LIVE AT THE LAVA LOUNGE :: SWAY

AMAZON.COM

Live at the Lava Lounge
*****

By a music fan from Los Angeles, CA - July 1, 1998

Swingin' Surf Music....90’s style!

Los Angeles based Blue Hawaiians melt your worries away with soothing sounds of 90’s Exotica. Like those before them, legends like Dick Dale and Martin Denny, the Blue Hawaiians give the term "live" great justice. The bass and vocals by Mark Fontana, mixed together with Tom Maxwell (Drums), Bron Tieman (Guitar/Lap Steel), and Mark Sproull (Guitar) are so cool and smooth like the cocktail that is their name.

Listening to them on this CD is one thing, but if you are in LA for the weekend, the hip place to go is the Lava Lounge....part Dunes hotel, part Don the Beachcomber. This is must for any fan of surf music, space age bachelor pad music, or just something to take away some of the pressure of stress.

Their play list is a great mix of classics like Apache, Tom Waits' Jockey Full of Bourbon and Jack the Ripper. Mixed in are originals from their new album, SWAY. Grab yourself a cocktail and dig on the beat that is the Blue Hawaiians. Five Stars.

NEW GANDY DANCER

The Sun Never Sets on the Blue Hawaiians

One of the liveliest CDs we've received so far Stateside has been that of the California-based Blue Hawaiians. Their scarce bio suggests the band prefer to maintain a bit of an enigmatic past. They appeared out of the desert from Las Vegas, shaking off the remnants of a smoky career as Wayne Newton's backup band (they're kidding!) with a wish to hit the beach and explore the untamed surf.

Their debut CD, Live at the Lava Lounge, was recorded on Easter Sunday, 16th April, 1995. It was recorded 16-track analogue, using closed mikes with two ambient microphones for the crowd. Sound quality and clarity was achieved with the aid of vintage outboard gear (Pultec, Fairchild, etc.). The group use classic Fender amps and reverb equipment. No digital effects were used for the recording and only two overdubs were made for the final mix. No digital compression was used in mastering, giving a slightly reduced volume but with the "live" sound maintained. Their program runs 72 minutes -- pretty acceptable when you can just fit 73 minutes on a CD. So much for the technicals, eh? Several songs could still not be fitted on but may be used for a forthcoming EP.

The Blue Hawaiians have a song on Del Fi's Pulp Surfin' compilation, and they are currently recording an album of Christmas surf songs and have just filmed a Dr Pepper commercial in which they performed the soft drink's theme song in surf mode. The lineup have played parties for Jack Nicholson's daughter and Quentin Tarantino, to name drop just a couple.

Bryan Thomas of Del-Fi Records in L.A. describes the group as "...a terrific instrovocal surf combo with an ultra cool sound rounded out with vibes and steel guitar on their forthcoming Restless label Xmas album." He adds, "Think of "Sleepwalk" by The Lively Ones just to give you an idea of what the group sound like."

The Blue Hawaiians are Mark "Diamond" (Sproull)-guitar; Bron "Ho" Tieman-guitar and lap steel; Mark Fontana-bass; and Tom Maxwell-drums. Their current playlist includes: "Penetration," "The Wipe Out," "Apache," "Jezebel," "Theme for Young Lovers," "Caravan," "Our Favourite Martian," "Surfin' Tragedy," "Jet Black," "Surf Rider," "A Cheat," "Devil Woman," "Red Top," "Slave Girl," "Dick Tracy," "All Night Diner," "Sleepwalk," "Lovers Rock," "Love Charms," "Harlem Nocturne," "Jockey Full of Bourbon," "The Jester," "Journey to the Stars," "Lonely Karen," "Beyond the Reef," "Blue Guitar," "Girl on Death Row," "In Dreams," "Pipeline," "Fire of Love," "Diamond Head," "Hawaii 50," "Mecca," "Mr. Moto," "Soul Surfer," "Baja," "Latinia," "Jack the Ripper," "Out of Limits," "Mar Gaya," "Summer Kisses," "Night Train," and "Viva Las Vegas."

If you've heard the band on their first CD reviewed elsewhere in NGD, you'll have grasped their talents with their storming versions of classics like "Dick Tracy Theme" (The Ventures), "Jack the Ripper" (Link Wray) as well as their own compositions. It has certainly caused a stir for the music, but it is the only album I have ever heard of which names all the members of the audience! Roll on album No. 2!

DISCOVERIES

Let's Go Surfin' Now...

