Hindi film music collected wonderfully by Outcaste, a label which has faultlessly put together a handful of truly great compilations of India's filmi music. This CD states "This is mainstream Hindi film music over the last four decades in all its glory, a perfect starting point for newcomers and aficionados alike". At seventy six minutes, they are giving us great value along with great cuts. The packaging on this comp is somewhat plain, and I really didn't expect that this would be as good as it is, visual shopper that I am. I think many of the 'Bollywood' comps so far have gone for the more outrageous almost novelty cuts. This comp just sends it straight out to quality land with no side trips. Dil Se's "Chaiya Chaiya" is a very cool cut, as is Khal Nayak's "Choli Ke Peeche". "Tu Cheez Badi Hai Mast" by Mohra has some incredible vocal scats and structure. Qurbani's "Aap Jaisa Koi" reminds me of an Indian version of Madonna. Sirf Tum's "Dilbar" has a beat that won't quit and stuff coming out of the woodwork everywhere.

Faves: 2,4,11,13,14

Draco are Tokyo-based Duo made up of Mima and Naoki Morimoto. 'If You Want To: Mek It' is the single from Draco's debut album 'Enter Draco' on Slabco. This Japanese duo nicely merge funky beats and with pop guitars and vocals. But, 'If You Want to Meke It' is a bit too popish, even for me. The bouncy guitar riffs and beats are accompanied by Mima's beautiful child-like vocals, but the lyrics, sung in English, are way too sugar-coated. The entire song seems as if it was produced for top-40 mass consumption. The B-side, however, 'That Champion Version,' has much more substance. Draco's soulful beats, tasteful electronics, and pop sensibilities help to produce a more dynamic track with looping tracks that contains a set of irresistible grooves.

FAV: B.

The Ex created a special project whereby they were accompanied by a 20 piece orchestra led by Hamish McKeich. This CD was recorded live at the Holland Festival 2000. It is a really great Ex record. There are versions of songs you will know, only this time sung in Dutch ("State Of Shock" is now "Kokend Asfalt"). Here in Boston USA there was a band named Jumbo. It consisted of people who mostly played in Boston bands, playing brass and woodwind instruments they hadn't (for the maost part) played since high school, or in Fire House marching bands for parades. The music Jumbo created (playing mostly Sousa marches) was dissonant due to the players charming lack of skill. The music on this CD is dissonant, but due to no lack of skill - on the contrary, each person appears to be in full control of the cacophony they are creating for the honor of their friends from the Dutch institution, The Ex.

Orange Bicycle were a little known flower pop band from England in the late 60s. They started out as The Robb Storme Group before they changed a few members and livened up their image to be Orange Bicycle. They released six singles, then finally an LP well after their peak had been reached. I was surprised to find that I really enjoyed 18 of the 33 songs spread between this two CD set. The Beach Boys styled "Dropping Out", Mamas and Papas styled "LA", and "Early Pearly Morning" have been going through my head for days. They are each songs you've got to check out, particularly "LA", my fave of the set. Orange Bicycle were not very well known, but definitely could rank as one of the stronger British harmony pop groups of the psychedelic era. They remind me of the band Tomorrow, with more harmonies.

Faves: CD1: 1,2,7,9,11,14,15,16 /CD2: 1,2,3,4,9,10,11,14,15,16

A collection of unreleased dubs from the first sessions that Sly and Robbie (Sly Dunbar: drums and Robbie Shakespeare: bass) did together, produced by Bunny Wailer. These 14 cuts were recorded in the early 70s at the Maxfield Ave. Kingston Jamaica studio 'Channel One'. This is the third release on this new label. The first 2 discs were King Tubby and Augustus Pablo collections. My favorite songs on this disc have a really cool sharp drum sound with accents straight in your face and an almost indistinctive bass sound just rolling on the bottom level of frequencies like peanut butter in a sine wave. Faves: 2,6,10,12,13

A compilation of 20 somewhat native traditional (or at least crazy takes on youth music) songs from Hong Kong, Korea, Malaysia, Singapore, and Japan. I enjoy this disc because it is unlike any other CD I have heard. All of the Bollywood CDs are offbeat, but you can hear them used by bands such as DJ Me, DJ You. THESE tracks are out there on their own, at least to my ears. Highlights? I like Chang Loo's (Malaysia) "At Three Springtime". Her voice reminds me of Glinda and the Munchkins in the Wizard Of Oz song "Come Out, Come Out, Wherever You Are" in a rock setting, with a bridge that touches the TV theme to 'Batman'. Chang Siao Ying's (Singapore) "I Miss You Forever" has background vocals like "The Good, The Bad, and the Ugly" (Ooh, Aah). Her other song on the disc "Come Back to Me" is another great rock track that has a hint of familiarity in it's otherworldness. Finally, Thu Su Yung's (Hong Kong) 2 songs thrill me. "You Can Be Anything In Life" has a cool Farfisa and whistling, along with her France Gall styled voice. "What A Sound" continues the France Gall running from Serge in Hong Kong sound. There are lots of other less rock oriented treats to uncover on this comp, yours for the exploring with an inquisitive ear.

