I hope everyone had a good holiday season and is staying as safe as possible.
I apologize for the lack of posts recently. As I had been saying in many of my previous posts, I was moving to a new apartment last month, which kind of took up all my time. Things are finally settling down now. I got new record shelves built! They’re pretty. Take a look.
These are the first record shelves I’ve had in nearly a decade that allow me to shelve titles without having to sit on the ground or bend over for most of them. As a giant with a bad back, you have no idea how happy that makes me.
I finally got the turntable hooked up to the computer yesterday, but I still don’t have all that much to play on it since we’re on a near lockdown here in Tokyo and I haven’t made my way to a record store in over a month. I’ve been buying lots of new music online, but I haven’t been able to find any used and out-of-print items that I want to snag yet. I do feel a drunken night of Discogs browsing coming on soon though, maybe I’ll try to clean up on 80s and 90s maxi-singles, and stupid European electronic prog rock. Anyone know of any killer weird tracks that are on old singles but have yet to be re-issued? I’m looking for some good 80s and 90s stuff, I haven’t been on a binge of that stuff for a while now and I’m jonesing.
I also got some other plans for content this year. Not on this site, but I’m in the initial stages of setting up another podcast. This one focused on movies. I really don’t want to say more than that, and it’s definitely months away, but I’m excited about it.
In the meantime, here are some B-sides by an utterly forgotten one-hit wonder.
Babylon Zoo Metal Vision
Blue Nude
Babylon Zoo were a one-hit wonder in both their native UK and Australia with their debut single “Spaceman,” which rocketed up the charts thanks to its inclusion in a Levi’s jeans commercial. The next time someone bemoans that TikTok is killing pop music by promoting forgettable tracks by mediocre artists, bring up that.
While a lot of one-hit wonders can at least claim a modicum of interest in their follow-up singles, Babylon Zoo are not nearly as lucky. From what I can gather, no one bought their second single. And while the group’s debut album got decent enough reviews, their 1999 follow-up, King Kong Groover, was absolutely savaged by the press and sank like a stone the second it came out. Checking up on Discogs, it appears that some members went on to do other things. One of them joined Alphaville for a bit, another one worked with Primal Scream for a while, and their original drummer was in a Celtic group of some regard. Singer Jas Mann hasn’t done much of anything though. He has a Twitter account that he hasn’t updated in more than a year, and despite teasing further Babylon Zoo material several times, nothing has materialized.
Is Babylon Zoo criminally underrated and unfairly maligned? Maybe. Shit. I don’t know. My knowledge of Babylon Zoo begins and ends with songs that were on singles to “Spaceman.” I had a 12″ single for this track eons ago, and even featured tracks from it here at some point. In the many years since then, most of those tracks have fallen back into print, including all the remixes of “Spaceman.” These b-sides are still out of print, however.
Based on these tracks, I’m gonna say that Babylon Zoo were…not bad! Maybe the entire album is dogshit on fire, I dunno, but I dig these a lot. “Metal Vision” rips off Gary Numan’s “Metal” for sure, but it’s a good rip-off and not many people in the 90s were ripping off Gary Numan, so points for originality. There isn’t much to “Blue Nude,” but it has a good groove and a glam, T. Rex type vibe.
So, there are a billion different variations and permutations of the band Gong. There’s the original Gong, Pierre Moerlen’s Gong, Planet Gong, Gongzilla, Mother Gong, New York Gong, Gong Maison, and so on and so forth. More Gongs than a Neil Peart drum set, that’s for sure.
One of the strangest, and shortest-lived, Gong variations was Paragong. In early 1973, Gong founders Daevid Allen and Patti Smyth quit the group. They were burnt out, and Gilli had just given birth. They needed a break. Drummer Laurie Allan and bassist Francis Moze decided to cut loose at the same time too. This left just three members of the group, guitarist Steve Hillage, sax/flute player Didier Malherbe, and keyboardist Tim Blake.
The remaining members changed their name to Paragong and just kept on keeping on, recruiting bassist Mike Howlett and drummer Pierre Moerlin to make the group a five piece once more, with Hillage picking up vocal duties. They immediately started playing new shows with this new line-up, but only in France. They really didn’t have time to tour internationally, because Daevid and Gilli quickly returned to the group, only taking two months off. I guess they weren’t that burnt out after all. And with that Paragong became Gong again.
Paragong’s existence was extremely short, but the band’s time as Paragong was instrumental in their later sound. This is when Pierre Moerlin joined the group. You don’t have Angel’s Egg and You, two of the group’s best records, without him. And when Allen and Smyth would cut out again in the late-70s, it would be Moerlin who would take control of the group, transforming it into a jazz fusion group, and changing the name to “Pierre Moerlin’s Gong” along the way. I’m not a huge fan of that version of the group, but you can definitely hear the seeds of that sound in this recording, with it’s emphasis on improvisation and occasional forays into jazz territory.
