Album Reviews

Kitsch fans alert! This obscure 1960 oddity by composer/arranger Bob Thompson consists of a dozen short, lushly orchestrated impressions of various forms of transportation, each introduced with a stereo high-fidelity sound effect recording of a train, ocean liner, motor scooter, sports car, Intercontinental Ballistic Missile, or what have you.

Kitsch fans alert! This obscure 1960 oddity by composer/arranger Bob Thompson consists of a dozen short, lushly orchestrated impressions of various forms of transportation, each introduced with a stereo high-fidelity sound effect recording of a train, ocean liner, motor scooter, sports car, Intercontinental Ballistic Missile, or what have you.

There’s a diesel train (“Super Chief”), an ocean liner (“Midnight Sailing”), a Vespa motor scooter (“La Vespa”—the album was recorded in Italy by the Orchestra dei Concerti di Roma), a subway train, and a tricycle among them.

Thompson, now 85 was/is a well respected, though somewhat obscure composer/arranger who must have done a lot of commercial music producing during the ‘50s and ‘60s and maybe some trade shows and the like judging by these compositions and arrangements that sound made for car commercials, sitcom theme songs and links and World’s Fair exhibits of that era. You'll hear hints of "Leave it To Beaver" and "The Andy Griffith Show"  and other sitcoms of that era in Thompson's writing and arranging.

His exuberant, playful and incredibly optimistic style is Gershwin by way of Leroy Anderson by way of David  Rose. The arrangements are colorful, playful, evocative, and brimming with the optimism of the times—unlike today.

By today’s standards they are also incredibly corny and kitschy, which is what makes this so much fun. When you listen to the opener “Super Chief,” among others, surely you’ll be reminded of the orchestrations for The Moody Blues’ Days of Future Passed that were equally corny and kitschy.

The notes are by music historian, journalist and disc jockey Irwin Chusid who almost single-handedly revived interest in the music of both Raymond Scott and Esquivel along with the concept of “space age bachelor pad music” generally.

Like Esquivel, Thompson was signed to RCA, where he produced three pop/orchestral albums. He moved to Dot to produce this record. According to Chusid’s notes, Thompson also worked  with Rosemary Clooney, Judy Garland, Duane Eddy, Bing Crosby and Van Dyke Parks among others. Parks offers glowing tribute to Thompson in the notes, calling his arrangements both “subtle” and “flamboyant.”

The stereo separation is w-i-d-e in the late ‘50s early ‘60s style and while the recording is pretty good, don’t expect RCA “Living Stereo” quality. The sound can be a bit hard and strident when there’s a lot going on, particularly when the strings or woodwinds take off.

Fans of “space age batchelor pad music” or musical kitsch generally will love hearing this. Thompson’s style here may be  way outdated but when you hear “A Streetcar Named Irving” you will hear that it’s been lifted and used as a theme song for a contemporary sitcom. I wish I could remember what it is but I can’t so you tell me!

The 180 gram Rainbo pressing is very good too.