The Blue Hawaiians' new CD, recorded April 16, 1995, is entitled Live at the Lava Lounge, Hollywood, CA. These guys epitomize the hard-driving, disciplined, yet so very musical instrumental surf music that's more available today than it has been in decades. The 17 melodic rock'n'roll surf performances recorded last April include tunes such as "The Wipe Out," "Pipeline/Endless Sleep," "Jack the Ripper," and "Dick Tracy." How can you go wrong with the homage that the four Blue Hawaiians pay to their surf roots? An indie release deserving of your support. - Jon Blair

SURF MUSIC U.S.A.

I found this group on the Pulp Surfin' CD and dropped them a line. I was not expecting the CD that I am now reviewing. Why Del-Fi did not use one of the cuts of this CD I will never know. This CD kicks some serious Gremmie here. This is a live recording, and the Blue Hawaiians is a fantastic live band. They had my attention immediately with their far out cover of the Kenny & the Sultans hit "The Wipe Out." I am equally impressed with "The Jester," "Jack the Ripper," "Surfin' Tragedy," and "Soul Surfer." Who am I kidding, the whole album drips of Fender reverb, even on the nonsurf cuts and vocals. The group has the audience eating out of their hand. The audience also shows familiarity with the group and its songs by joining in with the appropriate sayings reflected in such songs as "Jet Black" and "Red Top." You will not be disappointed with this CD. - Bob Dalley

MUSIC LOVE MAGAZINE

This is an amazing debut that makes me think of those blue drinks with those pink flowers somewhere in, well, Hawaii. Pulp Fiction's assistance in reviving the good 'ol surf music has brought our attention to bands like The Blue Hawaiians, who could entertain me for hours during any shifting mood, at any part, with any mix of company or at any concert venue.

From the opening chords of "The Wipe Out," a smile comes to one's face, as these California-based hipsters set out on a mission to entertain. They jokingly say that they have emerged from the ashes of the Wayne Newton Las Vegas lounge scene, with a desire to hit the surf.

Live at the Lava Lounge was recorded on Easter Sunday of 1995, at the aforementioned Hollywood club. They play covers of everyone from Duke Ellington ("Caravan") to Tom Waits ("Jockey Full of Bourbon") to Lionel Hampton ("Red Top") to a Jim Messina/Glen Frey tune ("The Jester") and even "Dick Tracy.”

What makes me love live albums (and this is one of them) is when I am made to feel as though I am at the show. Blue Hawaiians' obvious enjoyment of their work comes beaming through on every tune. I can't help but want to get up and head to the bar for one of those colored drinks (oops! I am not at a concert, I am at my keyboard reviewing the disc). Snapped back to the reality of the moment, I find my head still swaying in time to the music.

As instrumentals prevail throughout the majority of this disc, you can crank this up in a social setting for all to enjoy and people can still talk with each other.

The Blue Hawaiians were featured on the Pulp Surfin' compilation that was released this past year and performed in a Dr. Pepper commercial in which they played the soft drink's theme song in surfanese. Way cool.

TIKI NEWS

We applaud the foresight (although it was obvious to us and about a hundred other Lava Lounge regulars) of Pascal Records. Included are BH originals and distinctively arranged surfabilly covers, including a few vocal numbers. Pascal founder David has delivered unto us a take-home version of Sunday nights at the Lava. Unfortunately, the ambiance of Michele's Lava Lounge cannot be conveyed by a mere CD recording.

Nonetheless, the recording quality is impeccable, the music is Blue Hawaiian beautiful, and the liner notes feature a photo of a Tiki.

TERMINAL BRAIN ROT #6

This is the perfect band to be digging at some tiki lounge located directly on the beach, the sea breeze creeping in while you and that special someone suck back Blue Whales and slowly get blotto. Well, Charlotte doesn't have a beach or a tiki lounge; but thanks to modern technology, I have the Blue Hawaiians, one extremely cool surfin' lounge combo. Unlike most surf bands that wail away at 1,000 m.p.h., these cats prefer to bring things to a slow boil with their ultra-swank intros and cool vocalizing that should have every pseudo-hipster lounge lizard green with envy.

Surf gems like "Apache," "Banzai Pipeline," and "Caravan: (how can you not like a band that does "Caravan"?!) Are done up Blue Hawaiians style as are lesser known classics like Jet Harris's "Jet Black." There's not a bum tune on here; and seein' as how this thing clocks in at over 70 minutes, that's a hell of an accomplishment. All you swingin' bachelors need this disc in your love pad for those times a female actually shows up and you need to impress her with your sophisticated tastes. So skip the phone bill this month and pick up this platter. The only thing that could make this any better is if it was released on aqua-green vinyl. Long live the Blue Hawaiians!