Because Paragon were only around for two months, and they only played a few shows in France, there aren’t that many documents of their existence. I think this live album might be the only official recording of the group. It’s only two songs, but, being a Gong show, those two songs make up a full set thanks to extensive improvisations, jams, diversions, and freak outs.
If you’re a virgin to the wonderful world of Gong and you like what you hear on these tracks, I suggest giving some of the group’s other live recordings a try. They’re very similar to this one in terms of energy and style, focusing less on goofball lyrics and more on musical improvisation, but still within the confines of a psychedelic rock show, no extended jazz solos or anything like that. You can’t go wrong with Live, Etc., it’s probably the best document of the classic Gong line-up, even better than most of their studio albums. Also, Planet Gong’s Floating Anarchy 1977 is a great one, although Planet Gong are really just Here and Now under a different name, forming to…okay, that’s enough talk of Gong side-projects for one night. Maybe next time.
My move to my new apartment is really kicking into high gear now. Since my new place is in the same building as my old place, I’ve been slowly moving a few things over everyday, as much as my back will allow. All my records are currently at my new place, as is my record player. This, coupled with a scary resurgence in COVID cases here in Tokyo, means that I can’t rip any LPs at the moment. Thankfully, I have an impressive backlog that I have to get through. However, nearly everything in said backlog is more weird-ass Japanese electronic shit. Or Madonna. So I hope you like stuff like this. Or Madonna. Cuz that’s what I have to offer in the immediate future.
Symphony Urusei Yatsura
I’m not all that into anime, at least not anymore. I was a teen in the mid-90s after all, so I was super into it then. I owned Akira on VHS tape, watched Ghost In The Shell a million times, rented weird random shit like Gunsmith Cats and Riding Beam, and even may have covertly sneaked out some “adult” anime out of my dad’s video store from time to time. But as anime got more omnipresent in the early 2000s, I checked out. I think the last series that I followed obsessively was Cowboy Bebop, and even then I didn’t finish it.
One anime that I always knew of, but never really engaged with, was Urusei Yatsura. I don’t know how, why, or when, I’ve just seemingly always known of its existence. Perhaps laserdiscs of it graced my local Suncoast Video back in the day, who knows.
I finally watched Beautiful Dreamer a couple years ago, the second and most widely regarded movie in the Urusei Yatsura series. It totally blew me away. Not only did it have an incredible story, but it was full of gorgeous, surreal images. I learned where 8 million vaporwave Tumblrs got their gifs from. I super recommend it. Even if you’re not an anime fan I’d say it’s worth checking out if you’re into sci-fi, philosophical films, or just weird shit.
However, I haven’t checked out any additional Urusei Yatsura content since then, which is a roundabout way of explaining that I don’t really know the origins of the music on this release. I know none of the tracks here were in Beautiful Dreamer, but I couldn’t tell you if they showed up in any other movies or OVAs from the series. There are a lot!
So what the heck is this exactly? Again…I don’t really know! It’s a very strange release. Like the Digital Trip albums that I love so much, I think it’s an all synthesizer re-imagining of music from Urursei Yatsura animations? Maybe? Or it could be a collection of entirely original music that just happens to have the Urusei Yatsura name on it. A lot of manga in the 80s had “soundtracks.” Bubble economy, yo. I tried to do a bit of research for this, and I came across some references to a laserdisc of the same name. It sounds like some sort of longform AMV, with scenes from various films and OVAs in the series set to music. I imagine this might be the soundtrack to said laserdisc. But, like I said, this is 90% speculation on my part. Like so much of what I’ve been sharing lately, English information is nearly nonexistent.
Whatever the source, I sure do dig it. Aside from what sound like authentic Japanese instruments, this is all synthesizer. And like so many synthesizer albums from Japan that were coming out at the time, it’s playful as hell. It bounces back and forth between styles and sound effects like a rubber ball on speed. One second its a ballistic industrial explosion reminiscent of early Art Of Noise, the next it’s a classical Japanese piece, before transforming again into something that sounds like a pastiche of Close Encounters of the Third Kind, then there’s ragtime! Why not!. It’s a mile a minute, never boring, and fantastic background music for writing or packing up multiple boxes of records. Trust me.
The album is credited to “Apricot Systematic,” but I think the real person behind the album was Fumitaka Anzai. In addition to his work on the Urusei Yatsura series, he not surprisingly contributed to the Digital Trip album series as well. He also was a member of TPO, a fantastic, batshit bizarre Japanese synthpop act from the early 80s. He was also a member of Crosswind, a better-than-average late-70s/early-80s progressive rock act.
