Keely Smith, a musical sensation since the Rat Pack era, is still going strong. Dovetailing with her latest album, a tribute to her late husband and musical partner Louis Prima, Smith is heading out on tour with the U.K.’s top swing combo, the Jive Aces, bringing classic Vegas swing to generations of music lovers!

By Bruce Lewis

The world of jazz, jive, and swing just got dealt a flush hand — a queen and six aces! Keely Smith, the “Queen of Las Vegas” and one of the living legends of Rat Pack swing, has joined her voice with Britain’s number one jive and swing band The Jive Aces for a summer tour of the UK and Europe. Also on board for the tour is special guest Toni Elizabeth Prima, daughter of Keely and legendary bandleader Louis Prima and a rising belter in her own right. Together, Keely, Toni and the Aces form an eightsome of greatsome that’s guaranteed to put an extra olive in your dry Martini!

Of all the stage stars of Rat Pack-era Vegas, Keely Smith has remained perhaps the most constant. Although she is possibly best known for her partnership with Louis Prima — with whom she helped turn Las Vegas from a desert outpost into as oasis of ’60s swank — Smith’s 50-year career in the variety biz has included team-ups with the biggest names in song, including Frank Sinatra, conductor/arranger Nelson Riddle and jazz giant Count Basie.

Swingin’ Since Childhood

It all started for Keely Smith in Norfolk, Virginia, and her appearances on a locally-produced Saturday morning children’s radio show called “Joe Brown’s Radio Gang.” Although only 11 years old at the time, her clear ear and mature singing style caught the attention of local producers; by the time she turned 16, Smith was on stage singing and swinging with the local big bands for the entertainment of the mobs of soldiers, sailors, and Marines that had crowded into the city during the war.

A chance opportunity to audition for swing star Louis Prima in Virginia Beach in 1948 led to Smith touring (under chaperone, of course!) with Prima’s big band. Five years later, a now-adult Keely Smith and Prima were married with a baby on the way — leading the two to take their act to Las Vegas, then a mere seedling of a city.

It was a gutsy move. Las Vegas in 1953 had only one paved street (the Strip, of course). Nevertheless, Prima and Smith fired up the swing and took the town by storm, and an initial two- week gig at Sahara’s Casbar Lounge soon turned into a Vegas institution. The duo snagged a Billboard hit (#18) and a Grammy in ’58 with their cover of Arlen/Mercer’s “That Old Black Magic”, and by 1959, they were the hottest show in town, filling the seats at the Sahara with a celebrity audience every night.

Tackling TV and Film

TV was next. Hailed as the “King and Queen of Las Vegas” by the variety press, the pair were introduced to television audiences as “the greatest nightclub act in the country” by songstress Dinah Shore on her popular show.

Then, Keely Smith and Louis Prima hit the big screen:  Smith sang “Whippoorwill” in 1958s Robert Mitchum vehicle Thunder Road, and in ’59’s wild musical romp Hey Boy! Hey Girl! she appeared singing “Fever”.

Her fame now boosted by being a screen star, Capitol Records signed Keely to a solo contract. She then went on to sing a string of solo hits in the late 1950s.

The fairytale ended in 1961, when Smith divorced Prima and left Capitol, as well. After moving to Sinatra’s pet, Reprise Records, Smith joined up with the Chairman’s best-down conducting and arranging partner, Nelson Riddle, to bust the UK Top 20 in 1965 with an album of Beatles songs arranged just for her.

A Revival in the ’90s

By then, however, Keely Smith was ready for a change. With the domination of the pop charts by the rock sound, Smith decided to settle down. A romance with producer Jimmy Bowen led to marriage, and by the late ’60s Smith had retired from music to concentrate on raising her children. Aside from a few television guest spots, Smith was out of show business by the end of the ’60s.

Her comeback came in 1980, when director Martin Scorsese featured Keely singing “I Ain’t Got Nobody” in his hit film Raging Bull. This led to singing spots in 1993’s Mad Dog and Glory, 1994’s baseball biopic Cobb, and 1995’s Destiny Turns on the Radio and Casino. Her career really began to take off with the release of Staley Tucci’s 1996 gem Big Night, a ’50s period piece, the plot of which centered on an appearance of Prima and Smith (Keely sang “Love of My Life/O Sole Mio” and  “Don’t Take Your Love from Me” on the soundtrack). Since then, Keely has regularly appeared on stage and screen, including a memorable performance of “Mood Indigo” in a 2007 episode of HBO’s The Sopranos.

And the Beat Goes On

Keely Smith is still belting them out today: her latest album, Vegas ‘58 – Today, is a compilation of her best known songs, recorded live as her homage to the late Louis Prima. Now a best-selling Concord Records artist, the 70-something Keely Smith continues her reign as the undisputed queen of the Las Vegas-style swing scene.

And now, a new chapter in the Keely Smith saga has begun with her collaboration with the Jive Aces. Famous as the UK’s top jive and swing band, the Jive Aces are hard-put to keep up with global demand for their unique song stylings -– the sextet racks up more than 300 shows in 25 countries annually, plus hundreds of appearances on TV and radio shows.

