Tag Archives: Freaky Tiki Surf-ari

12/22/12

Freaky Tiki Surf-ari: King Kukulele and the Friki Tikis

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King Kukulele and the Friki Tikis
Official Site
Luau In December, Friki Tiki Records 2008

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Hey, you on the right. Show some class. I know the hula girls are gorgeous, but come on...

Even if you’ve never heard one of their albums before, chances are that you’re already aware of King Kukulele and the Friki Tikis. Although active for quite some time on the West Coast, King Kukulele officially made his presence known to the rest of the country at the Hukilau in 2002. The following year, his Tiki Palace made quite a splash online and has been hosting the Tiki Tot Tour at Tiki Oasis in recent years. But who are they? The members of King Kukulele and the Friki Tikis consist of:

King Kukulele (Denny Moynahan): Lead vocals and ukelele
Riki Kontiki (Richard Fultineer ): Drum kit, percussion and backup vocals
Malahini Marc (Marc Doten): Double bass, guitarron, glockenspiel and backup vocals
Waikiki Wakefield (Jeremy Wakefield): Lap steel guitar and backup vocals
Bora Bora Bonebrake (DJ Bonebrake): Marimba and vibraphone

Although their self-titled 2004 release was their first CD, 2008′s Luau in December is (as of this writing) their most widely available album. Although the concept may seem kind of odd at first, it actually makes perfect sense. Exotica music takes its listeners on relaxing journeys to faraway places, which is perfect for combating holiday stress and the cold weather blues. In addition to original songs, there are also several exotica versions of Christmas classics. From what I can tell, this album seems to be the first exotica Christmas album of the modern era!

“Luau In December” tells us to trade our eggnog for Mai Tais in this lively, but somehow mellow, tune. King Kukulele’s pleasant voice is well-teamed with the marimba, percussion and steel guitar percussion. A child singing about a greedy young boy’s Christmas expectations in “Brand New Ukulele,” but Kukulele takes over to tell us of the one special gift that changed the lad’s attitude as the extremely catchy backing music picks up. I’m not kidding about it being catchy, either. I can practically guarantee that you’ll catch yourself singing this for days after hearing it. “Santa’s Menehune” deals with a legendary Hawaiian creature that is claimed to have amazing building skills. Naturally, this comes into play when he goes to visit his elven cousin at the North Pole. It’s a cute song thanks to its Chimpmunk-style voices and amusing appearance by “Elf-vis.” The late, great “Duke of Uke” himself, Bill “Tappy” Tapia takes over the singing and ukelele duties for “Tappy Claus.” Backed by a steel guitar, Tappy denies being Santa Claus and recounts his constant bad luck with gifts over the years. It’s a real treat to hear the legend in action and although the song’s reference to over 100 years of bad gifts might seem like a joke, he actually had reached that age at the time the song was recorded! In “Christmas Luau,” the ukelele and steel guitar nicely back this musical tale of a Hawaiian Christmas (which also foreshadows the next track). Those learning about various Hawaiian terms will find this song especially invaluable in their studies. Just don’t listen to it while you’re hungry. Trust me on this.

“The Night Before Christmas” combines sleigh bells and vibraphone work as special guest Laura Thatcher joins King Kukulele in singing this holiday classic while the heavy introduction of “You’re a Mean One, Mr. Grinch” leads to the marimba getting quite a workout with some great ukelele and steel guitar work. “I Work for Santa Claus” has a surprisingly Latin-esque feel thanks to its use of a guitarrón. In it, an elf sings about his job duties and the incredibly chain of mishaps that occurred the night Blitzen lost one of his hors…er…reindeer shoes. There’s also a very welcome reference to the Krampus. What’s not to love? While many traditional exotica songs combine music and animal noises, “Santa’s Workshop” couples vibes and percussion with the sounds of toys being made. This gives the song about toy building an appropriately soft and magic feel. The Friki Tikis’ take on the Yule standard “Rudolph the Red Nosed Reindeer” features incredible drum work here, along with a wonderful instrumental interlude with a steel guitar and marimba. “Reindeer Holiday” is a charming ukelele tune about Santa’s reindeer and their unscheduled Hawaiian vacation, which has a closing vocal harmony segment that is not to be missed. The Tiki rock take on “Hooray for Santa Claus” is simply amazing and is easily one of my most favorite tracks from the album. If you’ve ever cringed whenever the original version of this song played in Santa Claus Conquers the Martians, you need to hear this version. Yesterday. “Thirty-Two Feet and Eight Little Tails” is a peppy musical tribute to the eight tiny reindeer pulling ol’ St. Nick’s sleigh, complete with a great vibraphone lead out. “Mele Kalikimaka” is Hawaiian for “Merry Christmas.” It’s also the name of the album’s final track, which is both faithful to the original version while providing enough of its own distinctive touches to make it feel like more than “just a cover.” Like any good holiday special, this track features plenty of guest performers. Joe Moe (who previously appeared on the album as the lead vocals for “Christmas Luau”) provides the harmony vocals while Ali Lexa handles the lead ukelele duties.

Luau In December will be enjoyed by people of all ages (especially fans of SpongeBob SquarePants) and is a highly recommended purchase. It’s also proof positive how something that’s “family friendly” doesn’t necessarily have be sappy or talk down to its listeners. I, for one, am eagerly awaiting what King Kukulele and the Friki Tikis have to bring us in the future. If it’s anything like this album, then we’re all in for a real treat.

Special thanks to Friki Tiki Records for the review copy!

08/31/12

Freaky Tiki Surf-ari: Phase 2

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Daikaiju

Official Site
Phase 2, DingDong Records 2010

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Fed up with all the tentacle attacks, Neo Tokyo finally wised up and got themselves a force field.

Daikaiju has been up to a lot since I reviewed their debut album in the first Freaky Tiki Surf-ari. After issuing their “Flight of Garuda” single, the band released their second major album, appropriately named Phase 2.

