Uploaded October 2014 | Updated September 2026, 1 hour ago
History of Sound Recording ♪♪♪ Year = 1877
In 1877 Charles Cros suggested that the process (see previous post) could be reversed by using photoengraving to convert the traced line into a groove that would guide the stylus, causing the original stylus vibrations to be recreated, passed on to the linked diaphragm, and sent back into the air as sound. An invention from America soon eclipsed this idea, and it was not until 1887 that yet another inventor, Emile Berliner, actually photoengraved a phonautograph recording into metal and played it back.
LES BAXTER
Les Baxter is the leading figure in the history of exotica. Wherever exotica went, Les Baxter was there, often leading the way. His work for Capitol Records in the 1950s introduced most of the major movements in exotica. His 1950 album, "Music Out of the Moon," featured the theremin and was probably the best-selling theremin album of all time--and also founded the "space" school of exotica. In 1951, he did the same for the "jungle" school of exotica with his landmark "Ritual of the Savage" LP, for which he wrote the theme song of exotica: "Quiet Village." He crested the European cover wave with his only number one hit, "Poor People of Paris," in 1956. He produced and wrote most of the first album by the four-octave Peruvian songstress, Yma Sumac, "Voice of the Xtabay" (I've always wondered if "Xtabay" was pig Latin for "Baxter"). And he can be credited with anticipating the percussion school with his all-drums album, "Skins! Bongo Party with Les Baxter."
Baxter started performing in his teens as a concert pianist. He studied music formally at the Detroit Conservatory of Music and Pepperdine College. He worked as a tenor sax player, and then as a singer eventually getting hired as a member of the Mel-Tones, a harmony group formed by Mel Torme around 1947. Baxter quit to work for NBC Radio as a one of a vocal quartet that sang on Pepsodent commercials on Bob Hope's radio show. He began arranging and ended up as musical director for Bob Hope and, later, Abbott and Costello. He continued with occasional vocal work as late as 1952, when he was in the back-up quartet on Frank DeVol's hit, "Love Letters in the Sand." His first album, "Music Out of the Moon," featured a choir, one cello, one French horn, a rhythm section, and a theremin. At Capitol Records, where he primarily worked writing arrangements and conducting the orchestra on recording sessions for such singers as Frank Sinatra and Bob Eberle. He provided the arrangement for Nat King Cole's best-selling recording of Eden Ahbez's utopian tune, "Nature Boy," performed by Frank DeVol and a studio orchestra, and arranged and performed with Cole on other hits such as "Mona Lisa." He also arranged and conducted on a series of LPs released under the name of dance studio entrepeneur Arthur Murray.
Like a number of Capitol's house arrangers, Baxter was able to record his own arrangements and, often, composition. Some arrangers didn't put much energy into such recordings, but Baxter clearly found them vital creative outlets and experimented with a variety of themes, musical devices, and genres. Of these, his "Ritual of the Savage" has become a classic in its own right, a musical travelogue accompanied by recorded jungle noises and bird calls that later inspired Martin Denny, Arthur Lyman, and others.
Baxter recorded for Capitol until 1962, when he began to focus on film scores, particularly for Roger Corman's American International studio. Feature scoring credits include "The Pit and the Pendulum," "Beach Blanket Bingo," "Operation Bikini," and many other now cult-favorite B-grade movies.
Baxter also worked in radio and television. He was the music arranger for the Bob Hope and Abbott & Costello radio shows and wrote and arranged for such TV shows as "Cliffhangers," "The Milton Berle Show," "The Tycoon" and "The Gumby Special." He briefly hosted his own variety show in southern California. He also dabbled in acting, appearing in "College Capers" (1954) and "Untamed Youth" (1957) with Mamie Van Doren and Eddie Cochran.
SHE LETS HER HAIR DOWN (EARLY IN THE MORNING)
The song was a moderate hit for The Tokens and for Gene Pitney in the sixties. It became a kind of "cult hit" in the seventies, when an instrumental version of the song was used in a TV commercial for hairstyling products.
MHO
Les Baxter presents a playful arrangement of this sixties theme song that conquered the world in the seventies, thanks to an orchestral version that was used at the time in a TV commercial.
Mr Baxter, best known for his "exotica projects", definitely wrote creative and innovative arrangements - so it was not surprising that many orchestras hired him to do arrangements for them.
Here, the 101 Strings were looking for "a new elan" in the early 70s and.... they sure "hit the spot" with someone like Les Baxter at the controls.... Enjoy !
