Haruomi Hosono - "Philharmony" Vinyl, Reissue, Album, 1982/2018 (Light in the Attic)

Techo-pop as perfection.  Haruomi Hosono, who is no stranger on my blog here, is a combination of Van Dyke Parks and Brian Eno.  His stance in Japanese contemporary music is vast and of great importance.  Hosono is active as a producer, songwriter, arranger, and solo artist, as well as being part of the YMO (Yellow Magic Orchestra).  There is something late 20th-century Japan that fits in perfectly with the sound of analog synths and the way music is used in public areas, such as train stations and retail shopping areas.  Often, and to this day, one can hear interesting electronic music being in the background while traveling or shopping.   "Philharmony" is the ground zero of this type of aesthetic.  Hosono has made pure electronic ambient albums, but "Philharmony" is based on pop songs done in an electronic manner. 

There's a touch of purity in its approach, but Hosono is very expressive in that framework. This album is light, airy, but with a strong sense of melodies.  At the moment it is either difficult to find, or very expensive, but I do swear that it is worth the game of searching this album down. 

Harry Hosono and the Yellow Magic Band - "Paraiso" LP, Vinyl, Album, Limited Edition, Reissue, 2018/1978 (Light in the Attic)

Haruomi Hosono, is without a doubt, one of the most important musicians/record maker in Japan.  If I have to make a comparison with a Westerner, Van Dyke Parks comes to mind.  Hosono is a producer, songwriter, founding member of YMO (Yellow Magic Orchestra) and very much a music historian.  Of course, there are other figures in Japanese pop music that are important, but Hosono is unique in that he has a perspective that is very much Japanese but also has an understanding about music from other cultures. Also, to note, he knows about outside music that influenced Japanese taste and contemporary culture.  In that sense, he's like Parks in that he knows his history and how to use it or comment on current culture by going back into the past and bringing back music, but in a different way or arrangement. 

To dwell into Hosono's world is difficult just due to the range of music he made in his career.  He went from traditional Japanese pop music to Hawaiian to rock to electro-pop, and ambient.   The unique aspect of Hosono is that each style he investigates he does so with expert knowledge and an organic manner in appreciating the different types of music. It doesn't seem to be on a 'fashionable' or surface level, but a deep appreciation of how music has traveled around the world.  It's interesting to note that Hosono uses the name Harry for these 'exotica' recordings. 

"Paraiso" is a fascinating album that bridges his interest in tropical/exotica music but entering into the electronic world by baby-steps.  Ryuichi Sakamoto and Yukihiro Takahashi make their first appearance here with Hosono before they formed YMO.  So, the album is very much a journey, and it's not the destination that's important but the travel itself.  'Asatoya Yunta" is a traditional Okinawa song, but he also rips into "Fujiyama Mama," an American rockabilly song, which some may think is in rather bad taste, with respect to the bomb.  Nevertheless, with humor and wit, Hosono makes his own planet of music that connects from dot to dot.  A beautiful reissue from Light in the Attic, with a great interview in English with Hosono as an additional plus to the whole package. 

The Ventures - "Pops in Japan" 2 x Vinyl, LP, Album, Japan, 1980 (United Artists Records Japan)

If for nothing else The Ventures brought the electric guitar to Japan.  To this day, The Ventures (or whoever is left of the band) still do yearly tours of Japan, and it is one of the significant areas of the world to complete your Ventures vinyl collection.  Other then that, The Ventures made two albums for the Japanese market covering Japanese pop songs and Enka, which is similar to the blues, but in Japanese.  These sad Japanese pop ballads have a natural relationship with the electric guitar.  For the Westerner, it's a cool combination.  For my wife, who is Japanese she may find it kitsch.  Since I'm writing this review, I will say it's fine art.

The liner notes are all in Japanese, and I suspect that side one & 2 of this double set was released as it is sometime either in the 70s or 60s.   It is also better than the second disc, which has keyboards and has a late 70s vibe in its recording.  Still, a remarkable document.  I have heard songs or singles that is devoted to the Japanese market, but it's rare to listen to a whole album by a Western band dedicated to the Japanese songcraft and hits.  The Ventures play their twang guitar sound, but it fits in perfectly with the Japanese melodies.  Also, I must note that side one is all original songs by The Ventures focusing on a Japanese 60s pop sound.  The rest of the double-album set are cover songs.