In “Escape From Nebula M Spacehunter” (named for the location of the aliens who controlled Gigan in his first appearance), Daikaiju shows they’re back with a vengeance. The creepy, sneaky opening quickly leads into a rollicking surf ride with plenty of great variations. While I can’t say for sure whether or not this album’s “Flight Of Garuda” is the same as their single release, I can definitely say it’s fantastic. It has a great bouncy feel and a classic speedy surf intro, while the machine gun-esque drums are used to great effect. “Laser Runner” is reverbtastic and has a ton of spacey, laserlike chords. It’s also one of my favorite tracks. Don’t let the name fool you, “Za Feijingu Supaidaa Kyoui” is actually their classic track “The Phasing Spider Menace” (from the EP of the same name). Although it seems slower and more methodical than the other tracks, it soon kicks into high gear and offers an eerie “phasing” feel. Listeners of our podcast should recognize “Choujikuu Mitsukai” (translation: “Super-Dimensional Angels”) offers a feel of grandeur that gradually enters its surf goodness and the almost 10 minute long “Jellyfish Sunrise” somewhat echoes their first album’s “Farewell To Monster Island” without copying it. It’s soft, soothing and the rhythms are like a gently undulating jellyfish. The catchy beat doesn’t hurt, either. In “Mr. Smoothstar,” drumbeats signal in fast guitars, but they soon combine for amazing results while “Shooting The Wormhole” nicely follows preceding track with its reverby classic surf feel. “Forcefield Lifts Over Neon City” is another fairly lengthy track which uses a slow, soft drum build to kick in an interesting beat and great guitar work. It’s hard to describe this, but there’s a “force field” feel at points, in addition to some great musical variations (as is case with all their long songs). “Zombie Harem” touches on a lot of things used in other tracks on album while having more than enough original material to make for an interesting (and sometimes eerie) listening experience, making it the perfect closer for the album.

Phase 2 has the classic Daikaiju feel to appease fans of the first album while at the same time allowing their style to change and grow so they can further develop as artists and bring in new fans. In short, it’s the perfect sequel. I’m already looking forward to Phase 3!

Special thanks to Daikaiju for use of the image!

08/31/12

Freaky Tiki Surf-ari: Clouseaux

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Clouseaux

Official Site
Clouseaux, Air Y Hola 2001
Destination Oasis, Air Y Hola Records 2003
Lagoon, Dionysus Records 2004
Beyond Good and Evil, Self-released 2006

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A sneak peek at the newest internet meme

When one thinks of exotica, visions of Polynesia and Hawaii immediately spring to mind. However, exotica groups can be found all over America (and the world). Houston, Texas might seem like the furthest thing from a locale that inspires music to make you think of a tropical South Seas paradise, but it actually makes perfect sense once you realize it’s the home base of Clouseaux. Although widely known as a neo-exotica band, that’s only one facet of their musical identity. Founded by Jay Brooks and David Cummings in 1999, Clouseaux’s sound has been described as everything from “jazzed-up jazz punctuated with mystery” and “the sound track from a James Bond-swanky-spy film that takes ghost train like turns down classic horror movie and 1950′s science-fiction film tunnels and back out again onto beautiful tropical beachs at sunset.” On top of that, the performers in the group are just as varied as the types of instruments used over the course of several albums . According to Facebook, the group’s current lineup consists of:

Jay Brooks: Bass
Kelly Doyle: Guitar
Tomas Escalante: Vocals
Andy Salmon: Drums & percussion
Steve Ruth: Trumpet
Aaron Koerner: Flugelhorn
Alfred Tam: Trombone
Lou Bo: Percussion
John Best: Vibes

The first track of their first album, “Krakatoa,” effectively creates a sense of mystery, which is aided by the use of female vocals. The use of a guitar, drums and horn in “Where Are We Now?” gives it both a semi-surf and spy-fi lite feel, which later takes on a Spanish tone. “Le Nuit” features a lot of jaunty piano work and singing (along with a nifty sample touting a “stereophonic sound spectacular”) while “Payaso” shows how this is the furthest thing from a standard exotica album through its tango-esque and various instrumental touches. The slow-paced “Reum With A View” offers a mysterious feel that makes it perfect old school spy music. “Ennui” starts with the same talking effect that closed out the prior track, which more talking leads to traditional exotica-style performance. Piano work and trumpet work abounds, and there’s even a mild sense of menace at one point. “A Most Excellent Flying Death” is a fast paced surf-style track with great organ work and reverb, while “Fist On The Green” is easily the catchiest financial argument you’ll ever hear. Fans of the podcast should be familiar with “Jack The Ripper,” which makes great use of drums and reverb for a creepy stalking effect. “Marauder” is a a bit moody and sounds like it came straight from the nightclub of my dreams. There’s plenty of trumpets and bass, along with amazing guitar work. There are also points where it gets Brian Setzer or ska-like at times, so this track is a great way to introduce fans of that kind of music to the world of Clouseaux.

No joke here, just an awesome Tiki.

Next is the 2003 EP Destination: Oasis, which was first released at the third Tiki Oasis. Said EP has “Krakatoa” and “Reum With A View” from their first album, in addition to “Shrunken Heads,” “Copper Locked Nymph” and “Destination: Oasis” from the (then) upcoming album Lagoon! There’s also an exclusive track called “Chic Alors!” Said track features peppy maracas, bongos and light music. Although it has a Spanish feel, it has French dialogue. It’s odd, but I like it!

100% Gill-Man free!