Drawn together by their love for hot jive and big band swing, these non-moptopped lads from London — Ian Clarkson (vocals and trumpet), Ken Smith (double bass), Vince Hurley (piano), Peter Howell (drums), John Fordham (saxophone), and Alex Douglas (trombone) -– cite influences as diverse as Elvis, Frank Sinatra, and (of course) Louis Prima as the basis for their beat. Famous on the late-’80s London local scene as swing dancers, the Aces soon found it difficult to find enough hot bands to keep their fingers snappin’ and toes tappin’, so they decided to go into the music biz themselves.

Their live premiere in Paris in January, 1989 was a blowout, and soon word of the Jive Aces’ foot-stomping, Fifties-style floorshow spread across Europe and thence around the world. The Aces hit America in 1996 with their gig at the Olympic Games in Atlanta, and they continue to tour and record in the States today.

Catch the Jive Aces and Keely Smith — the hottest hand in swing today — performing live on Valentine’s Day 2009 at the McCallum Theatre in Palm Desert, CA. And, be sure to check the Jive Aces’ gig guide for more information on upcoming shows with Keely Smith throughout summer 2009.

SPECIAL UPDATE: Keely Smith made a surprise cameo during an appearance by The Jive Aces  on BBC’s The Evening Show!

Bruce Lewis is an American voice actor, writer, artist, and author. He has worked in the U.S. manga and anime industry since 1993, and his book Draw Manga: How To Draw Manga In Your Own Unique Style, is an Amazon.com Bestseller.

Everyone should have one great holiday CD with songs you can listen to over and over again at Christmas each year.

Sleigh Me, the first compilation CD from ATOMIC Magazine, is just such an album, filled with musical delights from some of today’s hottest swing and big band artists that will have you lindy hoppin’ under the mistletoe all night long.

Enjoy popular Christmas standards by George Gee and The Jump Jive and Wailers, The Jive Aces, Lavay Smith, The Ray Gelato Giants, The Bill Elliott Swing Orchestra, Michael Andrew and Swingerhead, Dave’s True Story, Los Straightjackets, plus new originals by Casey MacGill and Big Bad Voodoo Daddy. This timeless compilation is guaranteed to put a jingle in your step this holiday season!

Visit ATOMIC Magazine for the full track listing, audio song samples, and easy online ordering!

Legendary jazz guitarist Joe Beck, one of the instrument’s great contemporary practitioners, died last week of lung cancer at a hospice in Danbury, CT, a few days before his 63rd birthday.

Throughout his career, Beck, who recorded frequently for the New Bedford-based WCS label, worked with some of the very biggest names in jazz and pop. In a career that spanned five decades, Beck accompanied an extraordinary range of giants: Duke Ellington and Gil Evans, Miles Davis, Paul Desmond, Stan Getz, and Brazilian genius Antonio Carlos Jobim. Beck also played in jazz orchestras led by Buddy Rich, Maynard Ferguson, and Woody Herman, and he accompanied fellow guitarists like Larry Coryell and John Abercrombie. He also performed sessions and tours with pop musicians such as Laura Nyro, Paul Simon, Richie Havens, and James Brown.

Legendary guitarist Joe Beck, pictured here with jazz guitarist Doug Proper, died in late July at age 62.

Born in Philadelphia and raised on the West Coast, Beck headed to NYC in the ’60s as a teen-versed in both rock and jazz- and quickly made a name for himself as a precocious talent.

His style, characterized by deep creativity, edgy grooves, and remarkable versatility, was one of jazz guitar’s most identifiable techniques, and a golden achievement in the genre.

“He was a really great guitar player.” John Scofield, one of Beck’s peers in the jazz world, told News Times reporter Scott Miller. “He could do anything on the guitar.”

“He could play any song in any key,” said John Abercrombie, another guitar great who toured Europe playing duets with Beck as recently as December and who released an album, Coincidence, with Beck six months ago, on WCS. “You’d ask him what key he wanted to play a song in and he’d say, ‘It doesn’t matter.’”

And it didn’t matter what realm he was working in either. Beck was an accomplished arranger who produced albums for Frank Sinatra, Esther Phillips and Gloria Gaynor. He also wrote commercial jingles. Music flowed through his veins and came out in his hands.

“I thought he was the Bill Evans of the guitar,” Abercrombie said, comparing Beck to one of the greatest of all jazz pianists.

Whaling City Sound, whose Beck catalog boasts five of his titles, including the new Coincidence, mourns, along with the entire jazz community, the passing of the this titan. “We’ll miss his wit, his wisdom and his incredible fluency on guitar,” says Whaling City Sound president Neal Weiss. “He was one of a kind and an immense talent.”

Get ready to cut a rug, cats and kittens, because we’ve got some swanky sounds coming your way.

Our industrious intern is in the process of re-uploading four years’ worth of music reviews into our newly renovated Website. And, of course, we’ll be adding new tunes, soon.

