Señor Coconut and his Orchestra SMOKE ON THE WATER

Smoke on the Water Live Sonarsound Tokyo October 2006
Señor Coconut and his Orchestra (feat. Argenis Brito)
Yellow Fever!
Essay Recordings AY CD 11
Release date: June 9 2006
Atom™ on his latest album
As early as the eighties, the Yellow Magic Orchestra was merging the eclectic Exotica attitude of Martin Denny with an ultimate update of Japanese music. "Martin Denny and his line-up created an imaginary musical landscape of luscious tropical delights: damp, foreboding jungles, vibrantly plumed birds in full flight, grimly silent Tiki gods in clearings overgrown by creepers, sleepy fishing villages on bamboo stilts, volcanoes erupting with molten orange lava, alluringly smiling little brown nymphs in grass skirts -- the land of lotus blossoms -- in a word: Exotica. If rock'n'roll is the musical equivalent of a good hard fuck, Exotica brings us the multi-orgasmic joys of tantric sex in endlessly flowing combinations of mystic union. Or, in the words of Lex Baxter: 'Ports of Pleasure'" (Stuart Sweezy). Today I am trying to go one step further by transferring the Yellow Magic Orchestra 'back to the future': a digital, fully artificial simulation and cut and paste style recreation of Latin Exotica sound. We may call it 'hypereclectic'. I have left both the historical timeline and ethnical space and move back and forth between musical periods and styles of Latin music. YMO covered Martin Denny's originally Exotica style "Firecracker" in a futuristic yet folkloric manner. Now I am covering the cover and transforming it back into a simulation of a Martin Denny sound.
In "Yellow Fever!" I combine the production techniques of the last three Coconut albums "El Gran Baile" (1997), "El Baile Aleman" (2000) and "Fiesta Songs" (2003): "El Gran Baile", was not based on song structures. It was abstract cut and paste. It became the prototype of the Electrolatino genre. Latino samples fused with the track logic of European electronic music. "El Baile Aleman" put the focus on Kraftwerk covers that were meant to sound as though they had been played by a Latino line-up. But this simulation was created by sampler, without 'real' musicians. The fusion of Latino and Electro that was set in motion in "El Gran Baile" is given a new slant -- partly because of the production method, but also by processing prototypical songs (Kraftwerk). "Fiesta Songs" abandons the obvious reference to my electronic roots to concentrate on simulating an acoustic retro-Latin sound, covering Anglo-American pop hits. In places, the simulation is revealed by digital artefacts. Again, I wanted to try taking a new direction in my production approach: instead of total programming, I recorded musicians for the first time, merging the material and original Latino samples to create something completely new.
"Yellow Fever!" combines these three working methods and approaches: abstract cut and paste emerges in the interludes between the tracks, and a digital/electronic sound in the "El Gran Baile" style reappears. It contrasts with the acoustic passages, reveals the simulation and is a musical style in its own right. As in "El Baile Aleman" programming and covering feature strongly here, merging with yet another milestone in the history of electronic music. The Yellow Magic Orchestra tracks undergo the same kind of distortion that was applied to the Kraftwerk songs: bringing Electronica back to the future! The third step involves working with session musicians, as to some extent on "Fiesta Songs". The acoustic aspect of the music is perfected by the detailed structuring of complex arrangements, but at the same time it is contrasted more strongly by the inclusion of digital elements. The album as a whole is an extremely complex patchwork of thousands of parts. Within a single song the musical course of things changes dozens of times. You could see "Yellow Fever!" as my first experiment on the way towards hypereclectic music. I experiment with breaking down all musical boundaries -- but this time "only" within the Latino genre. Another important point is the cinematic principle: every moment of "Yellow Fever!" is meant to provoke images. In this respect, there is a very close correlation with the concept of Exotica. I'm not just interested in recreating styles. Above all, I want to trigger emotions, images, déjà-vus, and so on.

[@juanmanuelalvarezrodriguez84]

Magníficos!¡!

