![]() ![]() With the advent of stereophonic technology, artists such as Esquivel used spatial audio techniques to full effect, creating whooshing sounds with his orchestra.ĪllMusic describes lounge as less "adventurous" than exotica or space age pop, but not as "watered-down" as Muzak. Another genre, space age pop, mimicked space age sound effects of the time and reflected the public interest in space exploration. Many of these recordings were portrayed as originating in exotic foreign lands, but in truth were recorded in Hollywood recording studios by veteran session musicians. Such music could have some instruments exaggerated (e.g., a Polynesian song might have an exotic percussion arrangement using bongos, and vocalists imitating wild animals). It combined music that was popular outside the United States, such as various Latin genres (e.g., bossa nova, cha-cha-cha, mambo as in Cal Tjader's fine Latin jazz efforts), polynesian, French, etc. Exotica from such artists as Les Baxter, Martin Denny and Arthur Lyman sold millions of records during its heyday. While rock and roll was generally influenced by blues and country, lounge music was derived from jazz and other musical elements borrowed from traditions around the world. The term "lounge" does not appear in textual documentation of the period, such as Billboard magazine or long playing album covers, but has been retroactively applied. The earliest type of lounge music appeared during the 1920s and 1930s, and was known as light music.Įxotica, space age pop, and some forms of easy listening music popular during the 1950s and 1960s are now broadly termed "lounge". The range of lounge music encompasses beautiful music-influenced instrumentals, modern electronica (with chillout, and downtempo influences), while remaining thematically focused on its retro- space age cultural elements. ![]() It may be meant to evoke in the listeners the feeling of being in a place, usually with a tranquil theme, such as a jungle, an island paradise or outer space. All rights reserved.Lounge music is a type of easy listening music popular in the 1950s and 1960s. The Mancini Number Peter Gunn, Moon River, Days of Wine & Roses, Baby Elephant Walk, Mr. The Leroy Anderson Number Blue Tango, Fiddle-Faddle, The Syncopated Clock, Plink, Plank, Plunk! The Lecuona Song The Breeze and I, Jungle Drums, Malaguena, Siboney, Taboo, Babalu The Juan Tizol/Duke Ellington Song Caravan, Perdido The R & B Number Harlem Nocturne, Night Train The Sea Song Ebb Tide, Beyond the Sea, Red Sails in the Sunset, Harbor Lights The American Film Theme Moonglow/Theme from "Picnic", Theme from "Exodus," Theme from "A Summer Place," High Noon, Theme from "The High and the Mighty" The Foreign Film Theme The Third Man Theme, Never on Sunday, Anna, More ![]() The Classical Kitsch Song Baubles, Bangles, and Beads, Stranger in Paradise, In the Hall of the Mountain King, Sabre Dance, Full Moon and Empty Arms The European Cover Song Autumn Leaves, Cherry Pink and Apple Blossom White, April in Portugal, The Poor People of Paris, Lisbon Antigua The Latin Number La Cucaracha, The Peanut Vendor, Perfidia The Brazilian Number Tico Tico, Brazil,Baia The Jungle Number Quiet Village, Moon of Manakoora The Near Eastern Number Misirlou, In a Persian Market, Calcutta, Istanbul The Hawaiian Number Hawaiian War Chant, Hawaiian Wedding Song In addition, you'll find a listing of numerous covers of many of these tunes for handy reference the next time you're in the mood to listen to 25 different versions of "The Third Man Theme" in a row! I've lumped them into arbitrary categories and suggested the leading examples of each. These pages provide some background on who wrote some of the more prominent standards and when. These tunes are the standards of space age pop music-the benchmarks, if you will, by which arranging and instrumental virtuousity and invention can be measured. One thing you notice quickly when you start collecting exotica and space age pop music is the astonsihing frequency with which certain songs were covered. ![]()
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