What’s in store? From Rockabilly to Big Band, and from Exotica to the Blues, we’ve got the whole retro spectrum covered!

• So, stay tuned, and we’ll be rockin’ your socks off in no time!

Life is a Game
Review by Doug Boynton

The Jive Aces can play. And play they do, both figuratively and literally. Based out of the U.K., they’ll perform more than 300 gigs this year, across several countries. Their musical talents and passion for up-tempo swing are delightfully evident on their latest release, Life Is a Game (Right Recordings). With just a couple of exceptions, the disc jumps from beginning to end.

Ian Clarkson’s vocals remind me of a young Louis Prima. In fact, the band’s whole sound reminded me of classic Prima and Sam Butera. It’s an image they’ve polished very well. The arrangements are first-rate, and 10 of the 14 cuts on Life is a Game are home-grown by the group itself. Highlights include the band’s theme song, “Jive, Jive, Jive Aces,” penned by bass player Ken Smith; “Long Distance Love Affair,” co-written by drummer Peter Howell; and an arrangement of “Singin’ in the Rain” that is simply aces. You’ll also want to hear the winning tune, “I’ve Got Affinity for You.”

Then, in the middle of the disc, there’s this three-cut…um…thing.

Think of it as a commercial break. First, there’s “High Energy Jive,” an ode to…well, high energy. The track is followed by “Only Mugs Take Drugs,” and really, how can you argue with that? Coming in at number three is “Clear Body, Clear Mind.”

That’s the one that sent me to their website.

Ah. I get it now. There’s a religious undertone to it all. Remember the guy who would come to some gathering when you were a kid, and he’d do a magic show, except you had to sit through five or ten minutes about Jesus somewhere in the middle? Same idea here, except the Jive Aces are Scientologists.

Ideological leanings aside, the disc is top-notch, even the advertorials really swing. Precision is this band’s long suit; every piece sounds hand-crafted, and fits well. My advice? Roll up the rug. Play this loud.

Doug Boynton is the bartender at www.girlsingers.org.

Brothers in Jive
Review by Joanne Bennett

Cheese comes in all varieties, from the flavorless yet squeezably convenient Velveeta® to the delicate Camembert or the pungent and robust Gorgonzola. The same holds true for swing. Some varieties are barely palatable in terms of musicality, yet their kitsch appeal satisfies a certain craving. Others offer a complex assortment of notes and arrangements to be savored. By this reckoning, the Vienna-based combo Five in Love are the masters of cheese, crafting tunes that appeal to a variety of tastes.

On their latest release, Brothers in Jive, the sextet of Euro-hepcats serves up a platter of tracks suitable for a casual cocktail party. The eponymous opener is straight up the middle: a toe-tapping original in which singer Paul Kreshka introduces the other musicians. It is followed by the pleasant shuffle of “Wandering Shoes,” but the ensuing selections quickly veer toward the cheesy, in that Velveeta sorta way. This homespun southern gal was mildly offended by track three, “Bubba! (Don’t forget your rubba),” and underwhelmed by the cutesy lyrics of “Offshore.” The swing arrangement of Santana’s “Smooth” is intriguing, but fails to push the envelope, and hearing six Austrian men perform “Girls Just Wanna Have Fun” is just disturbing.

That said, the album does offer a few flavors worth noting. Some of the better selections include the original “Rich White Man,” a jazzy rendition of Paul Simon’s “You Can Call Me Al,” and a swingin’ version of the Bangles’ hit, “Walk Like an Egyptian.” Kreshka also delivers more passion than usual on “Big Beat a Rockin”, and the CD closes on a very pleasant note with the melodic “Have a Good Time.”

If you’re a fan of swing-kitsch bands, like Lee Press-On and the Nails, or if you’re just looking for a good beat you can dance to, you may be pleased with Brothers in Jive. But if it’s exemplary musicianship you’re after, you’re better off turning to the classic artists of yesteryear.

Built of Stone
Review by Frankie Hagan

Performers have to be made of pretty sturdy stuff to endure the rigors and trials of the music industry. Thankfully, the Cigar Store Indians and their special brand of swingin’ rock ‘n’ roll, country western ballads and rockabilly riffs have stood the test of time.

The band has been long overdue in releasing a new album, and they do not disappoint their fans with their latest CD, Built of Stone (Overall Records). Two major changes separate this record from CSI’s previous two releases: The line-up has shifted slightly with the departure of Jim Lavender, known for a rockabilly-surf sound, to include the more traditional rock ‘n’ roll of new lead guitarist Jeff Sprayberry. Additionally, the tempo of these recordings is more subdued than El Baile De la Cobra, a CD known for fast-rocking swing tracks, and the songs on Built of Stone explore new directions.

The album’s opener “Hit Me” is a pleasing, fast-paced, energetic single, as would be expected from this group. But it is followed by a trio of reflective love-inspired tracks, highlighted in the glorious standout, “Other Side Of The Pillow,” which shows Ben Friedman’s excellence as a songwriter and is this reviewer’s pick for a great new western-styled swing. With the hard-rocking “Copycat Season,” the band subtly asks not to be pigeon-holed as they seek out new avenues of experimentation, growth and change.

