Review: Over the last couple of years, we've been treated to numerous reissues of classic cover versions by Japanese reggae/rocksteady combo Inokasira Rangers, including takes on Nirvana's 'Smells Like Teen Spirit', Pharrell's 'Happy' and New Order's 'Blue Monday'. Here we're treated to another, as the band's 2017 take on Underworld anthem 'Born Slippy' gets a fresh pressing. It's certainly a revolutionary revision, with Keichi Sokabe's surprisingly Karl Hyde-sounding lead vocal rising above a lusciously languid, sub-heavy reggae groove. Over on the flip they take on 'Groove Tube', a 1991 indie-pop-meets-acid house single from Japanese outfit Flipper's Guitar, reframing it as a baggy, glassy-eyed rocksteady number.
Review: In 2002, the Japanese government recognized bamboo flute maestro Hozan Yamamoto as a "living national treasure". It was in honor of his lengthy career in music, and in particular the way he championed a traditional Japanese instrument even when he was turning his hand to Western music. "Beautiful Bamboo Flute", an album first released in 1971 and almost impossible to find since, is a superb example of this. It sees him deliver haunting, emotional and life-affirming solos over funky jazz, big band and fusion backing tracks that tend towards the fresh and funky. It's an unusual blend, but also an invigorating and exciting one.
Akira Yasuda & Beat Folk - "Yumura No Obaba" (3:04)
Pinky Chicks - "Tosetsu Donpan Bushi" (3:16)
Review: On the first instalment in the Wamono A to Z compilation series, released in September 2020, dusty-fingered diggers DJ Yoshizawa Dynamite.jp and Chintam focused on Japanese jazz-funk and rare groove gems recorded and released between 1968 and '80. For this speedy sequel, they've narrowed their focus further in order to showcase little-known Japanese funk slammers pressed to wax between 1970 and '77. As you'd expect, there's tons of absolute bangers amongst the 10 tracks on show, with highlights including the Blaxploitation movie soundtrack vibes of Mieko Hirota's 'Theme of Doberman Cop', the fuzzy, Hammond-sporting psych-funk of Fujio Tokita's quirky 'Watashi No Beatles', and the energetic, proto disco-funk of Hatsumi Shibata's 'Singer Lady'.
Review: Jazz Rock doesn't quite do exactly what it says on the cover - jazz features heavily on this gorgeous record, but of the spiritual kind, and often driven by lush, funky drum playing. It is also a record defined by the distinctive sound of the koto - a traditional Japanese string instrument that lends the record a delicate and beautiful feel. It was recorded in 1973 and sounds both perfectly aged yet utterly fresh and also features bamboo flute playing by Hozan Yamamoto. It's a laidback record, one filled with the joys of spring, but also one that doesn't take itself too seriously and gets upbeat and funky as often as it does tender and pensive.
John Barry-Moore - "Abertura De "Os Inocentes"" (1:45)
Willy Chirino - "Sing A Song (Canten Mi Cancion)" (4:24)
Malouma - "Nebine" (4:39)
Yasuaki Shimizu - "Kakashi" (4:40)
Mariah - "Shinzo No Tobira" (4:45)
Mave & Dave - "You Are Delicious" (4:40)
Pamoja - "Oooh, Baby" (3:40)
Mark Capanni - "I Believe In Miracles" (3:02)
Admin - "Step Into Light" (4:39)
Phillip Malela - "Tiba Kamo" (3:14)
Gyedu Blay Ambolley - "Let's Be Happy" (Disco mix) (7:01)
Tyrone Evans - "Rise Up" (Discomix) (7:18)
Stimela - "I Hate Telling A Lie" (7:38)
Eamon - "Ready For War" (3:03)
Sven Wunder - "Mosaic" (2:59)
Hiroshi Suzuki - "Romance" (5:48)
Tete Da Bahia - "Duplo Sentido" (5:03)
Review: When a new instalment in Mr Bongo's Record Club series lands, it's always worth checking. Featuring selections from different members of the Brighton-based label's dusty-fingered staff, each volume is packed to the rafters with sought-after and little-known gems in a variety of interconnected styes. This fifth edition is naturally packed to the rafters with righteous fare, with the many highlights including (but not limited to) the suspenseful instrumental disco of John Barry Moore's 'Abertura De Os Inocentes', the dubbed-out, jazz-funk-flecked proto-Balearica of Yasuaki Shimizu's 'Karachi', the funky grooves and glassy-eyed soul vocals of Mave & Dave's 'You Are Delicious' and the driving, dub-flecked reggae-disco hedonism of 'Rise Up (Discomix)' by Tyrone Evans. In a word: essential.
