Grace Jones and dope electro beats

March 19th, 2018

I’ve listened to I don’t know how many records this week and have added well over a hundred songs to my music library as a result. I bought so many Moog albums it was ridiculous. I’m actually working on something about Moog albums for my other site that I hope you’ll find interesting.

I was going to write a guide to Osaka record stores, but I just didn’t have enough time to really dig into that place. I don’t want to half-ass it. I’m going to try and re-visit that city sometime soon, hopefully with a couple of visits under my belt I’ll be able to piece something together. There are a lot of amazing stores there, but also a lot of crap stores as well. Fortunately, most of the worst stores looked relatively new, so hopefully they’ll get their shit together or go out of business before they sully the good name of that wonderful city.

Now electro.

 

Grace Jones
Party Girl (Extended Remix)
Party Girl (Dub)
This was the one track by a mainstream artist that I found while shopping for records in Osaka. While my interest in crate digging for 12″ singles has waned in recent years (mostly because I literally have nearly every 12″ single I could ever want), I’m always on the lookout for more epicness by her majesty Grace Jones. In what turned out to be a theme for tonight’s post, “Party Girl” is a sparse electronic dance jam, very typical of Grace’s awesome 80s work. It was produced by Nile Rodgers, so yeah, it’s good.

Mya & The Mirror – Hesitation
Gina & The Flex – I Wanna Believe
I found both of these excellent tracks on a compilation called Fuzz Dance. The 12″ had four tracks in total, the other two being “Problemes d’Amour” by the legendary Alexander Robotnick and the absolutely brilliant “Check-Out Five” by Naif Orchestra. Both of those tracks have been re-issued many times over and are actually in-print at several digital storefronts, so I suggest checking them out.

These tracks haven’t had the same fortune, and have fallen into an even greater level of obscurity than the other ones. And that’s a shame, they’re dope electro/italo-disco cuts from the mid-80s that really exemplify how fun and wonderful that genre can be. Super upbeat, great grooves, amazing production, these tracks are tight as hell. I miss this type of dance music, it’s one of the reasons I’ve fallen hard off of the current EDM scene. It’s so big and the beats are overpowering. I feel that dance audiences today feel like they need a constant BOOM BOOM BOOM beat in order to dance. But they don’t! Minimal tracks like this prove that sometimes less is more. You just need a groove, man. I wonder if any gay dance clubs in Tokyo have a retro night…

Both of these acts didn’t really exist. They were manufactured names for producers. Mya & The Mirror is actually producer Maurizio Dami, featuring vocals by Mya Fracassini. Dami’s done a shitload of stuff over the years, while it appears that Mya went on to work in opera. The people being Gina & The Flexix were Gianni Sangalli, Marzio Benelli, and Giancarlo Bigazzi. Like Dami, they all produced, wrote and worked on dozens of dance tracks under countless aliases an in countless group projects.

Posted in Grace Jones, remixes | No Comments »

The Konami Famicom Super Medley

March 11th, 2018

Osaka was amazing. I saw incredible castles, temples, shrines. I went to two amazing aquariums. I ate so much wonderful food that my stomach is still angry with me. And, of course, I went to as many record stores as possible and bought a billion records and CDs.

Almost everything I bought was obscure and out-of-print. It looks like I have plenty of material for this site for the next few months if not a year. However, very little of it was “traditional” Lost Turntable content. Only got one 12″ single of an artist any of you have probably heard of. The rest of what I found was either obscure electronic music, Japanese prog, Japanese jazz/funk or video game soundtracks. So I hope at least some of that sounds interesting to you, because that’s what you got coming up for the next few months most likely.

Y’know, stuff like this.

Konami
Famicom Arranged Medley
Famicom Original Remix Medley
Famicom Super Medley
All of these are “arranged” and/or “remixed” so I don’t understand the names behind these tracks. The opening “Arranged Medley” is probably the worst of the three though. It just takes a bunch of arranged versions of Konami tracks and mixes them together while an horribly bland backbeat plays throughout. I mean, it’s not terrible, the source material is certainly great, but when compared to the tracks that follow it certainly falls flat.

Because the other tracks are really great. The “Original Remix Medley” is a much more pure presentation of the source material, using the original game audio alongside some added sound effects and beats. It’s not as smooth as the “Arranged Medley,” some of the cuts are a bit jarring, but the overall experience is much better. The original tunes are so strong that they stand on their own, they don’t need the lame backbeat of the “Arranged Medley’ to support them.

That’s not to say they can’t benefit from the remix or arrangement treatment, because they certainly do with the “Super Medley.” This track takes the most liberties with the original songs, re-recording them entirely with new instrumentation and accompaniment. Of the three, it is the most fun, and works the best as a proper medley. The segues between the tracks are smooth and natural, lacking the out-of-place cuts of the “Original Remix Medley” and not relying on a tired backing track like the “Arranged Medley” does. It’s also super energetic, almost like a stadium house track. If The KLF were given orders to rework Famicom tracks, I think it might sound something like this track. Dope shit all around.