Many of the tracks are reflective, from the misty “Ballerina Dressed in Black” to the album’s closer, “Nothing Else Matters.” “Blue Mountain Girl” is an interesting departure into hillbilly romance, while “Weight of the World,” a well-written, rockin’ number with a catchy riff, shows off the new lead guitarist. Overall, the skillful musicianship of band mainstays, like bassist Keith Perissi, drummer Paul Barrie, and lead singer and rhythm guitarist Ben Friedman, shows that the Cigar Store Indians are made of durable material, indeed.

Enjoyed this review? Click here for Frankie Hagan’s write-up on the film soundtrack to De-Lovely.

Boy from Tupelo
Review by Frankie Hagan

It must have seemed like such a small thing, then: a young boy arriving at 706 Union Avenue in Memphis in 1953. He paid $3.98 to make a “custom record” and, as a special bonus, change the course of music history. That young man was Elvis Presley, and his impact on popular culture has spanned half a century. To coincide with the 50th anniversary of the recording of Elvis’ first single, “That’s All Right”–a moment some music historians refer to as the birth of Rock ‘n’ Roll–HEAR Music and BMG Special Products have released 15 Elvis classics on Boy From Tupelo.

It would be difficult for any Elvis collection to follow the recent #1 and #2 Hits albums, which included two “new releases” that achieved additional posthumous success for the King. But this compilation wants to make a different statement, about how the music itself was something special. Boy From Tupelo represents the talent and innovation that made Elvis go from being a white trash kid cutting a record for his mama to the biggest thing 20th century music would ever see. The tracks presented on this collection–in particular “That’s All Right,” “Blue Moon of Kentucky” and “Lawdy Miss Clawdy”–are about the synergy of styles that Elvis created by merging Country Western and the so called “black” music he knew so well from his roots. His was a new sound that would be the forerunner and champion for Rockabilly and Rock ‘n’ Roll.

The excitement of “Blue Suede Shoes” and “Good Rockin’ Tonight” seems obvious today, but it’s amusing to consider that at their recording, the sound Elvis was making defied classification. These songs and other standouts, like “Baby Let’s Play House” and “So Glad You’re Mine,” demanded more than the simple words a review might offer in praise or criticism, and are just as engaging today.

The music on Tupelo would be a credit to itself, even without the 20-page booklet of liner notes and early Elvis pictures. Suffice it to say, this may not be the flashiest of collections, with the largest array of hits, but it is easily one of the most significant. In a world where shows like American Idol manufacture stars in front of millions of people in their living rooms, it is important to reflect on the raw conditions that created one of the brightest stars of them all. Elvis’ humble beginnings and enduring legacy give credence to the adage that kings are born, not made.

Can’t get enough of the King? Click here to read Will “the Thrill” Viharo’s reviews of two new Elvis releases on DVD.

Back on Track
Review by Janine Veazue

I’ve never been a huge fan of the group uniform when it comes to rockabilly or western swing bands. There’s just something about a group of men all wearing the same neatly pressed honky-tonk shirts that unpacks repressed memories of dance recital costume trauma. This isn’t saying, however, that Rhythm Train’s wardrobe assistants should be the downfall of the sweet satisfaction that Back on Track (Raucous Records) brings to my ears.

It’s not that Rhythm Train insists on centering their lyrics around the cliche topics of drinking, women, and music that I love so much, it’s the way in which they use those cliches to epitomize the American western tradition. They don’t like their drinks hard and fast, but sing as if they were a guilty vice (” The girl on my left is looking better every beer “). They don’t want their women fast and dirty, but devoted and beautiful (” saved a place in my heart for your warm sweet embrace “).

The band hails from Switzerland, and lead guitar and vocal master Urs Odermatt consistently teeters between yodel and twang, yet keeps his talents on the straight and narrow. This switching through the album’s 17 tracks creates a fantastic feeling of true, solid, manly sorrow and celebration. Although it is obvious that it attempts to mimic the American musical tradition of rockabilly, it does so without mocking or attempting perfection. Simple, honest music, coming from men who, at times, seem a little overdressed for the occasion.

Settin’ the Pace
(Featuring vocalist Carla Cook)
Review by Doug Boynton

Settin’ the Pace (GJazz Records) from the George Gee Big Band is a fine CD, worth every dime I paid for it. Of course, I got my copy for nothing, and you need to decide if it’s worth 15 bucks.

The band–heavy on the sax, please–sounds much bigger than its listed 17 members. They play with some regularity at the legendary Birdland jazz club in New York, which isn’t a bad reference, at all. Without question, they can be very good; I’m just not sure this uneven disc is one of their better outings.

The album was directed (and mostly arranged) by legendary 76-year-old sax man Frank Foster, who has played sporadically for years with the Count Basie Orchestra. Recording was done at Peter Karl’s Studio in Brooklyn. To me, it sounds as if the studio is too “live,” meaning it has too much echo. I can’t tell if it’s the recording or the mixing, but the solos don’t stand out as they should–they’re often buried beneath the rest of the orchestra. And, whether the fault lies with the band, the arrangements, or the conducting, some tracks–”Mambo Inn” being an example–simply sound like cacophony.