If you listen to this and dig it. I suggest checking out some of the Digital Trip albums. I’ve mentioned them many times before, they’re fantastic digital synthesizer reworkings of classic anime themes. I featured the Lupin one here a few years back, and there are also excellent albums in the series that feature music from Nausica, Bubblegum Crisis, Gundam, and many other classic anime titles. They’re all out-of-print, but you can find some good ones on Discogs and Amazon Japan at more than fair prices.
In the meantime, enjoy this slice of Japanese 80s ephemera.
I haven’t posted anything in a couple of weeks. I’m in the middle of a move right now (great timing, I know) and that’s been taking up a good chunk of my time. But boy, a lot sure has changed in the world since I last wrote anything here, huh? Shit, a lot’s changed in the time between me starting this post and ending it!
Trump lost! Yay! Good!
COVID cases are spiraling out of control! Boo! Bad!
In conclusion, October and November have been a land of contrasts.
My move to a new apartment is still ongoing and will take some time. I’m not leaving Japan, don’t worry. Shit, I’m not even leaving my current building. I’m just upgrading to a bigger place so my boyfriend can move in with me (double yay). But I have about a month to go before the move is final and I still have to buy some more furniture, hook up internet, schedule the movers, get rid of a shitload of junk I don’t need, and arrange to have someone from Disk Union come out to buy an extra few hundred records that I don’t want to lug up to my new place because I already have so many records that I’m going to have to get custom shelves built once I get settled in the new apartment.
I’m not an addict you’re an addict shut up.
Let’s enjoy the impending end of the the orange autocrat with some relaxing (or excitng?) synthesizers and keyboards.
Koichi Oki – Exciting Keyboards: Four Seasons
It’s funny, for some reason I’ve been thinking about Vivaldi’s Four Seasons quite a lot lately. I wonder why.
This is not the first version of Four Seasons that I’ve shared on this blog. Shit, it’s not even the second. It’s the fourth. One was an all koto arrangement, while the other two were largely synthesized affairs. All were from Japan. Japan sure loves arranging Vivaldi. I think that’s because Japan has four seasons.
That’s an English teacher joke and trust me it’s hilarious.
This rendition of Vivaldi’s classic work is by a man named Koichi Oki. He released a few albums in Japan throughout the 1970s, and his work represents a unique subset of the Japanese record market of that time. Nearly all of his release were made, marketed, and sold solely to promote Yamaha keyboards. There were a ton of these records in the 70s and into the 80s here in Japan. The sub-standard ones really fill up the bargain bins. Yamaha really wanted people to know about their electone line of electric organs.
Oki’s albums aren’t even shy about this. On many, the Yamaha branding is downright omnipresent, and the name of the electone or synthesizer he’s playing on the album is often name-dropped in the album title as well. You have titles like Yamaha Superstar! Koichi Plays GX-1, and Koichi Oki Meets GX-707. These are basically demonstration records that Yamaha had the audacity to slap a price on and sell.
And I’m glad they did! Because the good ones are really good. This album owns. Comparing it to the previous synthesizer Vivaldi albums I shared, I would say it’s not as good as Frank Becker’s version of the suite, but it’s better than the Shigeaki Saegusa version. I really like Becker’s take since it’s just synthesizer and violin. Saegusa’s version features much more of a full band, almost too much at times. This one is a good middle ground. This record was made to showcase Yamaha’s keyboards after all, so they get the center stage, but a bit of guitar and some rad drumming on here as well. The opening of the Summer section, for example, slaps with some fantastic banging on the skins. I was not at all surprised to learn that the drummer on this is Akira Ishikawa, a legendary jazz drummer in Japan whose records are often sought after by DJs and producers because if their sick beats. Dude is a legend.
Of course, this is an Oki abum, so he takes the spotlight for most of it, and I really enjoy the sounds he’s able to pull out of that electone. The electone was an electronic organ, but I think that he has the thing patched through some other synthesizer to give it extra oomph. It’s not a combination you hear a lot (if at all) and it really stands out when compared to other synthesizer records of the era. He goes out there with some really crazy sounds at times, but he also knows when to reign it in with more traditional sounds that you’d hear from a normal-ass organ. It’s a great mix. It’s part classical, part rock, part funk, with a light dash of jazz thrown in on top.