Lagoon! came out the following year and if Clouseaux demonstrated all of their preferred styles, then this album focuses more on their exotica influences (specifically neo-exotica). “Lost Lagoon (Intro)” sets the stage perfectly with animal calls and a laid back beat. But thanks to the sneaky vibes, there’s also a hint of darkness. Thanks to its speedy bongos and chanting, “Shrunken Heads,” has a definite tribal feel. I also love the spooky, surfish guitar work. Speaking of surf, the opening of “Destination: Oasis” has a classic surf feel that leads into a great percussive beat and chanting. There’s also a classic exotica feel follows the Spanish-esque guitars and trumpets. “Walking From Juarez” offers a sneaky spy groove with occasional spooky touches and Spanish(?) singing, while the energetic “The Dance Of The Crustraceans” offers bouncy and speedy percussion that sounds like scuttling crabs. “The Kiss Of Ku” has a low, spooky build that gradually rises with backing percussion that later gives way to a catchy Spanish guitar beat and other light touches. This album’s version of “Krakatoa” is definitely different take on the track heard in their debut album. “Copper Locked Nymph” desperately needs to be in an old school, larger than life James Bond epic, especially due to the big second half. This time around, “A Most Excellent Flying Death” has a fast paced, surf-style opening with mild percussion and horns. While the original used the sounds of a car chase (and crash), this take focuses purely on the music. If you want to introduce a ska fan to Clouseaux, make sure to play this track for them. This version of “Reum With A View” is longer than the original and although it retains the soft, nightclub-style opening, there’s also fantastic solo and sax work along with a sneaky/dark undercurrent. In “Noctopia,” exotica takes center stage in this tiki/surf mix, with plenty of cymbals and other examples of exotic instrumentation. Finally, “Lost Lagoon (Reprise)” is a shorter, more subdued take on the first track.

I knew him well fellatio...I MEAN HORATIO! Sorry, I got distracted...

In addition to its many guest performers (Jerry Sanchez, Daniela Freidl, Will Crux and Paul Peacock), Beyond Good and Evil also features a ton of samples from vintage ads, Diamonds Are Forever and the Vincent Price classic The Pit and the Pendulum. Thanks to its “climbing” piano work and futuristic conga/surf fusion “The Kitchen of Tomorrow” has a very 50′s cartoon-style feel. “Hunt of the Savage” effectively uses fast bongos and surf guitar work with vocals and a Spanish trumpet while the surf stylings of “Genie vs. Genie” are somewhat slower and the Spanish feel is gradually introduced here. “The Awful Green Things From Outer Space,” inspired by the board game of the same name, features plenty of reverb-heavy guitars and electro-spacey sounds that provide a sense of menace and something approaching. “Paraiso” offers a slow neo-exotica feel with its slow drums, animal calls, vibes and
steel guitar work while”The Monkey With The Golden Fez” is a more frenzied track full of bongos and surf guitar work (along with plenty of screeching monkeys). “Exhuming Elizabeth” features a creepy surf guitar and drums and “Tango de los Muertos” lives up to its name with its sinister tango feel. “Magic” utilizes soft, dreamy vocals and great guitar work for a Hawaiian feel, which can also be felt in the Spongebob Squarepants-esque reverb work in “The Girl From Atlantis.” The vibraphone is easily the star of “Beyond Good and Evil” and is nicely complimented by the bongos and guitars. Soft, sad piano work starts off “Catalonia,” but the mood improves as string work enters the picture. Everything about “Jungle Witch” is amazing, from its creepy, guitar-based introduction to the amazing saxophone work (along with the use of mystical-sounding chimes). For the grand finale, “The Toy Store of Tomorrow” offers a Spanish flavored sense of running around, along with trumpets, laughs and a slide whistle!

If their first two major albums focused on a general introduction to their varied styles and exotica respectively, Beyond Good and Evil focuses on their unique guitar stylings. No matter which one you pick up, you’re sure to have a great listening experience. Although their last CD release was in 2006, Clouseaux is anything but inactive. In fact, they have three limited edition vinyl 45s coming out this year. They also have a more overtly horror-related side project, but that’s another story for another time…

Special thanks to Clouseaux for the review copies!

08/29/12

Freaky Tiki Surf-ari: Space Party

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Space Party

Official Myspace
Invasion of the Surfer-Men!, Self-release 2010
Hellfire Halloween, Self-release 2010

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Space Nazis Must Die!

With the scene flooded with so many American horror surf bands, it might be easy to miss the Australian group Space Party at first. Consisting of Alex Plegt on guitar, Kevin Lauro on bass and Darren Atkinson on drums, the band officially formed in 2006. I say “officially” since the two guitarists have been playing surf music together since 2003!

Although they’ve appeared on our podcast several times, my first exposure to Space Party came from their Hellfire Halloween CD. Said disc is a 2010 promotional giveaway for their Hellfire Halloween show at Canberra and features two takes on the Link Wray surf classic “Jack The Ripper.” The first version is by the band King Hits, which is somewhat low key but awesome. It’s sneaky, just like ol’ Jack. In contrast, Space Party’s is a speedier, louder and rougher take with more of an edge.

Focusing more on original compositions, Invasion of the Surfer-Men! starts off strong with “Space Party,” which offers heavy (but classic) surf feel while “Get Surfed” has a lighter feel (but revs up a bit as the song goes along). A creepy film sample about blood-drinking beasts opens “The Creature,” whose heavy, pounding intro (along with the constant screams and evil laughter) makes me think of the Ghastly Ones. That said, Space Party’s own unique sound is still on full display here. “Spanish Song” definitely lives up to its name thanks to its hybrid of Spanish music and Space Party’s heavy reverb. The authoritative opening of “Crime Wave” features lots of drums and guitars which sets up a feel of being on the march. However, this eventually gives way to fast-paced surf guitar goodness. I absolutely love the guitar work in “Gumshoe,” which makes you feel like you’re on the beat tailing a suspect. The reverbtastic “Flight to Mars” conveys the feel of a journey through its super speedy opening and excellent use of percussion. Special guest Glenn Tinsley plays the combo organ on “The Unknown Surfer,” which is put to great use to enhance the sense of mystery. Both the interesting variations in guitar work its mysterious echoes of The Twilight Zone easily make it one of my favorite tracks. Mere words can’t do this justice. “Journey Through the Black Hole” starts off soft ‘n slow, then kicks into high gear and features a lot of great effects work. “Beyond the Surf” ends things perfectly thanks to its mellow and light reverb, which make it feel like the end of a long day at the beach.