Posted in Complete Albums, Game Music, remixes | 1 Comment »

Disco Beatles Octopus

March 2nd, 2018

I wrote a thing about how Queer Eye pissed me the hell off. Also penned a piece about some recent re-releases of 80s J-pop gems you need to track down. Also have a planned review of the Super Mario Odyssey Soundtrack if I can make my way through all of it enough times in order to form a writable opinion. It’s four discs!

In other news, next week I am going to Osaka for the very first time and I am incredibly stoked. I’m going to go to the massive aquarium. I’m going to check out all the cool museums. I want to see the amazing parks and gardens. And of course, I’m going to go to as many record stores as my boyfriend will allow.

You all saw that coming, right?

I’ve already done my research, I have a map, I got a plan, I’m good to go on this. But if anyone in the know wants to recommend a record store in Osaka to me, I’m going to going to stop you.

Now Disco Beatles. I’m sorry.

M. Uehara & His Disco Makers – Disco Octopus
Cover caught my eye, “disco Beatles covers” caught my wallet. Although it wasn’t much of a fight, this record was only abut five bucks and I was rather depressed when I saw it. I really should be careful when I go record shopping depressed. On the one hand, I can afford the retail therapy so yay, it makes me feel better. On the other hand, I end up with over a dozen anime soundtracks and I don’t know why.

I bought this hoping for some J-funk. I’ve mentioned before that Japanese funk is the secret best funk because it combines funk, jazz, disco and sometimes even electronic music in really amazing ways. What I ended up getting was much more disco, although I guess I really shouldn’t be surprised or disappointed about that. It’s not like the album was committing false advertising. The name of the group is “Disco Makers” after all.

But it’s still a halfway decent album. The opening cover of “Octopus’s Garden” isn’t great, but the covers of “Lady Madonna” and “Hard Day’s Night” are my jam. The albums closes strong with a funky take on “Sgt. Pepper’s Lonely Hearts Club Band” too. In between those bangers are covers of “Hey Jude” and “Let It Be,” as well as a medley that features “Ob-La-Di, Ob-La-Da,” “She Loves You,” and “Get Back.” The medley isn’t bad, but both “Hey Jude” and “Let It Be” are probably two of my least favorite Beatles tracks. And even the most ardent “Hey Jude” defender would have to admit that it doesn’t really lend itself to the disco treatment. It’s just too slow. Ditto for “Let It Be.” Neither of these covers sound like disco, they sound like bland instrumental versions performed by an airport hotel house band.

But who were the Disco Makers, and who was their frontman, M. Uehara? Great questions, I have no idea! Can’t find anything in English about this dude or his group. I really have to step up my Japanese game at some point so I can at very least track down a modicum of information on acts like this. I’m sure there’s some insane Japanese person out there who has written about stuff like this, i.e. my Japanese doppelganger.

 

Posted in Complete Albums | 1 Comment »

Don’t perform medical experiments on DJs without their consent.

February 24th, 2018

Yo today I met HIRO, the composer behind the music to every great Sega game ever so I’m in a great mood and here’s some weird shit to celebrate my great mood of greatness I feel great yay.

Dr. Yann Tomita and Grandmaster Flash
Vinyl Beat Of Two Turntables with Cybernetics and Bio-Feedback (English Version)
Vinyl Beat Of Two Turntables with Cybernetics and Bio-Feedback (Japanese Version)

I got two turntables and…a lot of other stuff.

Dr. Yann’s full name is Yann Tomita (no relation to other Tomita). I don’t think that he is a real doctor, but judging from his discography he’s certainly a musical visionary of sorts. He seems to enjoy dabbling in just about everything in every genre, often with some form of experimental electronics.

Take this track, for instance, in which he combines the turntable skills of the legendary Grandmaster Flash with a few different biofeedback devices. Some are hooked up the Grandmaster, some to Tomita. All convert the signals they receive into some kind of sonic output. The track itself actually explains the process in the introduction (the only differences in the tracks are the introductions, by the way).

This is experimental music in the most direct sense, this is an experiment to make music. Does the experiment work? You be the judge. I certainly find it interesting even if it does kind of all apart near the end.

 

Posted in Grandmaster Flash & Melle Mel, Yann Tomita | No Comments »

TPO: Synthpop for Descending into Madness

February 22nd, 2018

You know, I was having a decent enough February, current events notwithstanding of course. I was enjoying work, having a lot of fun with my boyfriend, buying a lot of stupid, weird music no one cares about but me, and even staying relatively healthy after a few months of non-serious but still very annoying health problems. Things were good.

That must be how the flu found me, it feasts on happiness.