Strangely, this album was released many times, often with different titles and artwork. In was first released in Japan in 1973 under the name Electone Fantastic – Vivialdi Four Seasons. Big electone branding for the domestic market, not surprising. But the album was also released in a few different overseas territories. Discogs only has the Dutch and Italian copies listed, but I wouldn’t be surprised if it got released in other markets as well. In the Netherlands, the album was renamed Four Synthesizer Seasons, with simple classy artwork showcasing each season. In Italy, it was just called Le Quattro Stagioni – Vivaldi, which translates to, duh, The Four Seasons – Vivaldi. That cover is very similar to the original Japanese cover, but the caricature of Oki on the cover was replaced with what I assume is a cartoon portrait of Vivaldi. I will not stand for such synthesizer whitewashing!
However, I have none of those versions. For some reason, the album was re-released in 1978, with an entirely different title, Exciting Keyboards – Four Seasons. I mean, I like this album a lot, but I don’t know if it’s exciting. Fun, maybe? Refreshing? Uplifting? Sure, but exciting? Let’s not get carried away.
Speaking of getting carried away, check out that rad as hell album cover! The one at the top I mean. The one with the naked lady jumping rope with a freaking laser beam! In space! Forget what I said earlier, that’s some exciting shit for sure. I wish I could take a better picture of it, but I already packed up my records for the move, wrecking my back in the process. I sure as heck am not going to risk further injury just to take a high-res photo of the naked laser space jump rope lady. Sorry. Maybe some other time.
If you’re traveling through space with a naked lady and a laser jump rope, let me know if this album is a fitting soundtrack. Although please do the responsible thing and delay and trips (intergalactic or otherwise) until the coronavirus cases decrease a bit. Seriously. Stay at home. Listen to wonky 70s electronic albums and order a pizza. You can always go see your family and consume unhealthy amounts of turkey next year. Please.
Martin Agterberg Schiedam Center Opus 2
Hong Kong Connection
Andromeda Spaceway Patrol
Robotly Yours Forever
Classical Votage 220
China Ballerina
Time for another installment of “Let’s try to write a lot about someone I know little about and can’t find anything (in English) about on the internet!” My favorite thing to do.
Martin Agterberg is a Dutch musician who seemed to be the most prolific as a solo artist during the 1980s, releasing three albums between 1982 and 1988. I’ve only been able to track down his first two, however; 1982’s Flyer and his wonderfully titled 1984 release Synshine. Flyer is good, a solid electronic album full of catchy hooks and fun sounds, but Synshine is really where Agterberg, well, shines. On Flyer, he’s only using a Korg Polysix, with a slight assist from a Korg Monopoly KR-55 Rhythmbox. He stretches that synth a long way, but all the songs use similar sounds, and it at times comes off as a little simple since its so minimal with its audio pallet.
On Synshine, Agterberg was able to diversify his sounds with the help of a wider selection of synthesizers, adding several other Korg goodies to his line-up of electronic doodads and doohickeys. He’s working largely with the same sounds still, but they got more going on behind them. The beats are bit more complex, and there are added effects and embellishments that just make the songs sound, I don’t know, more lively and entertaining. It has an oompf to it.
Throughout both albums, Agterberg is definitely going for a “space” vibe. These are songs that all play in the perfect 80s sci-fi B-movie of my dreams. In my mind, this is the soundtrack to Ice Pirates or The Black Hole. The song titles themselves certainly suggest that’s what Agterberg was shooting for as well, with great names like “Andromeda Space Patrol,” “The Back of Beyond,” and my personal favorite, “Robotly Yours Forever.”
(Was Martin Agterberg the first person to turn the word “robot” into an adverb? Maybe!)
Despite Agterbeg’s obviously lofty ambitions for these songs, even the most bombastic and over-the-top ones still come off as just a little kitschy. But that’s another reason why I dig them so much. The drum machines make them sound a little corny, the digital keyboards give it a dated feel, but I feel both give the albums character. In their limitations I find charm.
I feel that the closest Agterberg comes to achieving a bigger, booming sound (on the two albums of his I have at least) is with “Classical Voltage 220,” an obvious homage/pastiche of classical music that opens with an absolute wall of sound that would make Beethoven in Bill & Ted’s Excellent Adventure happy. With its faux-strings and harpsichord-inspired sounds, it’s obvious that Agterberg is going for Baroque with this one (sorry), and the results are fantastic. Sames goes for “Schiedman Centre Opus 2” (which might be based on a classical piece). Total Wendy Carlos vibes.
On both albums, Agterberg doesn’t slow things down that often. He prefers to use sequenced beats and drum machines to create more upbeat music. But on both albums he does knock down the tempo for a few more sedate numbers, and those often work as well. The similarly named “Hong Kong Connection” and “China Ballerina” rely far more on harmonies and melodies than beats and bounce, and they’re both soothing, relaxing numbers that are good segues between the more fast-paced tracks. The faux-“Asian” hooks of “China Ballerina” also lend themselves well to Agterberg’s electronics. It has a real YMO feel.