Hitomi Tohyama - "Sweet Soul Music (Kiss Of Life)" (3:50)
Review: For the latest edition of their essential Wamano A to Z compilation series - the third to date - DJ Yoshiwza Dynamite JP and Chintam have decided to focus on "Japanese light mellow funk, disco and boogie" tracks recorded between 1978 and '88. Like its' predecessors, the eight-track set is heavy on obscurities and little-known cuts, as well as bona fide killer cuts. There's much to savour throughout, from the intergalactic, slap-bass propelled boogie brilliance of Jadoes' 'Friday Night (Extended Mix)' and the laidback funk bliss of Yumi Sato's 'Ame', to the smooth jazz-funk lusciousness of Hitomi Tohyama's 'Rainy Driver' and the Latin-infused, Teena Marie style electrofunk brilliance of Mizuki Koyami's 'Kare Niwa Kanawanai'.
Review: By now, we've become accustomed to Japanese outfit Inosakira Rangers offering up reggae and vintage rocksteady style cover versions of pop and dance tracks of old. Their latest cover, of James Brown classic 'Sex Machine', is a little different. It's no less warm, dusty or on-point than its predecessors, but there's no reggae or rocksteady flex - just a warmer, more laidback take on the funk classic, complete with distinctive lead vocals from Keichi Sokabe. They're back in lazy, Sunday afternoon rocksteady mode on original B-side 'Nagoriyuki', a sweet and quietly soulful number that pushes the band's bassist and organist - or more specifically their fine instrumentation - high in the mix for added nostalgic pleasure.
Review: Some expansive, cinematic, orchestral spiritual jazz for you here, from the trio of talents that Fumio Itabashi, Kuniyiki and Henrik Schwarz. While the latter two are generally better-known for their deep and sometimes tech-tinged house and ambient productions, the original mix of 'Watarese' (featured here on side B) is a dense, immersive jazz soundscape laden with evocative Japanese vocals, improvised piano, moody orchestration and definite nods towards vintage free-jazz. Spiritual Life supremo Joaquin 'Joe' Clausell provides the remix and, somewhat predictably, steals the show. His take is gently rhythmic, sun-splashed spiritual jazz full of hand percussion, fluid piano motifs and rubbery double bass.
Review: This collection focuses in an era of Japanese music in which fashion, glamour and kitsch collided to create an addictive sound that morphed Westernized shapes into something kaleidoscopic and unique; the GS (or Group Sounds) phenomenon had seen Japanese artists attempting their own take on the high-energy onslaught of the Beatles and the British invasion, but elsewhere the female artists of the era were crafting a sound that tipped its hat to bossa nova, psych-pop and French ye-ye whilst maintaining a distinctly Japanese approach. Vibrant, eclectic and shot through with an insouciance and style rich even for this era, this is a compilation that sounds as exotic today as it did in the '60s.
Review: The more erudite record digger will know that Japan has long since had a thriving ska, dub and reggae scene. This new entry in the Nippon series from London's Time Capsule label proves that - Tokyo Riddim 1976-1985 dives deep into its early days when J-reggae artists were looking to the likes of UB40 and The Police for inspiration rather than the Jamaican originators. And you can hear that here in this fine collection of backbeat gems which are playful, loose and catchy, with subtle hints of city-pop and new-wave sounds. These tracks have only been available in Japan before and are now sure to find a welcome new audience on European shores.
Masahiko Togashi & His Improvisation Jazz Orchestra - "Desireless" (13:25)
Takeru Muraoka & His New Group - "Lady Boogie" (3:04)
Yoshio Ikeda - "Down To The Sea" (10:17)
George Otsuka Quintet - "Loving You" (6:54)
Review: After an acclaimed first volume, Japanese jazz expert Yusuke Ogawa continues to explore the phenomenon of Wajazz by diving into the archives of King Records. Spanning the years between 1962 and 1985, he brings to light some truly astounding music from artists like Isao Suzuki, Toshiaki Yokota, Akira Miyazawa, Takeru Muraoka, Yasuaki Shimizu, Masahiko Togashi and George Otsuka. There's a consistent thread of spiritual jazz around these varied performances, which Ogawa has pointedly selected for qualities which mark them out as unmistakably Japanese. It's another strong testament to the vibrant jazz culture from Japan, selected by a true expert driven by infinite passion for the music.