The flu KICKED MY FUCKING ASS last week. Hitting me like a sack of bricks dipped in shit on Saturday, and leaving me pretty much entirely incapacitated throughout the weekend and into most of Tuesday with a fever breaking 104 at times. I’m about 70% recovered now, but I still feel like the alien from The Hidden tried to suck its life force out of me. Ugh.

Whilst in my feverish state, I did two things; watching Friends on Netflix, and listened to this.

TPO
Dawning
The Jet Set
Camacho Preguicosa
Dori Twisted Her Smile
I was in Shop Mecano last week (before I was struck down with the plague) and was itching to buy something. Having completely exhausted literally every single YMO-related act of note, I just asked the owner to recommend something weird. He pulled out this record, calling it “Japanese Art Of Noise.” Good sales pitch, so I bought it.

I think he might’ve undersold it. At least, it terms of weirdness.

This is a crazy record. According to the guy at Mecano, it was almost entirely composed on the Fairlight synthesizer, and it certainly sounds like it. It definitely doesn’t bear any resemblance to YMO. It’s much more complex and just features a manic intensity and bombastic flare that even the most over-the-top and outlandish YMO tracks lack. YMO primarily used Moogs, sequencers and samplers. That gave their music a more stripped down sound. IT sounds fuller and bigger than it is primarily because the hooks and melodies are so strong.

This stuff doesn’t have the pure melodic power of the best YMO tracks, but its full of energy and has a goofy, fun vibe that’s impossible to dislike. The guy at Mecano was right, it does sound like Art Of Noise, but I would also throw in a bit of Pet Shop Boys (at least in terms of instrumentation) and maybe electro-era Herbie Hancock as well; two other acts known for their use of the Fairlight.

I don’t want to share the entire album, it’s 37 songs spread out over two CDs, so I thought I would share just a snippet, my favorite tracks that I feel encompass the oddball, zany variety you can find on the record proper. “Dawning” is an over-the-top opener that damn well should’ve been the theme music to a mid-80s television news show, while “The Jet Set” is a sample-driven dance tune that definitely features that Art of Noise influence. Driving up the mania is “Comacho Preguicosa,” which features entirely computer-generated vocals, and then “Dori Twisted Her Smile” takes things down a notch with its more standard synthpop sound, complete with human vocals and a traditional pop song structure. Like I said, this thing runs the gamut.

In case you’re wondering who the hell TPO is, me too! There’s not a lot to be found online about these guys aside from their Discogs page. I think that the group’s brainchild was Fumitaka Anzai, who worked on a lot of anime and game soundtracks. He was also in the Japanese prog act Crosswind, which doesn’t surprise me, there’s a lot of prog/synthpop crossover in Japan.

TPO didn’t release a lot. After this record they just put out on more album proper, a collaborative album with someone named Linda Masters. Anyways, that album is hella rare and is currently for sale for over $160 on Discogs, so I won’t be listening to it anytime soon. They also did the soundtrack to a world’s fair that was held in Japan in 1985. My boyfriend totally went to that! That’s adorable and amazing.

This stuff serves as a great soundtrack to to fever dreams, by the way, so maybe make a special playlist for that.

Posted in TPO | 5 Comments »

Super Gun Super Funk Super Awesome

February 12th, 2018

I know I’ve mentioned this a few times already, but writing this blog is becoming increasingly difficult. Three times last week I sat down to write a post only to realize the songs I wanted to write about and share were already in print, or I covered them years ago. I’ve been doing this thing for over ten years after all.

So, don’t expect any rare or hard-to-find cuts by mainstream or even well-known cult acts for a while. Of course, that could change, I could stumble into a lucky 12″ single like I did with that PWEI one. But I don’t expect it. Instead, expect more weird Japanese synth-pop and strange experimental electronic records from the 70s. As that’s what I’m digging the most at the present time.

Also expect really odd shit like like.

SUPER GUN MOTHERFUCKER.

I’m not one for sound effects records, because they’re kind of pointless. I bet if I would’ve been aware of their existence when I was a kid I would’ve dug the shit out of them. But as an adult I really don’t need a collection of car sounds or thunderstorm ambiance.

I certainly didn’t think I needed a compilation of gun sound effects, but hey, sometimes you surprise yourself.

This is actually a bit more than just sounds of guns going off, so don’t quit on me yet. This is Super Gun, and as far as I can gather, it’s a companion album to the film The Beast Must Die, a movie about a reporter who goes off the deep end and embarks on a violent crime spree. What better to accompany a dark and disturbing film than an album that demonstrates various gun sound effects with an almost fetish-like attention to detail? It doesn’t just feature the sounds of the guns when they’re being fired, it also includes introductions (in English) by American gun experts.

Oh, and it also features DOPE FUNK.