All that said, a few tracks recommend this disc highly, particularly those featuring Carla Cook. A native of Detroit and nominated for a Grammy® in 1999, Cook reminds me of Nancy Wilson. As far as I’m concerned, that’s a good thing. Her voice, best in the lower ranges, is featured on three tracks: Oscar Hammerstein’s “Lover Come Back to Me,” Ray Noble’s classic, “The Very Thought of You,” and Johnny Mercer’s “Autumn Leaves.” The band–backing Ms. Cook rather than taking the lead–sounds smooth and really hits their stride. They do an equally solid job backing tenor sax man Lance Bryant as a vocalist on “I Don’t Want to Learn to Sing the Blues,” another winner.

The lively opener, “Out of Nowhere,” also grabs your attention. It showcases Gee’s sax section (channeling Billy May) perfectly, with Ed Pazant and Marshall McDonald on alto, Michael Hashim and Lance Bryant on tenor, and Howard Johnson on baritone. Trumpeter Walt Szymanski also turns in a fine performance,somewhat muted by that darn mixing problem,on “When Your Lover Has Gone.”

Although recorded in the studio, this disc sounds like a very good live performance. The band could be tighter on several tunes, and the production is less than optimal. On the other hand, I just recommended six cuts, or half the disc. I pay cash all the time for CDs and do much worse. If you can find this album on an online service, like iTunes, purchase the recommended cuts, and save yourself some money. Me? I’m looking for more by Carla Cook!

Doug Boynton is a journalist, mystery novelist, and the tune wrangler at www.girlsingers.org.

In Spy-Fi
Review by Will “The Thrill” Viharo

Every once in a while a band like the Metrolites–and there aren’t very many–comes along to remind you how good life can be. This swingin’ lounge combo from Iowa create a sonic tonic for your shattered modern nerves with their smooth but rockin’ cocktail mix of spy, monster and exotic sounds.

Percussionist/vocalist/theramin player Scott Morschhauser wrote most of the original tunes on the group’s debut CD, In Spy-Fi (Go Go Golem Records), including several versions of their theme, “The Man from M.E.T.R.O.” He also co-wrote with guitar goddess Kathleen Gallagher my favorite track, “Gunfight at the Zombie Mineshaft,” an ultra-cool instrumental conjuring images of a cinematic meeting between Sergio Leone and George Romero. “Cyclops Optometrist” is another standout on an album with nothing but winners.

They also offer a faithfully frenetic version of Burt Bacharach’s “The Blob,” but most of the CD is comprised of the band’s own numbers, hip B-movie hi-fi hybrids, like “Land of the Giants,” “The Abominable Dr. Vibes,” and socially conscious gems, such as “Middle Class Hell” and “TV Drugs,” proving their passions aren’t all pop culture stimulated. Employing sax, bongos, theremin, vibes and more in a unique yet classic context. The Metrolites now rival The Moon-Rays as the premiere Midwest Lounge Band. But this is like comparing the Stones to the Beatles. Plenty of room for both in a world gone mad.

Beatnik lounge lizard and writer Will “the Thrill” Viharo and his wife, Monica “the Tiki Goddess,” host a live cult movie cabaret called “Thrillville” at the Cerrito Speakeasy Theater in El Cerrito, CA. At home, he relaxes to groovy Vegas lounge, exotica, and heavy doses of Elvis while drinking homemade Mai Tais (which may have influenced these reviews somewhat).

Taboo: The Greatest Hits of Arthur Lyman
Review by Alden Gewirtz

Exotica fans, rejoice! With the release of this new Greatest Hits album from Empire Music Werks, Arthur Lyman finally gets his place in the sun. For those unfamiliar with his story, Lyman was a master percussionist who excelled at marimba, vibraphone, congas and bongos, among other instruments. He performed and recorded more than 30 records and 400 songs from the late 1950s until his death in 2002. Although his renown in the exotica genre has been somewhat eclipsed by Martin Denny and Les Baxter, Lyman’s music is more sincere, rarely resorting to gimmicky effects or kitschy arrangements (save for the remarkable, authentic-sounding birdcalls).

As in the title of one of his original LPs, this compilation showcases Lyman’s “many moods” and displays his musical range and influences. Of course, there are plenty of his classic exotica arrangements, like “Quiet Village,” “Taboo,” and his biggest hit, the Haitian melody “Yellow Bird.” But, he also interprets classical music (“Bolero,” “Scheherazade”), upbeat jazz (“Love for Sale,” “Caravan”), and late night lounge (“Midnight Sun”). As performed by his usual four-man combo, most of the songs have an intimate, cool-jazz feel.