History of Sound Recording ♪♪♪ Year = 1877
In 1877 Charles Cros suggested that the process (see previous post) could be reversed by using photoengraving to convert the traced line into a groove that would guide the stylus, causing the original stylus vibrations to be recreated, passed on to the linked diaphragm, and sent back into the air as sound. An invention from America soon eclipsed this idea, and it was not until 1887 that yet another inventor, Emile Berliner, actually photoengraved a phonautograph recording into metal and played it back.
LES BAXTER
Les Baxter is the leading figure in the history of exotica. Wherever exotica went, Les Baxter was there, often leading the way. His work for Capitol Records in the 1950s introduced most of the major movements in exotica. His 1950 album, "Music Out of the Moon," featured the theremin and was probably the best-selling theremin album of all time--and also founded the "space" school of exotica. In 1951, he did the same for the "jungle" school of exotica with his landmark "Ritual of the Savage" LP, for which he wrote the theme song of exotica: "Quiet Village." He crested the European cover wave with his only number one hit, "Poor People of Paris," in 1956. He produced and wrote most of the first album by the four-octave Peruvian songstress, Yma Sumac, "Voice of the Xtabay" (I've always wondered if "Xtabay" was pig Latin for "Baxter"). And he can be credited with anticipating the percussion school with his all-drums album, "Skins! Bongo Party with Les Baxter."
Baxter started performing in his teens as a concert pianist. He studied music formally at the Detroit Conservatory of Music and Pepperdine College. He worked as a tenor sax player, and then as a singer eventually getting hired as a member of the Mel-Tones, a harmony group formed by Mel Torme around 1947. Baxter quit to work for NBC Radio as a one of a vocal quartet that sang on Pepsodent commercials on Bob Hope's radio show. He began arranging and ended up as musical director for Bob Hope and, later, Abbott and Costello. He continued with occasional vocal work as late as 1952, when he was in the back-up quartet on Frank DeVol's hit, "Love Letters in the Sand." His first album, "Music Out of the Moon," featured a choir, one cello, one French horn, a rhythm section, and a theremin. At Capitol Records, where he primarily worked writing arrangements and conducting the orchestra on recording sessions for such singers as Frank Sinatra and Bob Eberle. He provided the arrangement for Nat King Cole's best-selling recording of Eden Ahbez's utopian tune, "Nature Boy," performed by Frank DeVol and a studio orchestra, and arranged and performed with Cole on other hits such as "Mona Lisa." He also arranged and conducted on a series of LPs released under the name of dance studio entrepeneur Arthur Murray.
Like a number of Capitol's house arrangers, Baxter was able to record his own arrangements and, often, composition. Some arrangers didn't put much energy into such recordings, but Baxter clearly found them vital creative outlets and experimented with a variety of themes, musical devices, and genres. Of these, his "Ritual of the Savage" has become a classic in its own right, a musical travelogue accompanied by recorded jungle noises and bird calls that later inspired Martin Denny, Arthur Lyman, and others.
Baxter recorded for Capitol until 1962, when he began to focus on film scores, particularly for Roger Corman's American International studio. Feature scoring credits include "The Pit and the Pendulum," "Beach Blanket Bingo," "Operation Bikini," and many other now cult-favorite B-grade movies.
Baxter also worked in radio and television. He was the music arranger for the Bob Hope and Abbott & Costello radio shows and wrote and arranged for such TV shows as "Cliffhangers," "The Milton Berle Show," "The Tycoon" and "The Gumby Special." He briefly hosted his own variety show in southern California. He also dabbled in acting, appearing in "College Capers" (1954) and "Untamed Youth" (1957) with Mamie Van Doren and Eddie Cochran.
SHE LETS HER HAIR DOWN (EARLY IN THE MORNING)
The song was a moderate hit for The Tokens and for Gene Pitney in the sixties. It became a kind of "cult hit" in the seventies, when an instrumental version of the song was used in a TV commercial for hairstyling products.
MHO
Les Baxter presents a playful arrangement of this sixties theme song that conquered the world in the seventies, thanks to an orchestral version that was used at the time in a TV commercial.
Mr Baxter, best known for his "exotica projects", definitely wrote creative and innovative arrangements - so it was not surprising that many orchestras hired him to do arrangements for them.
Here, the 101 Strings were looking for "a new elan" in the early 70s and.... they sure "hit the spot" with someone like Les Baxter at the controls.... Enjoy !
