Haruomi Hosono & Tadanori Yokoo - "Cochin Moon" Vinyl, LP, Album, Reissue, 1978/2018 (Light in the Attic)

In the same manner, as the importance of someone like Brian Eno, Van Dyke Parks, and Martin Denny are to the English speaking world, concerning exposing various 'foreign cultures,' the same can be said for Japan's Haruomi Hosono. He's like a combination of all three above.   Also a pioneer in the electronic music pop world as well. Once was (or is?) a member of The Yellow Magic Orchestra (YMO), who are considered to be in a certain sense The Kraftwerk of Japan. Nevertheless, Hosono is a unique figure in Japanese contemporary music. He is very much a music historian, as well as an artist who can blend various styles that become a Hosono stance.

"Cochin Moon" is an album he made with artist/illustrator Tadanori Yokoo, and it's an exotica electro-impressionistic tour of India. It's like Kraftwerk's "Autobahn," but on a culture that is foreign to both Hosono and Yokoo. The thing with Hosono he is also knowledgeable about Japanese music and its culture. It lurks around whenever he makes music, and there is a cultural 'pun' at work when he approaches music from the West, knowing quite well it's 'exotica' to him. That's one of the beautiful things about his entire catalog that it's an artist's approach at looking at the world around him - in images, imagination, in other words, an illusion.

Yokoo is the executive producer, and I suspect that it was his idea to do this album based on a trip to India that they took in the mid-1970s. Still, beyond that, it's all Hosono. Both got physically ill in India, which influences this album. The last track is "Madam Consul General of Madras," which, as legend has it, served Hosono and Yokoo some Japanese food, and therefore they were healed from what was illing them.  There are touches of Indian music on the album, but it's electronic that flows consistently — an iconic electro album.

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. 

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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.   

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.