PIPELINE INSTRUMENTAL REVIEW

What a monstrous debut! The Blue Hawaiians turn in a CD full of powerful live recordings with such a rich guitar sound that you won't believe your ears as "The Wipe Out" blasts off. The band, comprising Mark Sproull (guitar), Bron Tieman (guitar & lap steel), Mark Fontana (bass), and Tom Maxwell (drums) must be quite an experience live, and credit should go to Michael Kramer for capturing this on disc for us all to hear. The two vocals are great efforts in the style of Chris Isaak, "Endless Sleep" being a spoken sequence inserted into "Pipeline." There are a few spoken links that become a bit wearing after several plays but the tracks can be accessed directly at the point where the music starts.

The three Shadows numbers are very well done, this must be the most sophisticated version of "Jet Black" ever! Link Wray's "Jack the Ripper" is taken very fast with rolling tom-toms and driving guitars, while the Farina brothers' "Slave Girl" is a complete contrast with its sweeping steel lead. An unusual cover is "The Jester" from Jim Messina & The Jesters, a typical fast surfer, and how about the storming closer, an all-action surge through The Ventures' "Dick Tracy." Add in a healthy dose of well-treated surf classics like "Latinia" and "Baja," and I'll certainly recommend you catch the Blue Hawaiians at the Lava Lounge or any other venue near you.

HANG TEN SURF MAGAZINE - UK

Live at the Lava Lounge

This album was actually released in 1995, but we’ve been sent a free copy to review, so we’ll review it (a hint for all aspiring bands, we’ll review anything that didn’t cost us money - if you send us cash, a good review is guaranteed!).

What appears to be the entire audience at the gig where this was recorded are mentioned on the sleeve, which is a nice idea, though not so easy to repeat when you are filling places much larger than The Lava Lounge.

The album features a bunch of covers, proving, if nothing else, what fine record collections these guys have: there’s a strangely muted Pipeline, Apache (you can’t go wrong playing this one), Tom Waits’ Jockey Full of Bourbon (yes, theysing too!), Duke Ellington’s Caravan (another great choice), Baja, Theme For Young Lovers and Jet Black (both Shadows originals), Link Wray’s (hey, that guy gets everywhere) Jack The Ripper and The Ventures’ Dick Tracey. They play most of these pretty damn well too and there are some really nice bits of lap steel playing, to keep those of us happy who like that type of thing.

All of this goes to make for a highly enjoyable album. My only complaint would be that the whole thing seems perhaps a little too studied,although there are moments, most notably during Jack The Ripper, where they really begin to let go.

- Jon Deadman

Reverb Central

Live at the Lava Lounge 4/16/95
****

Recorded 0n 4/16/95 at the Lava Lounge, this is both a clean recording and a spiffy showcase for this fine and unique band. The recording is understated, but not underwhelming. It speaks clearly of the band's prowess. The Blue Hawaiians play with deliberate meter and accuracy.

Their sound is rich and easy to listen to. It's trad tiki bar surf enhanced with lap steel. There are a few vocals here, but we won't hold that against them. As the title indicates, this CD is a live session, and as such, has a bit more audience noise than I like to hear, though it's also not evident during most of the performances.

THE WIPE OUT **** Slow funky tiki beat, sinewy tones, tropical progressions, island whammy, and a smooth delivery all make for a great moody track. This is a sorta sad post-event remembrance things, not the terror of the moment, but rather a reflection of the event, and the sobering reality of a near miss, or fatal end for another. Moving and beautiful.

PIPELINE / ENDLESS SLEEP **** Pipeline: A very different and dramatic opening, a slower and more slinky rendition, and a moodier more romantic vision of the tubes. Fluid glissandos, whammy, and minor drama. A different treatment for sure. "Cocktails anyone." The treatment of the break is amazingly light and effective, pretty, and pristine, with a ton of feeling.

Endless Sleep: The lyrics are spoken, like a dramatic reading., over an unusual backtrack. Cool.

SURFIN' TRAGEDY **** A very cool cover of a song propagated in the sixties by the likes of Doug Hume (worst vocal ever), Bob Vaught & The Renegades, Jim Waller & The Deltas, etc. This performance derives from a tongue planted firmly in cheek, a tiki bar interpretation of stellar proportions. The sound is perfect for the song, the intent is well executed, and the result is grand.

LATIÑIA **** This is among the few covers of this song (and there are many) that stands as a solid and viable rendition. Most pale compared to the original, or just don't carry the beauty and guitar wizardry necessary to pull it off. According to Tommy Nuñes (Sentinals), "Latiña" was based on Santo & Johnny's "Slave Girl" (also on this CD). Johnny Farina says Slave Girl was based on Malegueña. With few bands able to do a decent job on this, they not only retained the shimmering beauty of Tommy Nunes' great recording, but added a changing direction in the percussion. The result is a splendid version that lies somewhere between the Sentinals original and the Jim Waller & the Deltas cover. Stunning and slithery.

