Tropical Hawaii

Boomerang is the second studio album by British duo the Creatures (a.k.a. singer Siouxsie Sioux and musician Budgie). The album was recorded in Spain with Mike Hedges, in Jerez de la Frontera, in the southeast part in Andalusia in the province of Cádiz. It featured brass arrangements including trumpet, trombone and saxophone. Boomerang received widespread critical acclaim from British music critics, who praised Siouxsie's vocals and the choice of a wide range of musical styles on the album, including blues, jazz and Spanish styles such as flamenco. The album was later hailed by singer Jeff Buckley, who covered the song "Killing Time". The album was released to critical acclaim. NME's Roger Morton qualified it as "a rich and unsettling landscape of exotica", praising "the pre-eminence of Budgie's Spanish-tribal-jazz drumming". Simon Reynolds of Melody Maker stated that "Boomerang abounds with scarcely anticipated brilliance", qualifying it as "inventive and invigorated music".

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.”

The Exotic Sound Of The Arthur Lyman Group is a 1991 CD by Arthur Lyman. Released by DCC, it combines two of his albums on the Hi-Fi label, Taboo and Yellow Bird and was remastered by Steve Hoffman.