It took me years to find a vinyl version of this album, even in Japan, it's hard to find. I found this perfectly beautiful edition at Counterpoint Music and Books.   It was the last thing I expected to see in a shop.   The Ventures generally are not my favorite instrumental band.  For instance, I prefer The Shadows, and I think it comes to the Jet Harris bass and the Hank Marvin guitar. Still, one has to acknowledge the importance of The Ventures, and the little-known knowledge that they had a massive impact on Japanese pop music and aesthetics.  Before The Beatles, the other fab four, The Ventures, came and stole the hearts of future Japanese guitarists.  

Jun Togawa (戸川 純) - "Suki Suki Daisuki (好き好き大好き) Vinyl, LP, Album, Japan, 1985 (HYS)

Without a doubt one of the great albums from the 1980s, and a work that is still as fresh as the first day of spring.  For one, the production does yell out the 1980s, but like Sun Records is from the 1950s, this is almost a militant version of that era.  Jun Togawa is a vocalist that is very difficult to explain because she is a rare artist that goes beyond her limitations of the pop (Japanese) world.  Most Japanese pop music exists to please, but there is something dark and disturbing about the Togawa sound, which is hyper-emotive and one feels traces of Bi-polar expressions within its groove.  

One thing that is very noticeable is that a Jun Togawa recording is very unique.  There is nothing like it in this world.  To make comparisons is always a fun sport, but I'm not sure if comparing her to other artists would be accurate.  Saying that "Suki Suki Daisuki" has traces of French Yé-Yé sound, but updated to the 80s, and she does cover Serge Gainsbourg's  "Comment te dire adieu," yet it sounds very much like her own material.   The song is sung in Japanese, and I'm not sure if it's just translated lyrics from French to Japanese, or she may have written her own words to the song.  The sound is more Togawa than Gainsbourg, yet respectful of the original melody/song.  

She also does a beautiful, but a bizarre cover of "Angel Baby" the great Rock n' Roll ballad of the 1950s originally recorded by Rosie and the Originals.  The original version is a fantastic time-piece of out-of-this-world pop, and Togawa does this song in English, that reminds me of Yoko Ono if she did a cover of this song.  I'm not saying that due that they are both Japanese women, but their voices have a similar vocal range.  Togawa can go for the lower notes to the highest, and she is an amazing singer. In the nutshell, I think of her work as a combination of Sparks, Yoko Ono, French Yé-Yé with a touch of Kate Bush ambition.   I know that both John Zorn and Jim O'Rourke think of her work highly, and it's a shame that she is not better known in the West.  Then again, I suspect that she could care less about the music market outside of Japan.  Truly a unique music artist.  Also, she did the design work for this album, and it's a great package. 

. 

Jun Togawa (戸川純) - 極東慰安唱歌 Vinyl, LP, Album, 45 rpm, Japan, 1985 (Yen Records)

I first discovered Jun Togawa in the small town of Moji-Ku on the big island of Kyushu in Japan.  I was living there for the entire four-seasons, and I came across her albums with the help of my wife Lun*na Menoh.   With a great deal of cultural guilt, I never took on the Japanese pop music scene in Japan in a big way.  I greatly admired Hosono Harumi and other members of YMO (Yellow Magic Orchestra) but a lot of it sounded flat to me due to the production standards of record production of the 1980s. Very digital, and it struck me that Japanese pop music was very much like Kabuki theater where everything is laid out on the stage in an equal manner.   My eyes didn't focus on one character or actor, but I look at the stage as if it was a giant poster.  My eyes kept moving around, and I feel the same with Japanese pop music of the 1980s.   Jun Togawa was different from the rest of the Showa era entertainers or artists.  Listening to her work I got a huge painting, but I can focus on parts of that aural painting due to its clarity and at the same time, it's eccentricity. 

 極東慰安唱歌 is a superb Togawa album or should say, The Jun Togawa Unit, which is the official artist listing for this project.   Here she makes music with Yoichiro Yoshikawa, Takago Higae,  and uses traditional Okinawa music as well as the composer Giacomo Puccini and the great Haruomi Hosono.  The first impression is that this is very much a techno-pop music but with touches of the old (Puccini and Okinawaian music), but the glue that holds all of this is Togawa's magnificent vocal talents.  She's a great singer.   