Whether you’re looking for something new in surf music or just want to expand your horror surf horizons, Space Party has you covered on both fronts. Do yourself a favor and snap up Invasion of the Surfer-Men! as soon as you can; you won’t regret it. Here’s hoping we’ll be seeing more releases from these guys in the future!

Special thanks to Space Party for use of the image!

08/24/12

Freaky Tiki Surf-ari: 6′+ Episode 37 is up!

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Listen or face the curse of the Tiki!

To quote the description given at the new listing:

“Grab your best floral print shirts and get ready to hit the huts, it’s Freaky Tiki Surf-Ari 2012! Monstermatt Patterson gets mistaken for a coconut during his Monstermatt Minute.

Dr. Gangrene learns how to speak Hawaiian with scream queen, Debbie Rochon. Plus, music by The Creepy Creeps, Hans Karl, Waitiki, The Tikiyaki Orchestra and more!”

Remember to email 6′+ (contact at 6ftplus.com) or leave a comment below about the show, whether you liked it or not. Tell your friends, leave a review on iTunes, but above all – enjoy.

You can find all episodes of 6′+ over at the official site as well as on iTunes and Stitcher . We’re also on Facebook and Twitter.

08/22/12

Freaky Tiki Surf-ari: Haunted Tiki Island

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Boo!

Those of you who read my first article about freaky Tiki-related arts and crafts might remember some links relating to a “Haunted Tiki Island.” However, the subject of those links was so interesting that I thought it deserved its own article. Haunted Tiki Island refers to the theme used by the Haunt at Hellizondo in Simi Valley, California. Thanks to the miracle of the internet, we can watch some slideshow videos from its 2007-2009 setups:

Although the Haunted Tiki Island theme has been since dropped in favor of exploring other ideas, you can still learn more about it on its official blog and its category at the Haunt at Hellizondo website.

Speaking of cool Halloween setups, check out this amazing Halloween party based on the works of Shag! It’s a shame that the official Shag! skull Tiki mugs were Japan-only items, as they would have been PERFECT for this bash.

08/21/12

Freaky Tiki Surf-ari: Mr. Ho’s Orchestrotica

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Mr. Ho’s Orchestrotica

Official Site
Third River Rangoon, Self-released 2011

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There sure are a lot of gingers here...

One cannot discuss Mr. Ho’s Orchestrotica without first discussing Juan García Esquivel. More popularly known as “Esquivel” or “The King of Space Age Pop,” he got his start piano playing for a Mexican radio station when he was only eleven years old! Six years later, he was a popular bandleader in charge of a large orchestra. It wasn’t long before an American record label took notice of this and worked out a deal with him. The timing could not have been more perfect, as stereo recordings had just started to become widely available to consumers. Esquivel took advantage of the format to spectacular effect, especially given his use of big band sound and exotic instrumentation. Although (understandably) known as “The King of Space Age Pop,” he also drew upon Mexican and Latin influences in his music. Esquivel believed that one has to grab the audience’s attention in order to charm him, which meant that he had to seek out a variety of interesting sounds. He likened his work to an artist painting, with music being like his paint.

Although he passed away in 2002, Esquivel’s music still lives on. In addition to the numerous rereleases of his work on CD, he also inspired one Brian O’Neil. Regular readers of the site should recognize him as the original vibraphonist from Waitiki. Mr. Ho’s Orchestrotica is dedicated to keeping Esquivel’s legacy alive by both performing his works and creating original music inspired by him (among other influences). The former is no easy task, given that no written compositions of Esquivel’s are currently known to exist! Although the core membership of the group is four people, they also work with 22 other musicians in order to properly showcase the big band sound of Esquivel’s work. Said core membership consists of:

Brian O’Neil: Vibraphone, pandeiro, bodhran, tammorra, tappan and bird calls
Noriko Terada: Live percussion, marimba (Track #11) and vibes (Track #6)
Geni Skendo: Bass flute and C-flute
Jason Davis: Acoustic bass

The subject of today’s review, Third River Rangoon, was released a year after their debut album, The Unforgettable Sounds of Esquivel in 2010.

According to the liner notes for the subject of today’s review, O’Neil was not a big fan of traditional exotica when he first heard it, but came to love how it lets one “escape” and experience exotic locales. Mr. Ho’s Orchestrotica offers its own unique brand of “third-stream exotica,” which keeps the escapism while also allowing them to seek out musical influences that are different from that of traditional exotica.

The opening track, “Third River Rangoon” uses an incredible array of instruments to create a very soothing, laid back feel with a hint of mystery. The vibe and flute work really shine here. “Thor’s Arrival” plays tribute to Thor Heyerdahl’s famed Kon Tiki expedition by musically conveying both the experience of an explorer arriving in mysterious land and a sense of exploration. As the vibes and percussion blend with bird calls, a mix of both leisure and majesty is also felt. In this strange land, wonders (and not horrors) await. Next is an amazing take on Milt Raskin’s “Maika,” whose flute work, soft chimes and other percussion make for a very relaxing experience. The Orchestrotica’s take on Cal Tjader’s “Colorado Waltz” shakes you out of slumber without being too jarring thanks to its medium pace and amazing vibe work. Their take on Tchaikovsky’s “Arab Dance” brought back many memories of The Nutcracker. It’s a slow, exotic (but faithful) take on classic where both the flute and exotic string work excel. It’s the perfect way to spice up the playlist at your next Christmas party. “Phoenix, Goodbye” features both an unusual instrument in its introduction and equally unusual percussion throughout the rest of the track. It’s unlike anything I’ve ever encountered, and I mean that in a good way.