[@nakedaquabat]

Wow this is so awesome. Who would have thought about making a Smoke on the water cover with salsa? Genius. And really these Japanese people are just like "what am i supposed to say?"

[@pandycrazypandyson]

Me too! We're gonna play it at a concert! With the drums, it sounds awesome!!!

[@marco51500]

Magic

[@Retinalism]

Few covers are are as good as the originals, in this case the original is legend, but this, this is uberlegend! Go Senor, your stuff rocks!

[@junacebedo888]

The audio has the dynamics of a compact disc.

[@gnr4ever7]

now that is really cool

[@diabolo75019]

Sublime, good, génial...

[@piadinaconmortadella]

it sounds realy great !!!!!!

[@ranjanbasu007]

Astonishing!

[@rodrigorojasherrera]

UN LUJO!!

[@PGA1975]

Que grandes.

[@Limoncitoss]

Viva Argenis y Arriba los latinos

[@panxoturbo2]

Waaaaaaaaaaaaa primera vez que los escuxo me encantaron genial la cancion mi amigo rockero se va a morir cuando escuxe que le modificaron su cancion jajajjaaj saludos ! buenisimo el video !

[@guilty76am]

NEW ALBUM Entitled "Around the World with Señor Coconut", the new album will be released by the following record companies: Third-Ear (Japan) (Release date 29.04.08) Essay Recordings in joint venture with PIAS (Europe except UK) (Release date 09.06.08) New State Recordings (UK) (Release date 09.06.08) Doublemoon (Turkey) (Release date 09.06.08) National (USA) (Release date tbc) The album contains vocal performances by Stephan Remmler (Trio), Louie Austen, Argenis Brito and other guests

[@54spiritedwill54]

Mui Bein

[@tunkki321]

Respect!

[@elnurqaziyev6153]

Woow 2007

[@brybbe]

more cowbell, baby!

[@bgoei]

That delayed trombone solo is probably my favorite thing ever.

[@DarthLokus]

I Love, very much!!!:D

[@Pilostros]

gooddddddddddd

[@PHAEDRIDER]

echo.. echoo .. ecchooooo

[@GwyllGwyllin]

"Keith Richards is rolling over in her grave. The frigin' guy isn't even dead yet!" ok-ok ... it's Deep Purple. But there's another quote from Ford Fairlane that fit also: "Hey, great pipes, huh? I've heard cats fu** with more harmony. " :)

[@JonathanLewisViolin]

I've got a fever, and the only prescription is...

[@JMutt88]

@Muzgab it clearly became "Frank Lepparz & the TIGGAH tiggah tiggah tiggah..."

[@techgirl911]

look @ my horse.. my horse is amazing

[@user-rl3ro1nw4q]

Это великобританца тучёным оставте

[@gonzalo_30_11_vargas]

Invitaban a un Deep Purple y se armaba el CHA CHA CHA XD

[@OerythiaDeQuatrefages]

Cool but can someone tell me what Uwe Schmidt is doing with his laptop? Downloading some coconuts or what?

[@DrMarkiux]

La cara de desconcierto de los japoneses

[@mikelwaters]

the singer use a kraftwerk outfit.

[@rayjr62]

Sometime ago I forwarded this video clip to Deep Purple's website. A few days later I got a response- I think it was Ian Gillans' wife (someone named Amanda) - She responded by telling me that Ian had never seen this or had heard of Senior Coconut and that he was blown away by this clip. True story.

[@Muzgab]

What happened to "Frank Zappa & the Mothers" in the lyric?

[@maeseatila]

@bissia Checking his email, just like Kraftwerk lol

[@CzechRiot]

he is a robot.

[@lm4836]

He looks as if he is dressed as a member of Kraftwerk. And he did a whole album of Kraftwerk covers and it's brilliant.

[@CzechRiot]

El Baile Aleman (A Latin Tribute to Kraftwerk)

[@maeseatila]

Why is the singer dressed as a robot?

[@ironlion925]

shit-can the "UBER" shit..what does that even mean?