Screechy, Eerie Space-Age Pop: Kai Winding's Magical Double-Header

Kenny Burrell is nowhere to be found here.

Joe Meek top-ped global pop charts with his song and pro-duction "Tel-star," a stately number recor-ded by The Tornados for UK Decca Records.

  The sound of "Telstar" had a wave of influ-ence that held on well into the 1960s, even after the British beat groups, with their ac-cent on docu-mentary-style recordings of raw rock 'n' roll, comandeered American ears from 1964.

   By 1963, when the first of today's two LPs hit the shelves, that almost disco-style percussion, coupled with piping, piercing electronic keyboard sounds, was being copied, and Meek's productions analyzed--how in the heck did he come up with those sounds?

  Others tried to emulate Meek's sound, often with comical effect. One remarkably good Meek imitation is on a record by singer Louise Cordet, "Lovin' Baby." The record was written and produced by Tony Meehan, ex-member of The Shadows who partnered with Jet Harris on a series of post-Shads instrumental hits in the UK.

  One of the best American manifestations of the "Telstar" sound was spread over two LPs by big band trombonist Kai Winding. He recorded an Italian song called "More," theme to a documentary film smash called Mondo Cane, using the Ondioline, a cousin of the electronic keyboard heard on Joe Meek's recordings. Playing the instrument was its acknowledged master, Jean-Jacques Perrey, who was in New York attempting to find success as a musician and composer. 

   Due to some contractual shenanigans, Perrey was not given credit anywhere on the single or its resultant album. And Kenny Burrell? Phfft! The jazz guitarist wasn't in the studio at all during these sessions. The guitar work was headed by Vincent Bell, a stalwart of the New York studio scene whose distinctive six-string sounds and effects pedals made him an American cousin of Joe Meek, kinda-sorta.

   

Just a trifle Beatley.

   Two grand albums resul-ted--both here for your listen-ing pleasure today. I'm not sure if Perrey and Bell were aboard for Mon-do Cane #2, the 1964 fol-ow-up. The On-dioline is all over this se-quel, and gui-tars are upfront a good deal of the time.

    The second album reflects the influence of The Beatles, who had thunderstruck the States by this time. "Till"'s intro riff is a theft of the Fab Four's "Please Please Me" (which, in turn, was pilfered from a Carl Perkins song, "Lend Me Your Comb," which was written by a trio of Tin Pan Alley cleffers for the 1957 rock-exploitation film Jamboree. So now you know...)

   Both albums have a tasty mix of originals and cover versions of familiar easy-listening or instrumental fare. Some of the originals are very obvious "Telstar" rewrites, which would not have pleased Joe Meek, if he ever heard them.

  The second album has a wider variety of Ondioline sounds. Check out the throaty tones of "Python," coupled with some choice twangy electric guitar. There's much to like across the board. This is some of my favorite "work music." Great to write to, great to draw to... I imagine it would make dish-washing enjoyable. Enjoy it as you wish.

MORE is HERE... MONDO CANE #2 is HERE.