APACHE *** Slower, more deliberate, and slightly more Polynesian than Indian, this version of Jerry Lordan's classic is really well done, and quite enjoyable.

RED TOP *** A bluesy big band number, suaved into compliance. Woody Herman's tune seems an almost natural for the fifties based instro style, though not for surf, yet these boys wedge it into the tiki hut.

BAJA **** There are damn few covers of this that don't cut it. This is on the list of good versions. It's pretty true to the Astronauts, but more pretty and smooth than energetic. There's a narrated bit about being in the parking lot, noticing too many guys out, and deciding to go... Baja. The story continues, stop after stop, until they get to Baja, where the surf is good and the waves are empty. A fine cover.

CARAVAN *** Tribal jungle exotica, chunky rhythmic energy, and a non-surf arrangement, like maybe Chet Atkins sitting in with Don Ho. Pretty darn cool.

THEME FOR YOUNG LOVERS *** Melodic and spiffy, loungie and fluid, and quite enjoyable. Semi country Duane Eddy-ish tune.

JET BLACK *** Funky surfy drunken surfer the hodad number. It's rhythmic and thumpy, silly, and an obvious hit with the beer barrel crowd.

SOUL SURFER *** A cover of the Johnny Fortune hit, pretty true to the original, fluid and well executed.

JACK THE RIPPER **** Link Wray's famous number, opening with drums thundering, bass coming in, chunk being added, and then the lead over the top. The arrangement is unusual enough to keep it from being just another cover, and the tones are very friendly. It's smooth and soulful, and

shimmering. The chop of the break is most unusual, stretched out, and intense. Quite inventive.

SLAVE GIRL **** Santo & Johnny's great tune (based on Malegueña), with Polynesian chords opening like as if Don Ho were coming on stage next. Otherwise, it's a fine and precise cover of a great song. The humor in the arrangement is subtle and fine. The whole arrangement is like Santo & Johnny's, but much more Polynesian. Great lap steel work.

THE JESTER *** Jim Messina & the Jesters' fine instro played with more speed than anything else here. It's less frantic than the original, more round and smooth, but packs adequate energy and flair. This performance shows just how well written this tune was, lending itself so effectively to

reinterpretation. Spunky and smooth.

DICK TRACY ****

Chunky Pipeline / spy ethic number, melodic, thumpy, and melodic. The guitar tone is pristine, and the delicacy offsets the power of the drums and the rhythm. Pretty cool track.

- Phil Dirt - Reverb Central

[ TOP ]

SWAY :: LIVE AT THE LAVA LOUNGE

FORTUNE MAGAZINE

ROOTED MAGAZINE

Sway

Blowing in from Southern California, The Blue Hawaiians ' Sway is a wistful journey in the sounds of traditional surf instrumental music. Filled with laid-back guitar rhythms, Sway may be too mellow.

Ordinarily, Hawaiian steel guitar and the rich sound of the Hammond organ don't exist in today's surf music. The Blue Hawaiians are proud to be the exception to the rule. This is creamy-smooth lounge surf. But, keep in mind that Sway is not a record that you can pigeon-hole in one sound alone.

The Blue Hawaiians cover tunes like "Banzai Pipeline" and "Hawaii Five-O," call to mind much of the neo-lounge schlock that's been bubbling up from the underground, but on a track like Ritchie Podolar's "Quiet Surf," the spaghetti-western influences come to the surface. The addition of steel guitarist Gary Brandin has given the group a sense of the soul of the Shadows with a country and western sound. Songs like the Hawaiians' original "Sharkskin Saddle" take the sound to it's purest form only to end the song with a "House of the Rising Sun" R&B finish. Even the Johnny Mercer/Henry Mancini tune "Charade," despite the loungey vocal intro supplied by bassist Mark Fontana, the track still meanders to the side of spaghetti.

Sway also has it's fill of modern instro. On the dark, intoxicating ride of "Drunk Man Noodle, the Hawaiians play with the Man Or Astroman-influenced shrieks of guitar backed up by a pounding surf percussion barrage. Whereas "Tortolla" flows with a haunting latin jazz feel. The Blue Hawaiins’ album features two tracks with vocals. The Japanese ballad "Casino" and "Swingin' Hula Girl" are brilliant numbers that feel at home on the record. Sometimes the rare vocal track on a surf tune is a bit mediocre, but in this case it had me wanting more.

- Brian Parrish

SINGERS AND SONGS - New Release Profiles - The Herald Bulletin

Sway

Sound: Instrumental music that has strong surf elements

Fact: Recently performed on the BBC documentary “History of Rock & Roll.”