Review: Jaribu Afrobeat Arkestra are an entirely unique phenomenon, a Japanese collective pushing forward Neo-Afrobeat with heavy influence of the classic Japanese jazz sound and the long tradition of covering iconic western soul/funk tracks. Aretha Franklin's 'Rock Steady' is a collaboration with fellow Japanese artist Tina (aka Luv Tina), a decorated vocal powerhouse in the early 2000s R&B landscape, culminating in a mind-boggling genre mashup that defies expectations. The J.A.A. chorus section matches Tina's power perfectly with the blaring jazz instrumental, with phenomenal sax and trumpets. Swipe this coloured reissue before it goes again, you have to hear it to feel it.
In Praise Of Mitochondria (Mitochondria San) (2:56)
Ai Wa Nohshintoh (Love Hits Like Concussion) (4:12)
Shinzo-San (Respecting My Hardworking Heart) (4:32)
Mizuko No Tamashii Hyakumademo (Unborn Fetus' Dream Lives For One Hundred Years) (4:31)
Furarete Nambo (It's Ok To Get Dumped) (5:59)
Sutten Tenmari (Me After The Bubble Economy Crashed) (3:08)
Nohdashi (Taking Out The Brain/The Man Who Was Only A Brain) (4:27)
Dompan (Private Funk - alternate version) (6:21)
It Isn't Because Of Hemoglobin (Hemoglobin No Seijanai) (6:27)
Zennotized Funk (3:53)
Review: Japanese original Minoru Hoodoo Fushimi self released four albums between 1985 and 1992. With this compilation, Australia's Left Ear Records have selected 12 tracks for a double vinyl retrospective. Minoru set out to combine his love of all things funk, with traditional instruments and song from his homeland. His vocals switch between raps about cellular metabolism and haemoglobin, soulful crooning and vocoder. On "Shinz-San" he adds metal guitar to vintage Sugarhill Gang and he goes crazy with his sampler. Scratching in cats, frogs, babies, laughter, giggles, traffic jams, failing ignitions, opera singers and amorous sighs. Meanwhile "Furarete" mixes elephant roars and go-go. Curious oddities from a fogotten hero of the Japanese underground.
Review: Hitomi Toyama's 'Sweet Soul Music' originally made it to wax last year, when the track appeared as part of a rare Japanese funk compilation curated by the sound's brightest stars, Wamono. Now, though, it gets a proper release on 7", and is backended by the sultry B-side 'Wanna Kiss', which sounds pitched up and chirpy in its shrill alto vocals, which assure us we're held. The A, meanwhile, is as horny (in both senses of the word) as ever, quite obviously singing the praises of "sweet soul music... I love you!"
Review: Japanese jazz drummer Akira Ishikawa's blistering 'Uganda (Dawn Of Rock)' makes a piognant claim as to the origins of rock n' roll, blending traditional African drumming workouts with the futuristic tropes belonging to psychedelic rock and fourth world music. Consisting of just four movements ranging from formless to the watery and rhythmic, its recording lies in the basis of just one legendary drummer, but in all its sonics sounds as though an enormous ensemble were behind it. A well-sought J-psych rarity.
Hiroshi Kamayatsu - "Have You Smoked Gauloise?" (4:20)
Happy End - "Ome, Spring" (4:18)
Yoshiko Sai - "Blue Glass Ball" (4:53)
Tadashi Goino Group - "Go Beyond Time" (4:58)
Jun Fukamachi - "You" (4:08)
Momotaro Pink - "August's Impression" (with original Pinks) (6:04)
Vol 1 Chap 100 - "In The Room" (7:18)
Review: Time Capsule exposes a few of the myriad pathways in Japan's 70s psychedelic soul wormhole, when a bountiful crop of music emerged from musicians inspired by homespun hero Haruomi Hosono's Happy End project, as well as the meandering ballads emerging from the dissolution of the 1960s protest movements. From the charming, Hosono-esque Francophile lounge funk of Hiroshi Kamayatsu's 'Have You Smoked Gauloise?' to the Tadashi Goino Group's strikingly sparse drum machine n' synth incantation 'Jikan Wo Koero Go Beyond Time', almost sounding like Goino is flanked by Vega and Rev at times, to the theatrical, almost duul-esque closing ballad 'Heya No Naka In The Room', the heads at Time Capsule assemble a compelling and kaleidoscopic anthology of forgotten Japanese gems.