“Terre Exotique” uses exotic percussion coupled with great string work and vibes to great effect, while “Autumn Digging Dance” features Tev Stevig on the oud. The oud, along with the occasional chimes and cymbals add to its Middle Eastern feel. Listeners of our podcast should recognize “Moai Thief” and its sense of magic and mystery. Its musical variations convey sneaking, while the drums make one think of islanders. Sharp-eared listeners will also note a Dmitri Shostakovich influence. Living in Massachusetts, I have a very special fondness for “Lonesome Aku of Alewife.” Remember back when I commented on how the Ding Dong Devils song “Ballad of a Taboo Image” reminded me of a local event. Well, what I (and this track) are referring to is the closing of the beloved Polynesian restaurant “Aku Aku” in Alewife. I cannot tell you how many times I passed by its rotating sign featuring Moai artwork during my travels through the area over the years. I, like so many others, were distraught upon the news of Aku Aku’s closure. Adding to the distress was the fact that not only were the twin moais at the entrance local icons, but they had been previously rescued from the closing of the Polynesian Village restaurant in Boston! When Jasper White’s Summer Shack moved in, they kept one of the moais and repainted and reworked it into a giant fisherman. The Summer Shack also kept the Buddha statue by the entrance and still has the scorpion bowl on their menu (whose entry mentions Aku Aku by name). In the track itself, the bass and percussion work well with the guiros and vibes, which later transitions to an amazing bass solo. Things close out with “Lyman ’59,” which perfectly captures the essence of Arthur Lyman’s work (especially his work on the Bwana á and Bahia albums. Vibes carry us through a musical journey with dreamy flute work, magical chimes and soft animal calls in distance. In short, a great ending to a great album.

As a special bonus, look for the essay by Brother Cleve (of Combustible Edison fame) hidden under the CD. Speaking of bonuses, you can download the above streaming track (along with some other selections from the album) by clicking here. Enjoy!

Special thanks to Mr. Ho’s Orchestrotica for the review copy!

08/8/12

Freaky Tiki Surf-ari: The Return

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We're baaaack!

The Freaky Tiki Surf-ari is back and I’m really excited about this year’s schedule of events. We’ve got two exotica reviews, two surf rock reviews, a tie-in episode of the podcast and more! On top of that, each music review will have a bonus sample track! I’m also looking forward to showcasing my new, stripped-down take on music reviews. If you go back to my earliest music reviews, it’s painfully obvious that I had no real idea of how to do a music review and tried to fake my way through it by describing as much about the music as possible. While this has its advantages for Music to Haunt By, it’s just a burden to read for everything else. Using my new take on reviewing may take me a little longer to get the review out, but I think the end result will be worth it.

Another reason for my excitement is that I’ve recently solved a mystery that’s been vexing me for quite some time. Back when I was writing the introductory entry for the first Freaky Tiki Surf-ari, I had wanted to note an example of how a jungle exotica album used artwork from a horror movie poster in order to both show the horror/Tiki connection and show that exotica extended beyond its Polynesian origins. However, I had to leave it out due to me being unable to identify the horror movie in question. Thankfully, idly searching for DVDs on Amazon led to me finding the movie in question. Granted, I’m not sure if the tracks from the album in question are truly exotica, but jungle exotica definitely does exist. In fact, I was quite pleasantly surprised to find that some of the exotica tracks I’m reviewing this year contain a mix of both traditional exotica and exotica influenced by other locales (as I had originally intended to discuss using the above example).

Oh, and that’s not the only new connection between exotica and horror that I picked up on this year. Remember how I said the opening of “Bali Ha’i” from South Pacific sounded like something out of a science fiction movie? Well, it turns out my offhand comment for more accurate than I had anticipated, as some horror fans have noted how the first few notes of it sounds very close to the “Bride’s Theme” from Bride of Frankenstein. Freaky Tiki indeed!

To tide you over until the first review, here’s a look back at last year’s Freaky Tiki Surf-ari:

Freaky Tiki Surf-ari: The Return
Freaky Tiki Surf-ari: Go!Tsunami
Freaky Tiki Surf-ari: Ding Dong Devils
Freaky Tiki Surf-ari: 6′+ Episode 11 is Up!
Freaky Tiki Surf-ari: More Arts & Crafts
Freaky Tiki Surf-ari: The Crimson Ghosts
Freaky Tiki Surf-ari: King Kong vs. Godzilla Soundtrack

08/31/11

Freaky Tiki Surf-ari: King Kong vs. Godzilla Soundtrack

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Akira Ikufube

Official Site (Label)
King Kong vs. Godzilla Soundtrack, La-La Land Records 2006 (Original release date: 1962)

Yeah, like we'd be dumb enough to try using a picture of Godzilla without Toho's expressed written consent.

I know this seems like a bizarre way to close out this year’s Freaky Tiki Surf-ari. Truth be told, even I thought the idea that the King Kong vs. Godzilla soundtrack had anything to do with exotica music seemed odd at first. But as strange as it seemed, seeing the phrase “It’s Cocktail Hour at the Godzilla Tiki Bar” at the Amazon listing for the CD definitely caught my interest. Being a big Godzilla fan, I ordered the CD in order to experience it for myself.

I think part of the reason people might find the idea so surprising is due to their only being exposed to the American version of the film. What was originally a humorous commentary on commercialism in Japan was reedited into a serious science fiction movie. One of the casualties was the vast majority of the film’s score, which was replaced with stock music from a variety of Universal films. According to this, these films include Creature from the Black Lagoon, Bend of the River, Untamed Frontier, The Golden Horde, Frankenstein Meets the Wolfman, Man Made Monster and The Monster That Challenged the World. It wasn’t until La-La Land Records issued this CD in 2006 that the original soundtrack had an official release in America. Rather than discuss things like how the film originally started development as “King Kong vs. Frankenstein” or the how Godzilla really doesn’t win in the Japanese version, I’d rather discuss the composer for awhile before reviewing the album itself. Oh, and since this is a soundtrack review, please be warned that the names of the tracks may contain spoilers for the events depicted in the film.