Quote: “Five exiles from the Wayne Newton, Vegas casino circuit with a primitive pulse in their veins and a dream. A dream of giving true voice to their own moody souls, of leaving dingy afternoons with the Keno club set for the 8-foot, 4 a.m. swells off San Onofre. That voice heeding the pagan ritual of the ancients evokes both the alcoholic sob of pale showgirl limelight and the submarine sonics of the deep Pacific.”

– Ara Corbett, The Pico Rivera Sun.

I Say: Just when you might think that everyone is taking music too seriously, there comes a band like this one that believes the music should be as much fun to hear as it is to play. It would be easy to dismiss these guys as merely a retro comedy act, but there is a big soul here, one that really believes there to be a magic to this light-hearted, fast-paced surf rock music. I agree with them.

- Rick Teverbaugh

NEW GANDY DANCER

The Magazine for Rock Instrumental Music

Sway - Pascal Records

The excellent Hawaiians on their strongest album yet - this one has real guts and strength in the production and the playing. That’s not to say they are a power band - they’re not. They have this blend which on paper sounds odd - rock instrumental/surf/lounge/cabaret touching on doo wop! But is very palatable to the ear whether it’s a solid treatment of “Banzai Pipeline” or a laid back cut of Richie Polodor’s “Quiet Surf.” “Martini Five-O” is in fact a slow dreamy arrangement of The Ventures’ “Hawaii 5-O,” but nothing like it. Very clever and it works.

All through the set is an excellent percussive sound and “Drop the Hammer Max!” features drummer Tom Maxwell on a tidy impressive feature. On this showing, the group seem to stretch from three piece to seven piece depending on the number.

The originals are lush guitar and keyboard workouts that satisfy the need for something away from the normal mark. Lots of Denny/Lyman touches and even some fun lounge core vocals. Thoroughly cool, lagoonside distinctive set.
****

- Davy Peckett

Real Bands.com

Sway

The undisputed kings of lounge-surf, the Blue Hawaiians have produced another impressive CD. This one has something for every taste, even a couple of vocals -- one Japanese and one with goofy lyrics about a hula girl. A slow, sultry treatment of Hawaii 5-O renamed Martini 5-O (mix 'em Danno!) somehow works, as does a great treatment of Banzai Pipeline.

Plenty of swinging lounge tunes, a few ballads, and one thought piece complete the album. The addition of a keyboard player adds a lot to this band's versatility, which they show every bit of on this album. Pounding drums, guitars surfy or smooth, and creative song writing add up to a must-have CD for your collection. Well done, Blue H's.

Reverb Central

Sway
****

This new release from the kings of smooth is fluidly gorgeous. The liquid lap steel work is spectacular, and the genuine suave of the bands sound leave no room for doubt that this is the best modern tiki bar band on earth. Taking the general direction set by the first few years of Santo & Johnny, and straining it through the modern cocktail glass of the grass shack set has resulted in a sound so smooth that it slides like silk off a maidens breast. Remarkably sensual.

LAST DAYS OF SUMMER *** Slippery airy and floatingly romantic, this track features a distant breezy lap steel under a gently played lead. This song has an instantly familiar feel, not that it's derivative, but rather that it is perfectly crafted in the style you'd expect from the composers of the original exotic era. The island imagery is 20-20. Quite a nice track.

SEARCHIN' FOR DA CAT *** Slightly more exotic, a just a breezy, this is a picturesque track. A cool drive around Big Island on a sultry day. Very pretty melody.

BANZAI PIPELINE **** Henry "Hodad" Mancini wrote this back in the crusty daze of the early sixties. The Astronauts brought it to our attention. The Blue Hawaiians have reinterpreted it for the tiki bar nineties. Spirited and infectious, with a fresh arrangement and new understanding, more fluid and less halting than it was intended, which yields a smoother more friendly track.

DEADMAN'S *** Eerie ambiance, moody organ, and dramatic sadness flow from this track with remarkable effectiveness. It sounds like it should have been on a Mancini album 30 years ago, but alas, it's a new song. Cool cocktail weirdness and kinky suave.

QUIET SURF ***** This is among my very favorite vintage surf compositions, as you may have guessed listening to my show. Its original title was Samoa, and it's been done under several artist names in various arrangement by its writer Richie Podolar. In the modern era, it has been reinterpreted by the Mermen, the Cruncher, 3 Balls of Fire, the Langhorns, and now by the Blue Hawaiians. This is a fresh tiki bar sultry approach that is most endearing. Smooth, fluid, and lurid, this gets under your skin without a fuss and stays there. Great cover!

MARTINI FIVE-0 **** Not since the Mermen slowed this down to this pace has it been so well played out. Smooth, Polynesian tiki bar fluid, and the distant lap steel adds a whole dimension of island mystery, while the organ brings home the martini. Fine cover.