Again, I can’t find damn near anything bout Agterberg online. All I’ve found is from his Discogs page. Apparently he was in a few bands before he went solo, but didn’t seem to do much afterwards. I did discover a Dutch webpage that had a brief write-up about him, and from there I was able to find out that he now works as a composer for commercials in Europe. With his talent for writing brief, catchy, melodies that can grab your attention, I feel like that’s probably a good fit for him.
The above tracks are a smattering of tunes from the two Agterberg albums I have. Both are vinyl rips, since I don’t think that these records ever came out on CD (or digitally for that matter). I might share more in the future, but honestly, I’d rather his work get a proper digital re-release so I don’t have to. This stuff is too great to vanish into the analog ether.
Apollo Smile Dune Buggy (Remix/Edit)
Dune Buggy (Remix/Edit Without Vocal Breakdown)
Dune Buggy (Full Drivin’ Mix)
The latest in my continuing series of “dubious Discogs purchases bought drunk and depressed during the lockdown.”
When I placed the order for this, the seller reached out to me just to double-check that I actually wanted to buy it. The single only cost about two bucks, but, since I live in Japan, shipping would run me closer to $10. The seller wanted to make sure that I was okay with such a premium, and was very willing to cancel the order. In fact, I bet they thought I would. “What kind of idiot would pay $10 in shipping for a fucking Apollo Smile single?”, they probably said to themselves.
THIS KIND OF IDIOT.
I don’t even like Apollo Smile all that much. Her self-titled album is actually pretty bad. She’s good on it. She has personality galore. But the songs are bland and forgettable. “Dune Buggy,” with its bright-but-chill party vibe is an album highlight though, so I was happy to score this single.
I’m sure I’ve told this story before, but I actually tried to interview Apollo Smile at one point. So many anime nerds of the mid-90s saw her on Sci-Fi Channel, and many (myself included) wondered what happened to her. She still has her fans, and I though that she would want to know that, and that she might want to let her fans know how she was doing.
It wasn’t that hard to track her down. At the time, her employer was even named on her Wikipedia page. I emailed said employer, identified myself as a freelance journalist, and inquired about and possibly interview opportunity with Apollo.
Crickets.
About a year later, I thought I’d give it another go, so I sent a second email to her employer. This time, I did get a response. It was the most polite “leave us the fuck alone” reply I ever got. And that was that for that.
Oh well. Apollo if you’re out there, know that people want to hear your story. And if you’re not interested in sharing it, know that people still like you, and have fond memories of the goofy fun you gave them.
Madonna Everybody (Extended Version) Everybody (Dub Version)
Hate to sound like a broken record (ha it’s funny because the blog is called Lost Turntable) but these are new CD rips of mixes that I previously only had as vinyl rips. So, if you did download these when I first featured them, you’re going to want to go grab these because they sound much better. Another one of my drunken Discogs purchases.
Between Discogs and Recofan closing (sobs forever), I bought a lot of Madonna these past few months. Seriously. Like, even more than the usual amount of too much Madonna that I typically buy. I’m going to have to start sharing these piecemeal like this or I’ll never get them out of my backlog.
Both of these tracks are from the Japanese True Blue: Super Club Mix single. That five track CD has some other good remixes on it, but all of them are either commercially available for purchase or streaming, or I already recently featured them here. The True Blue: Super Club Mix single was actually re-issued in the states not all that long ago, but only on LP, with no CD or digital option available. Which is stupid.
Macy Gray Sexual Revolution (Blaze Shelter Vocal Mix)
Sexual Revolution (Miguel Migs Petalpusher Vocal Remix)
I miss Macy Gray! I guess it’s not really fair to say that. It’s not like Macy Gray is dead or anything. She put out a record just two years ago. What I really miss is a world that gave a shit about Macy Gray. Her voice is so cool. No one has ever or ever will sound like her. Truly one-of-a-kind.
Her first two albums are just amazing stuff. They have fantastic love songs like the immortal “I Try” and the almost-as-good “Sweet Baby,” but the best tracks on both are the ones where Macy is horny as hell and DTF. Horny Macy Gray is the best Macy Gray because she wants to let you know that she’s down to do some hardcore nasty shit, not at all low-key about it, but always skirting the line right against outright vulgarity. She’s the hard PG-13 or soft R or sex jams.
This is a great jam, and the remixes both do a fantastic job of balancing the jazzier aspects of the original cut while still slicing in some nice dance beats. I sadly don’t have this album nor her first on my computer for some reason. Guess I’ll have to pick them up again sometime.