Lyman’s recording technique was very sophisticated for its day. He used state-of-the-art three-track equipment, and songs were captured live in a futuristic, aluminum dome at the Hawaiian Village Hotel in Honolulu. Sounds were so bold and clear that music stores in the ’50s and ’60s routinely used Lyman’s albums to show off their newfangled “hi-fi” stereos. Those haunting and ethereal tones are duly preserved and honored in this digitally re-mastered compilation. At times Lyman’s music is as soothing as rolling ocean waves on a tropical shore. But it can also build to a climax as explosive as an erupting volcano.

The CD comes with a decent set of biographical liner notes and thumbnail photos of all his original album covers — a treat for those with holes in their vinyl collection. The album is a must have for any exotica fan looking to go beyond Martin Denny and Les Baxter. And it should raise the status of Lyman to the Big Kahuna.

Christmas Songs by Sinatra
Review by Frankie Hagan

Before he was the Chairman of the Board and made the words cool and swingin’ synonymous with himself, Frank Sinatra was a skinny young singer attempting to follow in the footsteps of his personal heroes, like Bing Crosby. Newly signed to Columbia Records, he was yet to have his fall from popularity and his return to prominence, or to attain his eternal hepcat status at the centerpiece of the Rat Pack. Christmas Songs by Sinatra, newly re-released for the holidays by Sony Records, collects all of the smooth yuletide standards recorded by the young king of croon during this Columbia period.

The album celebrates the great Christian holiday standards of yore, from “Jingle Bells” to “Joy to the World,” and includes previously unreleased alternate takes of lovely classics, like “White Christmas,” and “Silent Night, Holy Night.” Don’t be shocked, or even mildly surprised, by the fact that this disc never really swings–this would be the wrong recording period for that kind of originality in Sinatra’s Yuletide cheer. But, if you love a traditional lilt to your Christmas music, this is the collection for you.

The liner notes in the accompanying booklet are excellent, relating the history of the recordings and giving their appropriate release time stamp–a real treat for music aficionados. As a whole, this album allows the listener to chart the growth of a singer, and honestly enjoy some great music.

Lagoon!
Review by Jason Croft

Houston, Texas would seem like a strange place to find one of the swankest new exotica/space-age pop groups out there, but that’s home base for the talented tiki outfit Clouseaux. In their latest release, Lagoon! (Dionysus Records), the combo proves that exotica is strictly a state of mind. They’ve poured equal parts Martin Denny, Les Baxter, Arthur Lyman, Henry Mancini, Combustible Edison and Don Tiki into a bar blender and hit puree, then added a splash of surf guitar, tossed in a couple of cubes of prog rock, garnished with an umbrella, and served it all up in the coolest tiki mug they could find.

Clouseaux’s music is filled with that wonderful mix of hi-fi happiness and savage jungle sophistication. It’s epic and playful all in the same breath. There’s a frantic energy that pulsates from every track. Their jungle is one of exotic beauty and sizzling sensuality, but also a place of hidden danger where mystery lurks behind every palm tree. Picture a Moai head surrounded by dancing island girls all singing for you during the climax of a torch-lit ritual while headhunters hide in the background.

The album really comes alive on the tracks “The Kiss of Ku,” “Krakatoa,” and “Noctopia.” Earlier versions of some songs, like “Reum with a View,” “A Most Excellent Flying Death” and the afore-mentioned “Krakatoa,” appeared on Clouseaux’s self-titled debut. However, their Lagoon! versions seem more fleshed-out and developed. They also reveal a stylistic shift between that first album and the current one,an evolution between the space-age side of things to the exotica one. This happened during their E.P. Destination: Oasis, which also features a lot of the Lagoon! material and is well worth searching out.) With Lagoon!, Clouseaux have truly found their tiki spirit–their Aku-Aku if you will–and we are all the better for it.

Hear Clouseaux on the Bachelor Pad Radio Show, hosted by Jason Croft, the swingin’ proprietor of Java’s Bachelor Pad.

Intoxicating Sounds
Review by Frankie Hagan

The beauty of the instrumental is that there are no words. Think about that: no words. Without verbal binding to the music, mood is allowed to prevail. Mood, idea, emotion, and ambiance. And then reflection. That’s the genius of the Martini Kings and their new release, Intoxicating Sounds (SwingOMatic Records).

The Martini Kings have been a well-used cocktail band in California for some time, dispensing retro classics from the ’40s to the ’60s. Though the music is great background fodder, don’t be fooled: This is a marketable dance album for a number of rhythms.

As you imbibe the proffered tracks, you can almost picture yourself sitting at the corner table tracing the rim of your glass with a finger and lost in thought. It just doesn’t get any more reflective. The sublime sounds are generated by vibes, bass and drums (with a bit of guitar and sax). The opening track, “Bags and Trane,” is lovely smooth lindy or foxtrot material, whereas “The Days Of Wine And Roses” is an ethereal slow mambo or fast rumba (or a bossa nova), and “Water Melon Man” treads that groovy line of cha-cha. This reviewer’s personal favorites for ambiance or dance include a great lounge rendition of “Green Onions,” and a traveling more uptempo take on “Fly Me To The Moon.”