DROP THE HAMMER, MAX! **** Tribal George of the Jungle hula war toms, exotic chunka chunka, and a hint of Indian Puddin' & Pipe's trademark organ swirl. This is a damn infectious number, with spirited screams of joy, and a grand tom tom solo. You can see the bon fire, smell the poi, and almost feel the hula skirts. Yikes!

SHARKSKIN SADDLE **** This is the most surfy track here, and it uses a cowboy rhythm, and a cocktail organ, The melody is quite nice, and it is infectious. Occasional glissandos grace the transitions, and the whole effect is fun and cool listening.

TORTOLLA *** Don't let the feather weight intro fool you. They quickly drop into a tight little number with plenty of island feel and film score sensibility.

DRUNK MAN NOODLE **** Ominous tones, twisted visions, dark alleys, and big evil drums. It is a relentless menacing powerhouse track. Like a theme for Danger Man should have sounded. Large, edgy, nerve racking, and threatening.

DA CAT (REPRISE) *** That theme again, but oh-so sweetly allowed to leave the interments on a quiet tropical night. Great mood piece.

ELEMENT 86 **** Just the sound of near silence, fluid ripples, then an echoed dark menacing, and slide twisted tones like Jimi Hendrix on sedatives thinking about writing may This Be Love. Psychedelic, tribal, dramatic, playful, spacey, and pretty darn interesting. Like Victory At Sea for guitars and effects. Drums and wires creating images with sound without notes. Really quite powerful! It's a long track, and completely outside the pale of surf.

- Phil Dirt - Reverb Central

L.A. Daily News - 6/25/98

Sway
***

Popular in local clubs like the Lava Lounge for blending cool surf sounds and sultry instrumental exotica, the Blue Hawaiians here treat fans to 11 originals and four covers, including Henry Mancini's "Charade." The quintet's convincing retro sands-at-sunset sound on "Sway" (Pascal) avoids the cynicism of much of today's newly embalmed lounge stylists while guitarist Mark Sproull, steel guitarist Gary Brandin and drummer Tom Maxwell earn marks for authenticity and strong originals like "Last Days of Summer." 3 Stars.

- Fred Schuster

Cosmik Debris

SWAY

Within the spectrum of instrumental music that can be described as surf, The Blue Hawaiians are among the few bands grouped around "truly exotic tiki music" mark. Their sound can soothe, hypnotize and seduce the listener, and transport them to the tropics, as all good exotic music should. Gary Brandin’s Hawaiian steel guitar work is a sublime secret weapon. Understated yet vital to the songs, its the sound that’s raising goosebumps while remaining so integral you don’t even realize it. Secret weapon two is the Hammond B3 undercurrent, provided by Michael Murphy, which keeps even the most powerful luau-like tunes breezy. By the way, if you want to hear what "Hawaii Five-O" sounds like in dreamland, "Martini Five-O" awaits yours ears. I hereby prescribe this potent medicine for the soul. - DJ Johnson

Option Magazine

SWAY

Step right into the tiki hut folks, and swing to cool island breezes with The Blue Hawaiians. These guys have been mining surf nuggets for some years now, finding a swell balance between the horror of Las Vegas exotica, with its throbbing Hammond B3 organ, and that wistful steel guitar that defines the middle-American dream of Hawaii. You can’t help but adore some of these tunes: first of all the sublime "Martini Five-O," with its slow-dance reworking of the classic TV theme. Then there’s a hopping "Banzai Pipeline" (a Henry Mancini gem, it seems) that injects some wild adrenaline-charged Fender guitar to give a lift to the sultry Hammond organ. And these just really hang loose on the drum- fest

"Drop the Hammer, Max!" that’s guaranteed to have the whole house doing a crazed mating ritual on the dancefloor. Let’s face it: these guys play with your wildest dreams about a primitive island paradise where you lose your inhibitions (and all your cash) as you are hypnotized by the primal sensations of...well, it’s your fantasy, so take it from there. This disc has the highest fun/noise ratio I’ve heard in years. 

- Dan Maryon

Pipeline Instrumental Review

Sway

With its haunting melody, clean lead guitar and sweeping steel in the background, "Last Days of Summer" set the scene by bringing The Sandals’ Endless Summer soundtrack to mind. "Searchin’ for Da Cat" is another fine melody that further justifies the comparison, and the touches of Hammond B3 organ that The Blue Hawaiians use certainly have more street cred than The Sandals’ piano accordion. Bassist Mark Fontana sings a tribute to a "Swingin’ Hula Girl" and the response from guest Karu Mansour on "Casino" is entirely convincing. I hope you’re getting the message that SWAY is an apt title for this album!

