Tracklist:

1. Hawaiian War Chant
2. Maori Farewell Song
3. Red Sails In The Sunset
4. On The Beach At Waikiki
5. Sweet Leilani
6. Bali Ha’i
7. Hawaiian Wedding Song
8. Coco-Nut
9. Blue Hawaii
10. My Little Grass Shack In Kealakekua
11. The Moon Of Manakoora
12. Aloha, Oe!

Notes:

“Hawaii” is a delightful album released in 1967 by **Frank Chacksfield and His Orchestra**. Known for his lush orchestral arrangements and easy listening style, Chacksfield brought the vibrant and exotic sounds of Hawaii to life through this album. Produced by Tony D’Amato and engineered by Arthur Lilley, the album was part of the Phase 4 Stereo series, which was known for its innovative sound quality and stereo effects.

The album features a collection of popular Hawaiian songs, including “Hawaiian War Chant”, Sweet Leilani”, “Bali Ha’i”, and “Aloha ‘Oe”. Each track is beautifully arranged, capturing the essence of Hawaiian culture and its musical heritage. The use of traditional instruments, combined with Chacksfield’s orchestral expertise, creates a warm and inviting atmosphere that transports listeners to the tropical islands.

“Hawaii” was well-received by audiences and critics alike, praised for its evocative and relaxing sound. The album’s success helped solidify Chacksfield’s reputation as a master of orchestral pop and easy listening music. It remains a beloved classic among fans of Hawaiian music and orchestral arrangements.

Today, Frank Chacksfield’s “Hawaii” continues to be appreciated for its timeless charm and musical excellence. Its ability to evoke the beauty and spirit of Hawaii through orchestral music makes it a standout album in Chacksfield’s discography and a treasured piece of easy listening history.

Phase 4 stereo

Phase 4 Stereo was a recording process created by the U.K. Decca Records label in 1961 and used by its American subsidiary, **London Records**, during the 1960s. This innovative process utilized a 10-channel, and later a 20-channel, recording console to create rich, multi-layered soundscapes. The recordings were initially made on 4-track tape, but the real innovation lay in the special scoring techniques used to maximize the technology, avoiding the tape hiss that multiple overdubs would have caused.

The Phase 4 Stereo series included a wide variety of music, from popular tunes to “gimmick” records engineered to make sounds travel from speaker to speaker, and even historical sound effect records. The series also featured a light classical “Concert Series” produced in 1964, which included works by renowned conductors like Leopold Stokowski, Antal Doráti, and Charles Munch. The recordings were known for their spectacular stereo effects and artificial reverb, aiming to dazzle listeners rather than recreate a concert hall experience.

Despite its commercial success, Phase 4 Stereo was met with mixed reviews. Some audiophiles appreciated the innovative sound manipulation, while others felt it detracted from the musical integrity. The recordings were made in Kingsway Hall, a venue known for its excellent acoustics, but the Phase 4 techniques often transformed it into something unrecognizable. This approach made the series a financial success for Decca but also a point of contention among classical music purists.

Today, Phase 4 Stereo remains a fascinating chapter in the history of recorded music. Its bold experiments with stereo sound and its impact on the industry are still remembered by audiophiles and music enthusiasts. Whether loved or criticized, the series undeniably pushed the boundaries of what was possible in audio recording during its time.