Original released on LP Liberty LRP 3278 (mono) / LST 7278 (stereo)
(US, 1963)
Exotic and
Latin albums were big deals in the 1950s and early '60s, and singers as diverse
as Dean Martin, Lena Horne, and Peggy Lee were recording with castanets and
bongo drums. Peggy Lee was so successful at the style that she cut two albums
of light pseudo-Latin jazz in 1960. Like Peggy Lee, Julie London combined a
restrained vocal approach with jazz phrasing and a cool attitude with icy sex
appeal. But while Londonhad Lee's stripped-down musical approach, she just didn't share her unrelenting
rhythmic vocal drive or her innate feeling for exotic rhythms. It doesn't help
that London is paired with arranger Ernie
Freeman, who was usually better at crafting Nashville and soft rock style charts than
Latin jazz arrangements. This isn't a bad album - Londonsounds casual and confident throughout
- but it is a rather bland one, and isn't blandness what these types of
exotica albums are supposed to be fighting against? "Latin in a Satin Mood" ends
up sounding exactly like what it was intended to be - an aid to put a little
vanilla Latin sparkle in suburban American bedrooms. (Nick Dedina in AllMusic)
Exotic and
Latin albums were big deals in the 1950s and early '60s, and singers as diverse
as Dean Martin, Lena Horne, and Peggy Lee were recording with castanets and
bongo drums. Peggy Lee was so successful at the style that she cut two albums
of light pseudo-Latin jazz in 1960. Like Peggy Lee, Julie London combined a
restrained vocal approach with jazz phrasing and a cool attitude with icy sex
appeal. But while 
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