As killer as this tune is, if I had to name my all-time favorite “Macy Gray is down to do the deed” track, it actually wouldn’t be a Macy Gray song at all, it would be her collaboration with Fatboy Slim, “Love Life,” off of his 2000 album Halfway Between The Gutter and the Stars. The lyrics to that song are just fantastic, with one the greatest outros in the history of music:
Said I’m gonna A ya
And I’m gonna B ya
And I’m gonna C ya
Gonna D ya
If I E ya
Cause I wanna F ya
Yeah, I wanna F ya
Yeah, I wanna F ya
Its the horny alphabet song.
Talking Heads Blind (Extended Remix)
Blind (Deaf, Dub and Blind Mix)
Blind (Beats)
I could’ve sworn that I shared these remixes at one point. These rips are taken from a fairly recent purchase I made here in Tokyo, but I recognized the mixes when I heard them. I know for a fact that these were on my late 2000s iPod. I have a vivid memory of driving around Pittsburgh with my friend who found David Byrne’s vocal deliver on “BLIND BLIND BLIND BLIND BLIND” the funniest thing ever. She rolled down the window and screamed along with him, much to the confusion of the people we passed by.
She may have been high at the time.
But I never shared them! So here they are now! Add Talking Heads to the list of immensely popular 80s bands with a substantive back catalog of remixes that have yet to be re-released in any way at all. Argh. Are all of their remixes locked in a vault next to Madonna’s remixes or something? They’re driving me crazy keeping this shit buried. At least it makes finding tracks for this blog easier.
Madonna Dress You Up (The 12″ Formal Mix)
Dress You Up (The Casual Instrumental Mix)
Papa Don’t Preach [Extended Version]
Look, writing about Madonna is easy and makes me happy.
I posted these eons ago but those were vinyl rips. These are shiny CD rips that sound better.
I was going to feature more Madonna in this post. I picked up a CD single for “Cherish” that has an extended mix, but I’m not posting that. Apparently some digital only Like A Prayer 30th anniversary edition was made available last year? It’s on Spotify, YouTube Music and a few other digital outlets. The artwork is terrible. I thought it was a bootleg at first, but it appears to be legit, and it has the extended mix of “Cherish” on it, as well as a few other out-of-print remixes.
As a whole though, it’s an underwhelming release. Only a scattering of remixes, a couple of B-sides, and no unreleased tracks. There was word that a physical release of this was coming at some point, but that still hasn’t materialized. No word why. The delay goes back a bit, well before COVID, so it’s one thing we can’t blame on that.
I hope that if a physical edition of this anniversary release ever does see the light of day, it’s more substantial than this digital one. A deluxe edition of Like A Prayer could be three to four CDs easy. A remastered disc, two discs of B-sides and remixes, and then an extra disc of unreleased/demo material. None of it would be extraneous or feel tacked on either, it’s all good stuff. I’m sure there’s a market for it. If the ongoing Prince re-issue campaign has taught me anything, it’s that people are still more than down for over-the-top massive box sets of 80s masterpieces.
“Dress You Up” isn’t the best song ever, but it’s really good. It’s my second-favorite single from the Like A Virgin album, behind “Material Girl,” but ahead of “Into The Groove” and “Angel” (I don’t like the title track, if you’re curious – never was a fan of it). I love the simplicity of it. What the hell does it even mean? Does it need to mean anything? It’s like “Pour Some Sugar On Me.” It sounds vaguely romantic, a little sexy, fuck the details, who cares?
Of course, the exact opposite is true for “Papa Don’t Preach,” it is about one thing, very specifically. It is a story song. That’s not something Madonna does very often with her singles. This, “Take a Bow,” and “Bad Girl” are the most notable. Maybe “Bitch I’m Madonna” too, the story of that song being, well, “Bitch, I’m Madonna.”
I’ve love the strings of “Papa Don’t Preach.” In a time where synths were king, it makes the track unique. The strings give it gravitas. If the hook was just keyboards and synth bass it wouldn’t hold the same weight. The strings almost make the song cinematic. Especially that opening. Fuck. That shit’s good.
I was depressed, drunk, and staring at Discogs earlier this week and may have bought…let’s just say…several…more Madonna CD singles this week. I know that some of you get sick of the Madonna, but I’m in self-care mode right now. Expect more Madonna and random Japanese shit that’s easy to write about at least until the election.
Hi. Are you stressed? I’m stressed. I wonder why. Maybe it’s the global pandemic and the still present risk that I or any of my loved ones could be stricken with a potentially fatal virus at anytime. That’s the kind of the thing that could keep one up at night.
Maybe it’s the unprecedented global heat waves, forest fires, and deadly storms. Rapid climate change is here, everyone! It’s not going to cause the extinction of humankind, but it sure as fuck isn’t a picnic. And the heat seems to be getting worse in Tokyo every summer. The masks don’t help either.