On one level she reminds me a bit of Kate Bush, but totally not British and very Japanese.  I once read or heard a Togawa quote that she knew nothing of Western music except for classical and Prince.  I believe her.   There are traces of psychedelic pop in her method and sound.  Listening and collecting Togawa is for sure falling into the rabbit's hole, and how one can crawl out of that space is very questionable.  Still, her recordings are consistently being reissued on the CD format, as well as in various compilations.  It's worth the adventure to check her music out.  She's great.   

Swing Low - "Swing Low" CD, Album, Japan, 1996 (Mercury)

"Swing Low" is an album by Haruomi Hosono (or known as Harry here) and singer Miharu Koshi. Hosono is a combination of Brian Eno, Brian Wilson, Les Paul, Ry Cooder (in his knowledge of music history),  and a touch of Van Dyke Parks.  He's electronic and ambient and then on another album, he's a music historian focusing on how Western music has affected the Japanese landscape.  Smart, elegant, and on top of that,  his grandfather was on the Titanic and survived that ordeal.   

Swing Low focuses on the odd mixture of classic American songwriting with touches of Electronica here and there.  Real instruments as well as computer technology.   In Japan, he's a huge influence and figure in contemporary music.  In the West, not that much and that is truly a shame.  For the fan of Hosono outside of Japan, it's a hard road to locate his recordings, unless you go to Japan.  One can usually find his solo albums in the YMO (Yellow Magic Orchestra) section of a large record store.  It's worth the adventure because the listening experience is so great. 

Hosono works in themes or concepts.   Rarely is there a solo album by him that is not attached to a bigger idea or comment on a certain aspect of music.  He's hard to define in the Western sense, and to recommend a specific album is not difficult, but you have to keep in mind that is records change from one to another in an entirely different manner.  Swing Low plays with the 1950s image of American lounge music/Space Age with traces going back to Europe. One becomes a world traveler through Hosono's recordings and music. 

I think what makes Hosono so amazing is that since he's a Tokyo personality, so he looks at the world as an "other" and doesn't hesitate to borrow cultures here and there.  He's truly a world musician.  His partner-in-crime, Ryuichi Sakamoto, follows similar roots as Hosono, but the big difference to me is that Sakamoto has lived in New York City for numerous years,  and although hot American, I think he understands the American landscape through his personal experiences.  Hosono I feel gets his information through books and recordings.  And for sure, as a traveler, but Hosono is never far away from the aesthetics of Tokyo life and music.  "Swing Low" is a take on the 1950s, with its kitsch aesthetic, but also the beauty of exploring another universe, which is a weird hybrid of American, European, and Japanese pop culture.  "Swing Low" is a great album. Difficult to find, but as I mentioned above, worth the adventure.  Also, you can hear the album here on YouTube. https://youtu.be/06HcFuiHWZ4

TAMA - しおしお CD, Album, 1989 (ナゴムカンパニー)

Well, here I was in Japan and living in a very small town that was part of Kitakyushu.  An old port town that saw better days before the war.   I couldn't speak a word of Japanese when I lived there, and my main entertainment was watching this late night TV show called "Ika 10" or something like that.  It started off at Midnight and it seemed to stop around 4 in the morning.  It was an old fashion battle of the bands type of show, where the best band do a song, get judged, and then get invited again next week, and then they keep going to the top of the pyramid.  The great thing about this show is that they basically ignored the boy or girl band J-Pop sound, and focused on eccentricity.  In other words, a true group of indie rock bands, but kind of weird for the mainstream at the time. Yet, the show became a hit of sorts, and all the bands made records, etc.

One of my favorite bands from this TV show was a group called TAMA.  I didn't only like them, I was crazy about TAMA.   The Tokyo fab four's line up was acoustic guitar, minimal drum set, electric bass, and accordion and some keyboards.   The music was pre-world war two Japanese pop but twisted.  Their clothing they wore on stage was also from the era of the late 1940s.  A very strange band. 

I bought their CD with great anticipation, and I wasn't disappointed.  As mentioned the music is very acoustic based, I guess in a sense Japanese folk music, but with a lo-fi aesthetic and very catchy.  To me, and being a foreigner, I thought for sure if I can bring them to the U.S., it would be TAMA mania.  Four good-looking guys, who play (really) original sounds.  It was an ah-ha moment for me.  Alas, I didn't have the means or perhaps talent to be a manager.   As far as I know this is their first album, and they continue to make albums for the next five or six years.  I think they are brilliant.  