Back when the classic Godzilla films were first hitting American screens, Akira Ifukube was one of the few (if not the only one) people involved in the making of Godzilla movies whose name could be found in American reference books. Ifukube’s love of music began in his youth and he even practiced composing in his spare time after his university studies. He obtained his first taste of international recognition in 1935 for his winning of the Tcherepnin Prize with his composition “Japanese Rhapsody.” His first film score came in 1947, when he composed the score for the movie The End of the Silver Mountains. Many more film scores would follow, including numerous daikaiju films for Toho. In fact, Ifukube was responsible for creating Godzilla’s famous roar and footstep sound effects! Although he is sadly no longer with us (he passed away in 2006 from multiple organ dysfunction syndrome), his music and legacy live on.

Powerful music and native chanting make up the “Main Title” while “Series of World Wonders” is an extremely brief vibraphone-style opening theme. Those who have seen the American version of the film might remember a shot of a less than realistic model of the planet Earth floating in space. In the original Japanese version, this was part of a gag involving the opening of the above-mentioned fictional television series. However, the footage revealing the joke was removed from the US cut of the film and led to many reviewers citing the scene as an example of “cheesy special effects.” In the first of many combo tracks, “The Sparkling Iceberg/Pashin Commercial” starts off very soft (with a touch of creepiness) and builds up, while cymbals and percussion lead to the commercial tune. The Lymanesque “Fujita & Fumiko” is a fantastic jazzy piano tune with soft saxophone work and what seems to be a touch of vibe work. “The Seahawk in Crisis/Great News Gathering Team Departure” starts with a buildup of suspenseful music with touches of the classic Godzilla theme while bass drums give a sense of power. This contrasts with the next song’s cheerful tuba march music. “The Seahawk’s S.O.S.” is appropriately dark and mournful, with eerie touches that would fit in well inside The Twilight Zone. In the quick “Faro Island,” drums and soft wind instruments convey a tropical feel. In the similarly quick “The Natives” features a soft, slow build up on the gong and chorus of native voices. “Southern Island Tale” is a jaunty, jazzy tune with pianos and playful female Japanese vocals.

“Thunder and the Devil/Fumiko’s Misgivings” opens with pounding and chanting that is similar to (but distinctly different from) the opening track. However, things slow down and soft drums take over for the Fumiko part. “Godzilla’s Resurrection” is pure power and terror in audio form. In other words, it’s the Godzilla theme that all G-fans know and love. “The Cry of the Devil/A Prayer to the Rolling Thunder” opens with soft (but stern) drums and the occasional use of horns. Both parts blend very well into each other. In “The Devil of the South Seas/Drums of Battle/Giant Octopus vs. King Kong,” things pick up in terms of both volume and feel, as terror and unease enter the picture. Native drums quickly build up and vanish as we enter next portion. It may surprise some to learn that the octopus was realized through a combination of puppetry, stop motion animation and use of live octopuses on miniature sets. In fact, one of them wound up as special effects director Eiji Tsuburaya’s dinner! In “The Sleeping Devil,” soft drums and familiar chanting are used to lull the giant ape to sleep. In “The Terror of Godzilla,” the classic Godzilla theme returns and in “The Invincible King Kong/Preparation for Operation ‘Burial,’” more unease and a sense of regality are heard. “King Kong vs. Godzilla I” has a soft opening buildup which quickly builds in both power and intensity. There are also echoes of the native chanting in terms of overall feel and not actual usage of said chanting. It’s hard to explain, but you’ll know what I mean when you hear it. “Preparations for Operation ‘One Million Volts’” is serious and militaristic while “Operation ‘Burial’” is suspenseful and owes much to the Godzilla theme, as does “Operation “Burial” Fails” and “Operation “One Million Volts” I.” In sharp contrast, “Operation “One Million Volts” II” features soft drums and more of the unease/King Kong feel. “Kong Shows Up in Tokyo” builds upon the themes set by last track and also incorporates vibe-like touches. While “The Plan to Rescue Fumiko I” features drums and soft native chanting, “The Plan to Rescue Fumiko II” use of chanting and drums is more energetic and even a touch militaristic. The busy “The Plan to Transport King Kong” coveys a military-style sense of purpose and action thanks to its use of drums and horns. The creepy opening drums of “King Kong Advances on Fuji” creates the sense of a gigantic monster approaching. “The Confrontation at Fuji” offers a fusion of styles: native chanting playing under a military march/Godzilla theme variation. Similarly, “King Kong’s Resurrection” combines Toho’s King Kong theme and native drums. “King Kong vs. Godzilla II” is frantic and fast-paced battle theme while “Ending” has a soft opening that builds up to big farewell. In the first of two bonus tracks, “Main Title (mono)” provides exactly what the name implies. “Main Title (a cappella)” is a drum-free version of opening. I should stress that this is an all new version of the opening theme and is not just the opening with instruments stripped out. It’s fascinating to hear only native chanting without any backing instruments, along with the new touches which seem to have been thrown in.

Although not of the all is exotica-related, there is enough of it to interest fans of the genre. If you’re looking for a present for the Tiki fan who has everything, this is the perfect choice. Japanese monster movie fans will appreciate the detailed liner notes by David Hirsch, which cover both the making of the film and provides details about each track on the album. Even if you are not an exotica fan, this is an amazing album that demonstrates how Akira Ikufube is a true master of his craft. Just be sure not to dawdle, because it’s now out of print and the price is rising fast!

08/30/11

Freaky Tiki Surf-ari: The Crimson Ghosts

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The Crimson Ghosts

Official Myspace
Earth EP, Necro-Tone Records 2009

I love how happy the creature on the bottom left is.

One cannot discuss the Crimson Ghosts without first discussing the Misfits. Formed by Gleen Danzig in 1977, the punk band has gone through many changes since its humble beginnings in Lodi, New Jersey. Although their name came from a Marilyn Monroe film, the band’s image quickly became linked to horror due to both an increased focus on horror-themed material and their adopting the villain The Crimson Ghost from the classic serial of the same name as their mascot. Despite numerous lineup changes and the band breaking up in the 80′s, the steady stream of “posthumous” releases and big name fans in the music world, kept their name out there and boosted their popularity to new heights. In fact, the band reformed (sans Danzig) in the late 90′s and are still touring to this day. Naturally, the band has prompted numerous song covers and tribute acts.