Review: Japanese singer-songwriter Hikaru Itada is having her entire discography rerubbed, following the release of the deluxe edition of 'Bad' last month. 'Ultra Blue' is her fourth, from 2006, and continues the J-pop balladry of her previous LP 'Deep Blue', albeit with a comparatively bright-eyed and optimistic bent. Twin Peaks style strings and galloping drums open the title track, as we're propelled into Utada's own realm of stardom. It sold almos four million digital single tracks in its year of release, and was prominent for its' tracks individual releases as ringtones.
Review: A stunning introduction to the band Maya Ongaku. Their new LP here, Approach To Anima, mixes psych and experimental tropes to convey the unmistakable local atmosphere of their small island community - Enoshima, located not far from Tokyo. With the music straddling soothing and stimulating ideas, the band toy with different instruments and textures, from guitars, woodwinds, niche percussion, one-shot vocal samples and dubious noises. Doing so evidently feeds into the idea that their home is an 'imagined view outside one's field of vision' (this is the phrase to which their name translates). Clearly, Maya Ongaku imagine Enoshima as a stolen-away fairytale grotto in which all kinds of musical ecstasies may occur, at random whimsy. We gratefully confront our own animas as we listen intently.
Fly Me To The Moon (In Other Words) (2007 mix - bonus track) (3:21)
Review: Straight from the renegade minds of Italy's DUB (District Underground Bastards) - whose parties deal exclusively in untrodden, alternative locations not normally inhabited by DJs and crowds - comes 'Bersekr', the newest collab cut from Vadim Oslov and Denis Andreev. Together, the dark, minimal techno powerhouse deliver two back-to-back cuts of only the purest cleanliness and snap. 'Toltec Snippet' and 'Alexandra Snippet' expose themselves minimally but confidently, as Minilogue jerks and dub echoes unfurl across as dancefloor-taming 6 minutes.
Review: A Colourful Storm's vinyl release of Eddie Marcon's Yahho no Potori is a shinning example to the enduring allure of the Japanese folk outfit's intimate soundscapes. Comprising the core duo of Eddie Corman and Jules Marcon, the album marks a poignant evolution from their earlier works, weaving delicate acoustic textures with traditional song structures. Recorded during a humid summer and autumn, Yahho no Potori captures the essence of tenderness and wistfulness, buoyed by Corman's evocative vocals and Marcon's stylish guitar strumming. The ensemble cast, including Yashuhisa Mizatani and Saya Ueno, imbues the album with a collaborative spirit reminiscent of Japanese collectives like Tenniscoats and Maher Shalal Hash Baz. At its heart lies 'Toratolion', a hauntingly beautiful track that features Corman's emotive vocals, a standout moment on both the album and in Eddie Marcon's live repertoire. A Colourful Storm honors this underappreciated gem with remastered audio, faithful artwork and a Japanese lyric sheet, inviting listeners to immerse themselves in the ethereal beauty of Eddie Marcon's musical world. This album is sure to make indie charts and best of lists for 2024!
Review: Originally released in 1969, Exciting Drums African Rock Party is the first album from Akira Ishikawa under his Count Buffalo alias. It's a wide-ranging affair which includes covers of contemporary standards such as 'You Keep Me Hanging On', 'Back In The U.S.S.R.' and 'Soul Limbo', all given a bold and brassy jazz revision by Ishikawa's band, which included Hiromasa Suzuki on piano, Masaoki Terakawa on bass and Takeru Muraoka on tenor sax. This is the first time it's been repressed since its release, so you can expect all Japanese jazz aficionados to be jumping on this one quickly.