I think that it could be the election that’s making me stressed. Fate of the free world riding on an election that will probably be corrupt and rigged by the incumbent party. Scary thought. It’s definitely keeping me up at night.
Or maybe I’m stressed out, cant’ sleep, and am having a hard time writing because my big toe (right foot, for those curious…ew) decided to get an infection and swell up like a balloon before exploding in a rainbow of wondrous puss.
Might be that. Who knows. Anyways, stressful times call for relaxing tunes. And this is the most relaxing stuff I have at the moment.
And don’t worry, I went to the doctor and got a cream for my toe.
Dip In The Pool Rabo Del Sol
Spring From The Surface
Sur Le Pois
Again
I first wrote about Dip In The Pool back in October of 2019. I called them a Japanese Cocteau Twins, chill as fuck, beautiful, awesome, and so on and so forth. I stand by all of that. And much of what I wrote in that post goes double here.
These tracks are from the group’s 1986 EP, Rabo Del Sol. All the tracks from it eventually made their way onto the band’s self-titled debut LP, which came out later that year. I don’t know if these versions are in anyway different than the ones on the LP, because I can’t find that album anywhere. For some reason, the overwhelming majority of this band’s output continues to be out of print. That gives me stress too, but I’m going to try and not focus on that.
These tracks aren’t all that different than the ones I featured before. Again, very chill. Very ambient. Very mellow. This is music for listening to with a nice red wine, preferably in a bubble bath. This is some of my go to music in the winter, when I go for late-night walks after work downtown. The city is quiet, almost alien-like, and the music serves as an incredibly fitting soundtrack to it. I’m not listening to them too much right now when I’m out walking, however. My walks at the moment tend to be in the morning, in the oppressive sunny heat, and are more about losing weight than chilling out. Dip In The Pool are many, many things, but “workout music” sure as hell ain’t one of them.
Enjoy the chill tunes for un-chill times and decidedly un-chill weather.
By the way, a quick programming note, if you will. Posts here might stay bi-weekly or so for a bit. Nearly everything I have queued up to post here is incredibly obscure and hard to write about. I don’t like to rush those posts. So I apologize if things slow down here again for a while. This could, of course, change at a moment’s notice if I happen upon a score of CD maxi-singles or something like that. You never know. I might also just say “fuck it” and write about Madonna singles for a while again. Still got a load of those to get through!
Also, I do plan on finishing my articles about MTV’s Top 100 of 1985. I’m very close with the next section. But…stress. Trying to be witty and funny about 80s pop is really hard when the world is on fire. I’ll give another go this week, I know a few of you really like those articles, so I appreciate your patience very much!
If you were reading my site last week…you weren’t because it fucking exploded into fire.
It’s a long story, but I tried to update something, it very much did not work, and the efforts to restore it did not work either. This necessitated a off-site restore from my hosting provider, and that took much longer than they originally estimated. It was not a fun time. I was not happy. But it’s taken care of now. I’m still not happy, but that has more to do with the state of the world and my own personal health than the health of my website.
However, I really do need to get around to updating this site at some point. It’s a damn mess. This site an imported version of a 14-year-old Blogspot site. It’s extremely cutting edge for the mid-2000s. Although I really don’t know what I would “updating” this site would entail. It’s an MP3 blog. It’s gonna stay an MP3 blog. I could probably figure out a way to make it look slightly less ugly but, meh, it’s hard! I guess the only thing I really want to do is clean up the back-end and streamline it a bit. But again, I have no idea how to do any of this. I paid a tech-savvy friend to do all this years ago, she has since moved to Oregon and I have since moved to another country. That complicates things.
I’ll probably figure something out. In the meantime, if my site mysteriously vanishes again, be sure to check me out on Twitter, I’ll probably be posting vulgarity-filled updates if that happens. I should also mention that while Twitter is a garbage fire of rancid shit, it’s still the best way to get a hold of me quickly if you have any questions or concerns about anything. I check it more than I should.
Some other news, I’m still working my way through MTV’s 1985 Top 100 countdown over on my other site, and I’m probably going to get to the Top 20 sometime in the next week or two. I also plan on writing up something about all the amazing commercials that aired during the countdown. If you want a sneak peak of that, I uploaded a ton of them to my YouTube channel. I especially love this video store one, because I literally grew up in a video store and that triggers all them nostalgia dopamine triggers. Blurry VHS box art is like heroin to me, is what I’m saying.
Between both the world and my blog being on fire last week, I was swinging back-and-forth wildly between happy upbeat music to cheer me up, and supreme angry music to help me fester in negativity. I’m going to share the former tonight and not the latter. I don’t want to spread even more unneeded negativity in the world, and most of the angry music I was listening to was Korn’s dubstep album. No one needs to hear that. ALTHOUGH I SINCERELY THINK IT’S UNDERRATED.