Jacks - "Vacant World" LP, Album, Vinyl, 1968, Japan (Express)

The West Coast version of Velvet Underground of Japan?  Jacks is a band that is for sure NOT J-Pop, in any fashion or manner.   It's very 1968, and one imagines if it was a better world here, they would be on Elektra Records here in America.  They would fit in with Love, The Doors, and bands of that fashion.  What sounds like at times, a stand-up bass, an electric flute, and a stinging electric guitar.   One would say they got their sound from West Coast rock at the time, but there is something more organic or rooted in Japanese music. 

The band, to give them full credit here:  Yoshio Hayakawa; vocals, guitar, Haruo Mizuhashi; lead guitar, vocals, Hitoshi Tanino - Fender bass, upright bass, and Takasuke Kida; drums, flute, vibraphone.   Hayakawa is a mournful singer, which sounds regretful, but then the melody becomes poppy and then turns back into darkness.   And that's "Love Generation."    "Where" is a groove fest of a tune.  Handclaps and 'yeahs' in the background.  Not exactly a party, but a late night mood of a song.  In fact, Jack belongs to the evening.  

For those who are curious about the underground Japan rock scene of the 1960s and 70s will need to have this album.  Ground zero here.  I love Jacks. 

Guernica - 電離層からの眼差し CD, album, Japan (Teichiku Records)

In my year-long exile (1989) in Japan, I discovered this remarkable CD I think at the Wave music store in Roppongi.   I was immediately intrigued by the graphics on this CD, and thought to myself, how can this possibly go wrong?    It's a masterpiece. 

Guernica is a musical project with music by Koji Ueno, lyrics by Keiichi Ohta, and most remarkable of them all - Jun Togawa singer.  She is like every great new wave singer from the 1980s rolled into one body or mouth.     The music is highly orchestrated with real strings, horns, and it's so retro that it's basically an avant-garde pop album.  The album even has tap dancing, which I think is real.  The roots go back to the 1930s, with a touch of Busby Berkeley.  Togawa's vocals are operatic, to small Judy Garland "Wizard of Oz" era vocals to the vocal range of someone like Yma Sumac.  

This is not easy listening music.  It's very much in your face and totally doesn't take any prisoners.  The closest thing I can think of is "Song Cycle" by Van Dyke Parks.   It's a militant aesthetic that looks toward the past but to make something totally new.   This album is totally unique.   Hard to find, even in Japan, but worth the hunt.   I strongly recommend this album to anyone who is interested in orchestrated pop, baroque pop, and experimental music. 

HARUOMI HOSONO - "Omni Sight Seeing" (Epic, CD, Japan)

In my first long stay in Japan, somewhere in 1989-1990, I purchased this CD, I think, at the music store THE WAVE.   The store was located in Roppongi part of Tokyo, and it was a six-story building filled with music and film DVD's.  It also had an art movie house in its basement.  The perfect home away from home for me.  A few laters I come back to the area and I was shocked to see the store gone - and not just the store, but the entire building as well.  It was just an empty hole in the place of the structure.  It's like a dentist pulling a tooth and just leaving the open wound for the world to view.   I'm just now, getting over the depression of losing such a store and building.  Nevertheless, Haruomi Hosono's album "Omni Sight Seeing" was one of the purchases I have made at THE WAVE.  Twenty-six years later, I'm still paying attention to this album, and when I do hear it, the horrid humid summer comes to mind, that was taking place that summer in Tokyo. 

But to focus on the album, it is very much a travel-log of sorts for Hosono.  It's going around the world with Hosono, or to be even more precise, Asia.   At the time, I never heard an album like this - it is various sorts of music and its history, but through the eyes and sounds of Hosono.  In the West, he's a famed member of the Yellow Magic Orchestra (YMO), a band that I admire, but not love.  On the other hand, Hosono solo albums are always interesting. He's sort of the Ry Cooder of Japan - in that he's very much a historian of music and its various cultures.  But that is everything from techno-pop to Americana roots music. He works on a big canvas.  If I was to recommend one album for the new listener it would be "Omni Sight Seeing." 

There are traces of John Cage to Middle-Eastern melodies to Parisian tourism to techno to Duke Ellington on this album.  Hosono's version of Duke's "Caravan" is a solid delight.   Accordion, sax, and electronic keyboards is a very good mixture for this tune.   The whole album is very much a variety pack of goodies.  It's traveling without a passport or the fear of security.  The other highlight of the album is "Laugh-Gas," which has to be the ultimate 11 minute minimal techno cut.   Superb entertainment for all!