Denny’s 1957 landmark Liberty debut—arrived, hundreds of other ethnographic forgeries washed up in record racks all over the U.S., bearing titles like Sophisticated Savage, Sacred Idol, Chant of the Jungle, Polynesian Paradise, Exotic Paradise, Taboo, Primitiva, Forbidden Island, Afrodesia, Hypnotique, Percussion Exotique, and a barrel’s worth of other portmanteaus. “All of those ica and itiva endings I came up with because I thought I was being cute,” Waronker said. “And I don’t know why, but nobody got wise.”