Anyways, no Korn dubstep. 80s J-pop!
Shohjo-Tai – From S (Complete album)
There’s so much 80 J-pop out there (because bubble economy) that digging through it is nearly impossible. I always know that there’s good stuff buried in there, but I never know what to look for. I have no cultural context, plus I can’t even read 90% of the names, so that’s a problem. Imagine looking through crates of Western 80s pop music with zero context or understanding of anything about who was popular and when. You probably wouldn’t get lucky enough to stumble onto a Madonna record, you’d wind up getting something like the third Stacey Q record, or a Spoons album. That’s how it feels when I dig through a store’s stock of 80s J-pop. I’m looking for another YMO, but I usually end up with Japan’s answer to Mr. Mister or some bullshit like that. Thankfully I get help from my students on occasion, who direct me to groups like Shohjo-Tai.
I first featured Shohjo-Tai a couple years back. Not soon after a client recommended them to me I was able to find one of their singles in a store. I dug it, and got interested enough in the group to try and find more releases by them. Unfortunately, every other album or single I found by them just didn’t hold my attention as much as that first one. Everything was fine, they weren’t aggressively bad or anything, but they all had that overly polished, generic sound that far too much J-pop has. No personality, all kawaii, too many ballads. Boring.
I think a big problem with Shohjo-Tai is that they just put too much stuff out. Between 1984 and 1989, they released ten albums! Some were only EP length, but still, that’s a lot of music. Many of the very best artists of all-time, with careers that span decades, can’t put together 10 albums of great material. For a pop act to shovel out that much in such a short period of time is crazy.
In 1986 alone, they released four albums. I have two. One is Untouchable. It’s fine. It’s certainly not untouchable, but it’s decent upbeat pop music. The other is this one, From S. There are definitely more highlights in its six songs and 28 minute runtime than in the entirety of Untouchable‘s 43 minutes of 10 songs.
It’s a very creative album, and evens skews on the experimental side at times. “Natsu no Passport” opens the album strong with a synthesized bang, and a catchy keyboard melody helps carry it through. But then near the end the song completely breaks down into a short breakdown that’s reminiscent of The Art Of Noise’s best stuff, before re-assembling itself for the fade out. It comes out of left field and it really gives the song some character.
It’s followed by “Sanzennen No Yume,” a slower ballad. J-pop ballads usually bore me to death, but again, this one is just a bit different. The synthesizers, drum machines, and whatever other electronic doo-hickeys they got playing in the background give it something different, and it also has a fantastic breakdown near the end, with one of the strangest, most out-of-place solos of random sound I’ve ever heard in a pop tune.
The highlight of the entire album comes next, “Siam Paradise,” a pulsing tune with a fantastic beat. Awesome use of samplers and a great melody. This sounds like YMO. It really, really sounds like YMO (more on that in a bit). It’s super catchy and in my dream compilation of Japanese 80s synth-pop, it would totally be track three.
Most of the rest is also good. “Oriental Nights” is a little more generic, it lacks the crazy breakdowns and other innovations of the previous numbers, but it’s still a solid number. “Kinou no New Moon” picks things up again, with oodles of fantastic synths and drum machines. The only weak track on the entire thing is the finale, “Ikoku no Shinwa” which is just a generic 80s J-pop ballad. And if I wanted to hear those I’d listen to Yuming.
If you’re wondering why this album stands out so much when compared to the rest of their discography, well it probably has something to do with who worked on it. From what I can tell, all the Shohjo-Tai albums had fantastic production and session musicians on them. When I browse their pages on Discogs, nearly everyone who worked on their records have long careers across dozens of albums. But this one goes even above those.
Remember, how I said that the synthesizers here really stand out? And that the album occasionally reminds me of good YMO? Well, that’s because Haruomi Hosono of YMO and singer/songwriter extraordinaire Koshi Miharu both played keyboard and synthesizers here. Hosono even co-wrote a couple tracks on the album, including the standout “Siam Paradise.” That’s a hell of a duo to get on your album, especially in 1986, when both were at their peak in terms of their electronic music output. No wonder Japanese record geeks go after this one.
I hope this heavily synthesized, overly cheery synth-pop will serve you well this week. Enjoy.
This blog is intended to shine light on music that has been unjustly lost through the years. If you can find the stuff here, buy it. Songs are only available for a limited time.
If you own the copyright to anything here, email me at lostturntable AT yahoo DOT com and I will have them removed.
RANT
For the love of God don't leave random requests in my comment section. If I have it, I'll post it here eventually, nothing you say is going to make me buy a record you're too damn lazy to find yourself.