"Deadman’s" is a heavier, moodier piece but is still underpinned by that sensuous undulating rhythm. Pounding drums drive the dance rhythm of "Drop the Hammer, Max!" while "Tortolla" is a haunting uptempo melodic theme. "Drunk Man Noodle" has an exciting feel built up from an insistent bass riff, the bold entrance of the drums and a guitar phrase to delight 007 fans. It has great potential but should be taken a step further to realize it in full. Not so with "Da Cat," this is a fully formed surf ballad of magnificent beauty. "Sharkskin Saddle" is a pacy little piece of guitar twang with a distinct galloping western feel to it, and is well arranged too, but "Element 86" is a bonus track tagged on to the end of the CD and only begins after 86 seconds of silence. Basically it’s an improvisation between drums and bass with a 70’s feel, Tangerine Dream anyone? There are four covers on the album, and three work very well. The fourth, "Banzai Pipeline," really doesn’t lend itself to the band’s style, but Richie Podolor’s "Quiet Surf" is handled exquisitely by The Blue Hawaiians and is one of the album’s highlight. I love what they have done to "Hawaii Five-O" too. Retitled as "Martini Five-O," it’s slowed right down to a late night, drinks under the palms tempo. "Charade" also gets a beautiful exotic makeover, its brief vocal intro works a treat before the band polishes Henry Mancini’s melody to a fine shine.

With this album The Blue Hawaiians manage to assimilate the best Hawaiian and exotica influences into a rock instrumental framework. The result is an album that is both accessible and enjoyable for RI fans looking for something new but not too different. Surf fans who are tempted by a touch of Hawaiian will particularly appreciate the way this is incorporated without the whole thing sounding clichéd and corny. Sway with confidence!

- Alan Taylor

Lo-Fi Magazine

Sway

What would you like the Islands to be? Fifteen tracks of frosty lounge and surf? Pure relaxation? The crossroads on the Big Island where The Ventures meet Don Ho? If this is your idea of fun, then The Blue Hawaiians’ SWAY is definitely your cup o’ poi. SWAY is the soundtrack to your melancholy saddest, sweetest reflections. More importantly, it is a flavorful concoction of guitars and just enough Hammond B3 to garnish your cocktail. The Blue Hawaiians pay homage to the mastery of Mancini, including a mysterioso, Latin take on "Charade" that ought to send a slow groove straight to your hips. But don’t worry, the pace picks up just enough on a couple of tracks to keep you from slipping inside of yourself. And by no means can one ignore the fabulous foray into, as Lo-Fi Lee has dubbed it, "Western Lounge Noir": "Sharkskin Saddle" shouts the call of the west a la Stan Ridgeway, with a genre blend as smooth as your favorite frozen rum drink. Don’t miss the cresting western surf breaking on the shores with a swingin’ Hammond solo. Aloha! The Blue Hawaiians are smart enough to know that the instrumental is a good thing, and despite such abstract stretches for rhyme as "my swingin’ hula / acting’ like a fool-a / where did you go to school-a," Mark Fontana’s baritone vocal is a welcome addition. But really stands out vocally is the mesmerizing lilt of Karou Mansour on "Casino." This track will whisk you away to the sands of Waikiki in ‘53. Music to get lei’d by.

- Sara Cameron

Surf Music USA

Sway

Following on the heels of their successful first CD, Live at the Lava Lounge, The Blue Hawaiians are back with a new line-up (a new steel player and an added Hammond B3 keyboardist) and a new CD. SWAY shows great growth for the group in their musical style and their ability to write original tunes. "Last Days of Summer" is a beautiful instro reminiscent of the "Theme From The Endless Summer" while "Tortolla" is just drippin’ with that trad surf sound. "Searchin’ For Da Cat" could easily find itself into a Spaghetti Western soundtrack with the greatest of ease. The group cover two well known tunes utilizing their own unique musical style on "Martini Five-O" and "Quiet Surf." This CD is one to pick up.

- Bob Dalle

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CONCERT REVIEWS

THE DAILY BRUIN

10/13/98
The Blue Hawaiians' Concert Showcases Smooth Sound
by Vanessa VanderZanden

Is that the subtle call of a tropical breeze wafting this way? Or is it the lingering explosion of white caps colliding with the tender surf? No, it's the sounds of a unique Hollywood club and its rare Sunday night entertainment.

Located in a strip mall next to a liquor store, the Lava Lounge remains one of the most hidden-away venues in all of Los Angeles. Because of their chicly obscure status, however, the club can showcase small-time talent that entertains on a large-scale level. Sunday night regulars The Blue Hawaiians stand as a testament to this tradition.