Faves: 5,6,10,12,15

In the mid-70s Curt Boettcher recorded these songs remembered from youth with many of his (now famous) friends from the LA area. This was all long after Curt fronted The Millennium (considered by many to be the finest sunshine pop band ever), when disco was emerging. Curt brought his harmony rich sound into latin beats and even some disco 4/4 action. Many of the harmonies sound like Queen, who were influenced by him, even covering one of the same songs as on this disc, "I Can Hear Music." Curt's voice was very high pitched, reminding me of Poco or The Eagles, or (heading Las Vegas way) even Chris Montez. Undoubtedly Michael Quercio of the LA band The Three O'Clock was listening to Curt Boettcher as he developed his singing style. One of my favorite tracks is "Happy In Hollywood", a tale of an aspiring musician that lyrically reminds me of the Bad Company song "Shooting Star", to cite another 70s band. I also like both of the Caribbean well known songs "Banana Boat Song (Day-O)" and "Iko Iko". The Phil Spector song "I Can Hear Music" and the Curt Boettcher original "We Can, Yes We Can" complete my list of faves. This record sounds very square, but will be appreciated by any pop fans who aren't afraid of appearing uncool in front of musical Fonzies.

Faves: 2,6,7,10,15

My favorite of all the Outcaste releases so far. I always get a little scared of the "J" word (jazz), but this disc is a complete treat. It collects Indian and non-Indian composers who have created jazzy pieces influenced by the mish-mash conglomerate of styles of Hindi film music. Georges Garvarenz's "Haschish Party" reminds me of the "Mini Pops" song from the 'Popshopping' compilation. Dave Mackay & Vicky Hamilton's "Blues For Hari" sounds like The Free Design or Poland's Novi Singers with it's smooth vocal harmonies. The Lalo Schifrin track "Secret Code" reminds me a bit of one of the passages in Roy Budds 'Get Carter' soundtrack. Shankar Family & Friend's "Dispute & Violence" uses the studio quite well to create some really cool sounds. Grupo Batuque's "Tabla Samba" is just a percussion and bass cut that brings the hand struck drums right out front in the mix. Much of this CD has the feel that the best Tummy Touch releases strive for. A Latin beat and a smooth feel bathed in suave. Not a single cut is a 'must skip' dog.

Faves: 3,4,7,8,11

System F is Ferry Corsten. Marc Almond (Soft Cell) enlisted him to do music for his latest single, a track that could be Soft Cell or even Dead Or Alive. It is a killer cut, filled with the sound of 80's between the Giorgio Moroder styled synth, the 4/4/ dancebeat, and Marc Almond's recognizable voice. The A-side is "The Hacker Mix", from the guy who sometimes works with Miss Kittin as 'Miss Kittin, who sang on Felix Da Housecat's latest single. The Hacker Mix is my fave of the 2 mixes, and the most vocal oriented. It sounds very 'up front' next to the mix on the B-side. On the flip is the Electrochemie LK Mix. It has a darker feel than The Hacker mix, and a bit less energy to tap from.

In his book _Elevator Music_ (essential reading!), Joseph Lanza coins the term "Metarock." While he never gives a simple definition, metarock is, in a nutshell, EZ listening with elements of rock and roll -- usually traditionally "rock" instruments. To my ears, the most common indicator of metarock is the incorporation of the rock "drum kit" and/or the electric bass. For the most part, metarock songs were covers of established pop tunes done for the Muzak crowd. I'm not sure if the aim was to attract younger listeners to the "beautiful music" format by making it seem more hip, or to allow those already listening to feel more "with it" than they really were. Whatever the reason, metarock appears to have not survived the '80s, if even the '70s (late '60s to mid-'70s was metarock at its prime). With the EZ listening format (unfortunately) dead, its plug pulled by Newage (rhymes with "sewage"), "adult contemporary" and "lite rock" (I've even heard the term "lite *classic* rock"), the odds of hearing a new album of this type of music is about as close to zero as possible.

In 1969 and into 1970, early Brian Wilson collaborator Gary Usher recorded an album of instrumental versions of mostly post-'65 Beach Boys tunes, including four tracks from the Pet Sounds album and a Smiley Smile suite of sorts. Scheduled for release in 1970, those plans fell through and it has remained unreleased until now.
A gorgeously arranged album, complete with lush strings (courtesy of members of the L.A. Symphony), a little bit of piano, some flute (disappointingly, only on a few tracks), lotsa harpsichord, cornet (I believe), miscellaneous percussion, plus drums and electric bass (actually, I think the bass is the only non-acoustic instrument on the album). Some of the session players on the record (members of L.A.'s world-famous Wrecking Crew) also played on the original Beach Boys versions of these songs.

The beauty of this CD is that since most EZ-listening and metarock isn't "funny" or camp or kitsch enough to be considered "lounge" the best albums of the genre remain available only on the original vinyl artifacts.
I only wish that he had pushed just a teensy bit more into Martin Denny territory on his version of the title track from "Pet Sounds" (bird calls would have been *perfect*!). Also, I feel that changing the rhythm of "In My Room" ruined one of the prettiest songs ever. That may sound a bit harsh, but a man's entitled to his opinion, and I'm standing by mine.

To be honest, I don't quite see how tracks from this album would fit in the ZBC Rock format, though I'm interested to hear it attempted. If nothing else, it makes for stellar talkover music.