The Crimson Ghosts formed in 1999 with the idea “what would of happened if horror punk legends The Misfits were formed in 1962?” The result is a combination of Misfits classics and Ventures-style surf rock. Although this release’s name and cover art are a play on the Misfits’ Earth A.D./Wolfs Blood album, it consists of instrumental interpretations of tracks from Static Age, Horror Business, Walk Among Us, Evilive and Die Die My Darling. I must confess that I have only heard a few Misfits songs, so I will mainly be judging the following as surf songs rather than how well they work as reinterpretations.

Things kick off with “London Dungeon,” which takes its name from the (in)famous British spooky museum/haunted attraction. As this track will show you, the band’s Ventures comparisons are well earned. It’s peppy, but still has a spooky undercurrent. While “Return of the Fly” has a creepy opening, the rest of the song is rocking. Well, rocking but somewhat mournful. Despite my admitted lack of experience with the Misfits’ music, I could tell this was definitely a Misfits tune. It’s hard for me to describe, it just has the right feel. In the energetic “Horror Hotel,” named after a British horror film, punk and surf make beautiful babies. “Teenagers From Mars” has a somewhat heavier intro than preceding track, but the rest is fast ‘n light. The Crimson Ghosts’ surf take on the song shows just how well they are able to make Misfits tunes their own. Guitars and drums really shine in the unfortunately-named “Children in Heat,” which has a classic-sounding surf outro. The
hard and fast reverb rock of “20 Eyes” reminds me why I love surf music. “Night of the Living Dead” starts out with a heavy-sounding intro and quickly moves into pounding beats with light reverb touches. “Vampira” is damn fine tribute to the mother of all horror hosts, with a great buildup towards the end. In “Die Die My Darling,” named for the classic Hammer film, classic surf touches abound (although its punk origins shine through). It seems that the notes themselves seem to symbolize the titular phrase. It ends with a great fadeout to a great song (and album).

Do you like the Misfits? Do you like surf? Then you’ll love the Crimson Ghosts! Given the release’s low price and excellent selection of music, Earth EP is the perfect way for curious potential fans to see whether or not they want to purchase any of the Crimson Ghosts’ other albums. In my case, it also convinced me to finally get into the Misfits more. Come to think of it, this ties in perfectly with the use of EPs in the world of punk music…

Special thanks to The Crimson Ghosts for use of the image!

08/24/11

Freaky Tiki Surf-ari: More Arts & Crafts

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The Hieratic Head of Ezra Pound doesn't have anything on us!

Seeing as how last year’s article about making your own Tiki stuff turned out so well, I thought I would revisit the subject this year.

If the wooden Tiki idol how-to from last year was not to your satisfaction, then perhaps you should try this article about making a cement Tiki garden idol.

What better way to spice up your Tiki bar than to build this nifty model of Thor Heyerdahl’s famous Kon-Tiki raft? If woodworking isn’t your thing, perhaps this papercraft Kon-Tiki replica would be more to your liking. Speaking of papercraft goodies, what Tiki bar would be complete without a dancing hula girl?

For something that’s potentially freakier, read up on making Tiki heads and designing Tiki pendants. The book that has the Tiki pendant instructions also has a perfect activity for those who are listening along to the music mentioned here: Drawing to island music.

Lighting is an essential part of any Tiki set-up, from the dim (but inviting) lamps to the red glowing eyes behind Tiki masks (accomplished by using a red Christmas lightbulb in a nightlight positioned a safe distance behind the mask). Go here to learn how to make your own hurricane lamps and Tiki votive candle holders. Do you want fire in your Tiki bar? Be both safe (and smart) by using one of the many fake flame tutorials available at the Monster Page of Halloween Project Links. Also of interest is this article, which lists types of wood that glow certain colors under a blacklight without needing any UV-reactive paint. It’s the perfect way to make your Tiki stuff extra freaky.

Searching Amazon yielded several mask-making kits that can be used to create Tiki decor, along with a special mold for making concrete Moais you can use to turn any yard into Easter Island. But if you’re going to go on Amazon to order stuff, you might as well go whole hog and choose from the various masks, idols, and other Tiki essentials that are already made. While we’re on Amazon, I should note how I think this educational “Moon in My Room” toy would work great in both Tiki set-ups and home haunts.

While searching for the above tutorials, I also found some instructions on making musical instruments. While only a few would look good hanging around a Tiki bar, all could be of use for anyone who wants to try their hand a making their own exotica tunes. This article shows how to make a candolin and a bottle xylophone and the very next page of the same magazine shows how to make a boom-whacker and quick ‘n dirty castanets. Although the directions given here are for a “toy” ukelele, I’d imagine that scaling up the plans would result in a serviceable standard ukelele. Finally, you can learn how to make a homemade glockenspiel, triangle, drum, and cymbals here.

For more Tiki decor goodness, be sure to visit the list of Tiki bar ideas over at the amazing TikiBarPlans.org!

As noted in previous “How-To” posts, Gravedigger’s Local 16 is not to be held responsible for the content on or anything that may occur (be it good or bad) as a result of visiting any links on those sites (or constructing a project that’s detailed on them and downloading anything from them). Attempt at your own risk.