Playing in sync with the small tiki lounge's decor, The Blue Hawaiians served up an array of surf tunes spanning from the '50s on. As though hand-crafted for this locale, the Hawaiians provided guitar-spinning riffs and crooning ocean-side lyrics to complete the island-esque scene. Mai-tais and piña coladas in tall glasses glowed in the red tiki-torch lights, which stretched the length of the small two roomed club. Shimmering silver strips flapped from the walls like disco-hula skirts, reflecting the movements of the shimmying crowd packed on the miniature dance floor below. Not a body could help but squiggle to the melodic tunes surging forth from The Blue Hawaiians, whose corner-room stage space began just inches from the dance floor.

The intimate event had the feel of an older brother's garage-band debut in one's own backyard, only with a bit more class and a greater amount of musical expertise. After all, it was the band's "50th anniversary," as the youngish members like to remind audiences every Sunday night.

Decked out in classic black apparel, the performers held the packed crowd captivated for each of their two-hour long sets, and they even had one dancing patron "sweating like a fat bitch in church." Slinging keyboard jams over drum solos beside noises from a peculiar Hawaiian plucking instrument under the lead singer's swoon-inducing voice, The Blue Hawaiians shredded into the night. They took the wide variety of fans right along with them, from the white-collared, crew cut squares to trendy leather-jacketed, side-burned hipsters and everything in between.

At on point, the Hawaiians even brought the Elvis look-alike bartender up on stage to sing an explosive rendition of "Viva Las Vegas." Including many genres and well-known artists' hits in their set, another treat came in their swingy cover of Tom Waits' dark, sultry tune, "Come Away." Beyond dabbling in both well-known classics and lesser-known favorites, the Hawaiians grooved immeasurably with tunes of their own.

Though the Lava Lounge scene may be a small market to corner, The Blue Hawaiians have marked out their territory well. One of the best kept Los Angeles secrets, the group has managed to garner a sizable fan base which is destined only to expand in the future.
ENTERTAINMENT TODAY
Blue Hawaiians, Phantom Surfers, Ventures - House of Blues - April 12
by Bill McKie

After walking into the House of Blues on Friday night, I half expected to see a room packed with paunchy, 40-year-old Jeff Spiccolis (the stoner surf dude from Fast Times at Ridgemont High). Instead, all the babes from the Friends set showed up. These "Blue Hawaiian-ettes" groupies, replete with Jennifer Aniston hairdos, patent leather mini-backpacks, and boots as well as the requisite baby tees, tossed back their martinis and screamed bloody murder for their band.

The band gave all of us plenty to shout about, though. Dubbing the place the "House of Surf," the Hawaiians rocked the joint with excellent instrumentals and what I would call "alternative surf."

No matter how you slice it, a lot of surf music is four chords, snare drum rolls and reverb-soaked "plink-i-ty, plink" guitars. The Hawaiians' take on surf music is thankfully very different. They've got a really cool pedal steel and tremolo guitar sound, inventive chord progressions and off-beat instrumentation as well as incredibly fast lead guitars and a locked-in, driving rhythm section. The pedal steel sound is courtesy of string-meister Bron Tieman, who told me after the show that he taught himself how to play and cites early Hawaiian, fast-paced surf as his main influence.

The Blue Hawaiians changed pace often, even mixing in some great songs with vocals as well. The bassist's voice brought to mind Chris Isaak, which complemented their wild surf sound very well. The best example (and one of their best tunes) was "Cheat" (a haunting song about a cheating girlfriend, which also happens to be the theme to a Guess jeans commercial). The crowd was absolutely transfixed by the Blue Hawaiians. By the time the band finished its encore -- a fiery Ventures cover filled with driving chords and tight stops named "Dick Tracy" -- the whole scene was practically a love fest.

UNIVERSITY REPORT

The Blue Hawaiians are the coolest band in L.A. Listening to their release, Live at the Lava Lounge, is like listening to Sinatra's early '70s rendition of Kermit the Frog's theme song, "It's Not Easy Being Green." Cool, so cool. I gave a copy of their Christmas on the Big Island release to a friend, I told her the Charlie Brown Christmas song was our song, we parted that week, but that's cool. The guys in the band use all vintage equipment, classic Fender reverb drips off each song.

When Bron Ho, son of Don Ho (may he continue to suck 'em up) plays the Polynesian lap steel, my soul weeps. The smooth-as-silk vocals are reminiscent of Chris Isaak, and the surfy spanishy blues guitar caught Quentin Tarantino's ear at the famous Lava Lounge (where the BH play every Sunday), it inspired the mood of Pulp Fiction. At the Blue Saloon last month, through the smoke, over the pool tables I felt cool, so cool.