Swingin’ lounge enthusiasts or traditional ballroom dancers looking for a few new cuts will all be happy with this album, either for mood or for dance possibilities. Those who think vibes are only prevalent in elevator music might want to look for jazzy ensembles that select other instrumentation. Cocktails should come in several varieties, after all, and the Martini Kings always provide extra olives.

The Scourge of the South
Review by Janine Veazue

Back when rock was still in its infancy and considered scandalous by the general populous, teenagers flocked to small garage and backyard shows in defiance of parental distain and in celebration of their musical rebellion. Today, as that rebellion has been co-opted into a world of top Billboard hits and glossy packaging, the Tremors bring us back to that raw backyard feel, giving listeners the opportunity to bop to a hearty rockabilly beat.

Their newest album on Brain Drain Records, The Scourge of the South, seamlessly incorporates the Tremors’ adoration of mentors, such as Carl Perkins and Jerry Lee Lewis, with the raw rock sound that has evolved since times past. This combination of new and old is best reflected in “Rockin’ All the Time,” in which front man Jimmy Tremor brings a bit of the modern devil rockabilly strut into what could otherwise be mistaken for a song at the local VFW mixer.

Slim Perkins (upright bass) and Stretch Armstrong (percussion) deliver a mean, low, foot-tapping bass beat. Just make sure you don’t sit too close to the speakers, as Jimmy Tremor frequently oversteps his ability to slingshot his voice to new heights in such songs as “Pill Popper” and “Call To My Reward.” The Tremors also run ragged with production quality, but they use it to their advantage, filling their songs with images of cats, kittens, drinking, dancing and simple rocking out–cliche, perhaps, in this time of rockabilly and psychobilly revival, but with this trio, you truly believe they sing from life experience.

This is not music for the cute cherry purse and hair pomade crowd. This is music for the hard-drinkin’, tattooed, backwoods kind of rockabilly listener.

Cocktails with Cole Porter
Review by Will “The Thrill” Viharo

In tandem with the recent Cole Porter biopic De-Lovely, the latest release under the Ultra Lounge banner, Cocktails with Cole Porter (EMI Capitol), collects classic Porter tunes both previously released and new to the series, which is indeed “the greatest music in Earth!” Of course, this CD is a much more accomplished and authentic representation of the composer icon’s extensive and influential library than the film’s actual soundtrack. Here we have perfect Porter interpretations by the singers who really knew the music, not the tepid, screeching, limited-ranged Elvis-come-latelys crowing these gorgeous romantic standards for modern day, rock-conscious consumption.

Mix a Martini or Manhattan, or just pour a glass of apple juice, and revel in the melodious, lushly orchestrated joys of Nat King Cole crooning “Just One of Those Things,” Dean Martin emoting “True Love,” Ella Fitzgerald swingin’ live and crazy on “Let’s Do It,” Louis Prima and Keely Smith rockin’ out their wild version of “I’ve Got You Under My Skin,” and many other definitive turns by the likes of Kay Starr, Peggy Lee, Louis Armstrong, Nancy Wilson, Sammy Davis Jr., Tony Bennett, Steve Lawrence, Sarah Vaughn, Judy Garland and Liza Minnelli. Do not de-lay in taking this de-lightful de-tour from reality through a luscious musical dreamland.

Beatnik lounge lizard and writer Will “the Thrill” Viharo and his wife, Monica “the Tiki Goddess,” host a live cult movie cabaret called “Thrillville” at the Cerrito Speakeasy Theater in El Cerrito, CA. At home, he relaxes to groovy Vegas lounge, exotica, and heavy doses of Elvis while drinking homemade Mai Tais (which may have influenced this review somewhat).

Various Artists – The Music of Cole Porter
Review by Frankie Hagan

The idea behind the soundtrack for De-Lovely (Sony) is to have contemporary pop artists offer new interpretations, following a traditional path, of Cole Porter classics. The film De-Lovely portrays the life of the man behind many of the 20th century’s great classic standards, and it is wholly fitting that modern performers, the majority of them composers themselves, tackle material that was written both from the heart and the experience of someone who lived the very ideas he expressed in his music.

Already familiar with mining the beauty of the standard, Diana Krall stands out superbly on a fast-paced and jazzy rendition of “Just One of Those Things.” It’s hard to compete with Ella Fitzgerald’s version of “Begin the Beguine,” so Sheryl Crow makes a smart move reinterpreting this classic and some of Porter’s best lyrics as a sultry rumba. Alanis Morissette is surprisingly deft in her cover of “Let’s Do It (Let’s Fall in Love),” showcasing her ability to perform varied material outside of her personal image.

Among the men, Robbie Williams does an admirable job carrying the film’s glorious title song “It’s De-Lovely,” sounding quite convincingly like he belongs on Broadway. One of the best pieces on the CD is performed by newcomer Lemar, in a stirring rendition of “What is This Thing Called Love?” Lemar’s buttery voice is going to be something to watch. Elvis Costello performs “Let’s Misbehave” with all of the exuberance implied by the lyrics, but his voice has never been about melodic sounds as much as about emotion, a trait he shares with Porter.