08/18/11

Freaky Tiki Surf-ari: Ding Dong Devils

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Ding Dong Devils

Official Myspace
Tassels, Mai-Tais & Mischief, Tiki Tunes Records 2010

Nice...artwork,

Based out of Los Angeles, the Ding Dong Devils are not your average exotica band. In addition to the obvious exotica and surf influences, the band also draws inspiration from “fuzzy 60’s garage rock, amped-up rockabilly, tremolo-laden surf, and even the greasy bump and grind music that was used to accompany burlesque performers.” Their seamless changing from style to style in each song seem just as playful as the band itself. Speaking of which, the Ding Dong Devils feature:

Edwin Letcher as Rama Lama – vocals, guitar, ukelele and xylophone
Julia Devine as Nepheria – vocals, bass and upright bass
Brent Walker as Caltiki – vocals, guitar, steel guitar and mandolin
Rosann Simeroth as Puka von Pule – vocals, drums and percussion

While Tassels, Mai-Tais & Mischief is their debut album, that’s not the only reason why it’s special. Guest musician Dave Klein was brought in to lend his expertise on keyboards, bongos and percussion while noted artist (and Tiki mug maestro) Derek Yaniger was tapped to provide the cover art. But what of the music itself? Let’s find out!

Things kick off with the jaunty steel guitar and bongos of “Ding Dong Devils Theme I.” It’s a short, humorous piece used to start up their shows. “Jungle Doctor” has a heavier sound with plenty of rockin’ guitars. Despite what the title might have you think, the song’s subject matter is not a witch doctor. Instead, it’s who you see out if you had two many Mai Tais or headhunters have you in a stew. I enjoyed the punchline at the end. “Rob Roy” opens with the sounds of bar chatter and we soon hear a man trying (but failing) to get the bartender to make the titular drink. The overall feel of the song is that you’re overhearing conversations in a bar as a band plays in the background. In “Ballad of a Taboo Image,” a wooden idol sings of being transplanted from an island tribe to Polynesian restaurant. As the catchy tune continues, we hear of the further trials and tribulations of the transplanted Tiki. If it wasn’t for the ending, I would swear this song was based on the story of a Tiki restaurant turned seafood joint in my neck of the woods. The instrumental (save for the spoken refrain) “Tassel Hassle” wonderfully uses a steel guitar to musically conjure up exactly the sort of thing the title implies. Although the name “Theme from ‘Belly Dancers of Bali Bali’” might make you think of a movie theme, this is a completely original composition by the band. That said, it would definitely make a great introduction to a film, as drums start things off and soon give way to both a reverbtastic steel guitar and a wild chant of the title by the band members.

The percussion and keyboards evoke a spooky feel in “Leopard Man,” as do varying vocals which describe the villainous subject of the song. In fact, the whole band gets in on the action when it comes to warning us of the Leopard Man, who seems more like a super villain than a member of the Leopard Society to me. “Sufferin’ Bastard,” a tribute to (and history of) the drink of the same name, has a rock feel. If you thought mummies would get a mention due to the drink’s origins in Cairo, you’re right! Soft percussion, guiros and a steel guitar set the mood for “Mai Tais in the Moonlight,” where a couple sing of a tasty Polynesian picnic in the moonlight, along with how each drink effects the woman. “I Carry a Tiki Torch,” in which a lovestruck singer demonstrates how not to pick up someone you fancy at a bar (Tiki or otherwise), has the feel of a subdued B-52′s song with a tropical touch. In sharp contrast, “Head Shrinker” is much darker, (well, as dark as the Devils can get) where drums and chanting back several people commenting on a shrunken head. I never thought roast pork would make a good multi-faceted metaphor for love, but the fast, rockabilly tune that is “(You Got Me) Stuck like a Luau Pig” showed me otherwise. Guiros (an exotica standard) make an appearance in “Tiki Boots” among the soft ‘n slow percussion and guitar work. The closing of Tiki bars and their subsequent replacement with more “mainstream” establishments is all too common these days. “False Idols Put a Curse on You” uses organ work, percussion and guitars to weave a tale of the terrible fate suffered by those who try to just that, something I imagine many a Tiki enthusiast secretly wishes for in their darkest moments. “Brontosaurus Stomp” is an excellent cover of the Piltdown Men’s classic ditty, in which drums filling in for the footfalls of a dancing dinosaur. Finally, “Ding Dong Devils Theme II” closes out the album (and this review) out with a continuation of the opening track.

My advice to hardcore Tiki enthusiasts is to think of the group as the musical equivalent of American-made “Polynesian” creations like crab rangoons and rumaki: not technically exotica in the strictest sense, but is still inspired by it (and still wonderful). Unlike the subject of my previous installment in the Freaky Tiki Surf-ari, Tassels, Mai-Tais & Mischief is a factory-pressed CD release. They “put the hula in your hula hoop” and “strum ukeleles until their fingers hurt”…they’re the Ding Dong Devils!

Special thanks to the Ding Dong Devils for the review copy!

08/12/11

Freaky Tiki Surf-ari: The Return

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Moai zowie!

That’s right…the Freaky Tiki Surf-ari is back and better than ever! We even have a logo this time around! We’re still going to take a look at the connections between Tiki culture, surf music and horror while not being quite as…overwhelming as last year’s installment. Weird Jon has also been fine-tuning his music reviewing style for maintaining the same in-depth coverage without having quite the same length of last year’s work. Those new to the Freaky Tiki Surf-ari should definitely look at the previous incarnation:

The Sound of Tiki
Strange But Surf
Arthur Lyman
Witches in Bikinis
Waitiki
The Waitiki 7
Shag! and The Art Of Tiki
Daikaiju
Kava Kon
Arts & Crafts
The Moon-Rays
Chaino (NSFW cover art)
The Mission Creeps
Stereophonic Space Sound Unlimited
Man Or Astro-Man?
Robert Drasnin
The Surf Zombies
Don Tiki
Satan’s Pilgrims
The Ghastly Ones

That ought to tide you over until the new reviews are posted. As an added bonus, we have a special tie-in episode scheduled for our “6′+ (Six Foot Plus)” podcast! If all goes according to plan, it will have a fine mix of exotica and surf music taken from musicians covered last year, this year, and even some artists we hope to cover in the future. Keep your eyes here (or at either of our Facebook pages) for more details.

In the meantime, you can have fun listening to past episodes, where you’ll find at least one surf or exotica track per episode. Our most recent episode, “Aloha Luau Aloha” should be of definite interest to all who are reading this.