Review: The long-awaited international reissue of Yoshiko Sai's 1975 cult classic Mangekyou (Kaleidoscope), produced by renowned composer Yuji Ohno is now here. This sought-after funk-folk album, previously unavailable outside Japan, captures Sai's ethereal voice and poetic songwriting, layered over Ohno's lush, funky arrangements. The music blends groovy, mid-tempo tracks like 'Yoru No Sei' with atmospheric ballads such as 'Tsubaki Wa Ochita Kaya', creating a dreamy yet grounded soundscape. Ohno's masterful production elevates the album, weaving traditional Japanese instruments like the shakuhachi and biwa into the mix, adding cultural depth to the already rich textures. The remastered audio highlights the intricate details of this beautiful fusion of folk and funk, giving Mangekyou a timeless quality. Long considered a treasure in Japan's 1970s music scene, original copies of Mangekyou have become rare and highly valuable, making this reissue a significant release for collectors and new listeners. Accompanied by original artwork and new liner notes by Paul Bowler, this first international edition provides the perfect introduction to Sai's mysterious, revered sound, allowing her music to be discovered and appreciated worldwide.
Review: Yumi Murata's Uterus Uterus is a jazz-pop classic from 1985. Yumi is a vocal coach and former singer who was active from the late 70s and through the 80s before opening her own Murata Yumi Vocal Training Room in 1991 and teaching ever since. This long-player was a later one out of the seven she released in all and is one of her most popular as it mixes up fusion, new wave, funk, pop and jazz across synth sounds. These are enjoyable and sophisticated sounds from this talented vocalist.
Review: The titular release from Kumomi Records, based in Japan, hears Okinawa salsa band Kachimba 1551 fuse two enduring traditions: Okinawa folk music and salsa. The band embarked on this fusion first in 1998 and have continued their activities in their hometown of Okinawa ever since. A-sider, their rendition of 'Asatoya Yunta', appears first - a folk song said to have originated on Taketomi Island in the Yaeyama Islands, and which has been covered by many musicians around the world (including Ryuichi Sakamoto, Haruomi Hosono, and Akiko Yano). On the B, meanwhile, is 'Uminu Chinboraa', said to have been handed down from 'Ie Island In Kunigami Gun Of Okinawa', a folk song known for its use in traditional party settings.
Review: Uganda: Dawn Of Rock is a great collision of creative talents from Akira Ishikawa and Count Buffaloes who combine to deliver a captivating exploration of rock music's emergence in Uganda. A classic since it was first issued, the album showcases Ishikawa's masterful drumming and Count Buffaloes' dynamic instrumentation. It overflows with infectious rhythms and soulful melodies and each track immerses listeners in the vibrant music scene of Uganda where rock and local African sounds are fused into something new. As such this is a record that offers a perfect glimpse into a pivotal moment in Uganda's musical history.
Review: Ajate's third album, Dala Toni, is a vibrant fusion of Afro groove and Japanese traditional Ohayashi music, showcasing the band's innovative approach to blending diverse musical traditions. Founded by Japanese musician Junichiro "John" Imaeda after a revelatory experience in West Africa, Ajate brings together ten passionate musicians to create music that transcends cultural boundaries. Utilizing a mix of traditional instruments like drums, flutes, and bells, as well as handmade bamboo instruments crafted by Imaeda himself, such as the unique 'Jaate' and 'Piechiku,' Ajate's sound is both powerful and distinctive. Their incorporation of Afrobeat rhythms and Japanese vocals adds further depth and richness to their music, reflecting themes of human connection, unity, and the joy of life.Having gained acclaim for their explosive live performances in Japan and beyond, including appearances at prestigious festivals like Sukiyaki Meets The World and WOMAD UK, Ajate's music resonates with audiences worldwide. With Dala Toni, they continue to push the boundaries of global music, solidifying their position as pioneers of the genre "made in Japan."
Review: QASB's Kono Machi De single, released on Soul Garden Japan, is a vibrant blend of Japanese soul with jazz funk and city pop influences. Side-1 features the Shuya Okino edit of 'Kono Machi De Aka In This Town,' which emphasises a groovy rhythm, enhancing the track's infectious energy. Side-2, has the original version which delivers a feel-good mix of disco strings and a lively horn section, reminiscent of Taste of Honey. Written by Moritaka as a tribute to her hometown Kumamoto, the song includes a nod to Tomari River, a location tied to collaborator Yuichi Takahashi. Having the option of both versions make this 7" a great little 45 to have.
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