The compilation is not without its shortcomings, though, however slight. Kevin Kline betrays his own wonderful singing voice by trying to copy the style of Cole Porter too closely. The song tracks lifted from the film with Kline or Ashley Judd carrying a song play as imminently forgettable, though the understanding of emotion conveyed in “Night and Day” as performed by John Barrowman and Kevin Kline is right in line with lyrical interpretation and what songwriting is really about.

Cole Porter, like a spectral visitor overseeing a project, closes the album with a scratchy old recording of “You’re The Top,” offering a last glimpse at the subject of the work. The soundtrack, along with the film, might not come right out and say something specific about the connection between the substance of an artist’s work and who they are themselves, but it certainly implies it.

(Editor’s Note: For an added dose of de-lovely music, check out Will Viharo’s review of the new Ultra Lounge release, Cocktails with Cole Porter.)

Dino: The Essential Dean Martin
Review by Frankie Hagan

More than the handsome half of one of the greatest comedy teams of all time, more than a Rat Packer, and more than the host of a highly rated variety show, the man who made a tuxedo look as comfortable as a t-shirt, Dean Martin was the embodiment of cool. And so is The Essential Dean Martin (Capitol), a stand-out among other greatest hits collections in that it combines the Capitol and Reprise hit singles into one stunning package of memorable excellence.

The liner notes and accompanying booklet studied alone are a treasure, with words from Stevie Van Zandt and Dean’s children Deanna and Gail, the release dates for each song and its peak chart position, and the obligatory black & white photos of the master song stylist himself. But, the music is what makes this release most memorable.

It’s all here, from recognizable standards to sought after ballads. From the beautiful and hard-to-find waltz “Under the Bridges of Paris” to the quintessential rumba “Sway,” listening to Dean’s velvety, smooth vocals is pure joy. At a time when rock ‘n’ roll ruled the charts, Dean was slipping through gems, like “That’s Amore,” and attaching his name forever to Italian-themed hits, like “Volare” and “Inamorata.” Dean was charming and swinging with “Ain’t That a Kick in the Head” and “You’re Nobody ‘Til Somebody Loves You.” He knocked the Beatles off the #1 spot with “Everybody Loves Somebody” and swept the girls away with love songs, like “Return to Me” and “I’ll Always Love You.” Western-styled selections from the ’60s are here as well, including “Houston,” and “Gentle on My Mind.”

Truly, from “Powder Your Face with Sunshine” to “Just In Time,” this is a wonderful starting place for a new fan of Dean, or a great summation of his career for a loyal follower. There’s a comforting spirit of truth and optimism in the relaxed styling of a man who was the world’s coolest crooner. This is the Dean Martin collection to own, for its diversity, its history, and its warm and tipsy dedication to the handsome tan man in the tuxedo.

Blue Note Plays BURT BACHARACH
Blue Note Plays STEVIE WONDER
Blue Note Plays THE BEATLES
Review by Will “The Thrill” Viharo

Three new compilation CDs paying tribute to Burt Bacharach, Stevie Wonder and The Beatles, respectively, make up the first entries in a wonderfully conceptualized series from Blue Note Records. These albums are glowing examples of how the apparently disparate worlds of rock, soul, jazz and lounge can fuse into an extremely rewarding and revelatory listening experience, proving that great composers create magic for the ages, not just their eras (or genres).

I threw these three on a changer hoping I could “name that tune,” even though some recognizable melodies might get lost in translation. I got it most of the time, and combining them really aided in my appreciation of the accomplished artistry assembled throughout these CDs. Of course, Burt Bacharach’s loungey compositions, from bouncy fluff like “Wives and Lovers” (Nancy Wilson) to classic pop like “The Look of Love” (The Three Sounds) and soulful gems like “Any Day Now” (Lou Rawls), are easily interpreted for Jazz audiences. The even more impressive (but equally satisfying) renditions are the funky fusions, like Stanley Turrentine’s “Boogie On Reggae Woman,” Paul Jackson’s “It’s a Shame” and Noel Pointer’s “Living For the City” on the Wonder CD, as well as inspired interpretations, like Lee Morgan’s magnificently moody take on “Yesterday,” Stanley Jordan’s aching “Eleanor Rigby” and Turrentine’s hard-swingin’ free-form “Can’t Buy Me Love” on the Beatles comp.

The various arrangements, featuring both vocal and instrumental cuts, are uniformly fresh and unique without negating the spirits of the originals. For jazz buffs in particular but music lovers in general, these beautiful, gently intoxicating CDs will put anyone in that relaxed, Sunday afternoon at home with a loved one frame of mind, even if you’re alone in traffic on a Tuesday.

Beatnik lounge lizard and writer Will “the Thrill” Viharo and his wife, Monica “the Tiki Goddess,” host a live cult movie cabaret called “Thrillville” at the Cerrito Speakeasy Theater in El Cerrito, CA. At home, he relaxes to groovy Vegas lounge, exotica, and heavy doses of Elvis while drinking homemade Mai Tais (which may have influenced these reviews somewhat).