The album opens and closes with a slow jam theme that’s good but pretty much forgettable. However, after a few tracks of nothing but dudes blasting guns, we’re given a break from the ballistics and treated to “Firing,” which is three and a half minutes of groovalicious funk for funking things up.

This song is taken from the film’s proper soundtrack album, which credits Akihiko Takashima as the composer. I think this track might’ve been performed by Arakawa Band, a jazz-funk group that’s credited as the backing band on the album. Regardless of who performed it, it’s fucking rad. So much that I’m including it as a separate download.

Super Gun (Complete Album)
Firing (song only)

Want to hear all the music and gunfire that Super Gun has to offer? Click the first link. Just wanna funk out? Then click the second.

I’ve said it before and I’ll say it again, Japanese funk is the secret best funk.

Posted in Complete Albums, soundtrack | 1 Comment »

Blue Fukamachi

January 30th, 2018

Somehow, for whatever reason, some five months after the fact, I got my damn Twitter account unsuspended. I have no idea how I did this. I sent them countless emails over these past few months, pleading my case from every possible angle I could think of. During that time, I’m happy that I never succumbed to the urge to send vulgar insults or baseless threats. Trust me, many an unsent message contained both.

Maybe my restraint paid off. Maybe someone finally realized their mistake. Maybe someone just pushed the wrong button. I don’t care. I’m just happy I got my fucking account back after all this damn time. Not because I really like Twitter all that much, but dammit it’s important for me to stay on brand. UnLostTurntable was a shitty replacement name.

Anyways, @LostTurntable, follow me for random things. Mostly art.

Blue Pearl
Mother Dawn (Buckateer Mix 1)
Mother Dawn (Buckateer Mix 2)
Mother Dawn (Buckateer Mix 3)
Mother Dawn (Lunacy Mix)
Blue Pearl was a side-project of Youth from Killing Joke and featured Durga McBroom on vocals. The group also sported guest appearances from David Gilmour and Richard Wright from Pink Floyd, albeit not on this track.

All of these remixes are by The Orb and sound very much like remixes by The Orb, so your mileage may vary depending on how excited that sounds to you. Me, I’m not a big fan of The Orb’s remix work. They often fuck up with source material too much, and to me that’s the problem with these remixes here. They just sound like ambient dub Orb tracks, save for the Lunacy Mix, which has an actual beat and vocals.

Jun Fukamachi’s 21st Century Band
Shin-Ku
This is jazz fusion but please keep reading.

I went bit of a buying spree of Japanese jazz fusion as of late, trying to figure out which albums in the genre appeal to me and which ones don’t. I’m super hot and cold on this stuff. I either think it’s the best stuff ever or it makes me want to slam spikes in my ears, and I wanted to figure out why. What makes “good” jazz fusion to me? I think I was able to pin down the criteria:

  1. Absolute minimum vocals.
  2. Guitar or keyboard-centric
  3. Fast tempo
  4. The most synthesizers the better

With all these components, I really dig this stuff. It takes on a funky vibe that I hella get behind, like this track by piano virtuoso Jun Fukamachi. It has a jazz core, that’s for sure, but it branches out from that really quickly. It has a weird prog bent, some bizarre electronic accents, and more a few dope solos. And whoever the drummer is, wow. They really kick it into gear in the second half. It’s about 10 minutes long, but it still has structure, it doesn’t feel like a bunch of guys in the room just jamming nonstop. At least, it doesn’t to me.

I get that this isn’t the kind of stuff that people come to this blog for, and that’s cool. But if you don’t like it…just, don’t tell me? No one is making you download this free music, after all.

If you do like it, or have recommendations based on it, let me know! Leave a comment or you can contact me on my motherfucking back from the dead Twitter account.

Damn that feels good to say.

Posted in Blue Pearl, Jun fukamachi, remixes | 2 Comments »

Heat Up With Pop Will Eat Itself

January 28th, 2018

Things. I wrote them.

First up, a guide to buying city pop in Tokyo. I know I said I’m not the world’s biggest fan of city pop, but I am the world’s biggest fan of Tokyo record stores, so I think that should be enough to be of help to people looking for this stuff.

Second, I went to a dope Space Invaders exhibition and wrote about it for Retronauts! So go read that!

Pop Will Eat Itself
92° (Boilerhouse ‘The Birth, The Death’ Mix)
The Incredible PWEI Vs Dirty Harry
92° (Boilerhouse ‘The Birth’ Mix)
Finding a 12″ single of a song I don’t own by a band I like is a rare event in Tokyo. That has less to do with the fact that 12″ singles aren’t really that big here and more to do with the fact that I own a fuckton of 12″ singles. This is a track off of Wise Up Suckers, and I had totally forgotten about it entirely until I listened to these remixes. Wise Up Suckers isn’t the greatest PWEI album, that award obviously goes to “This Is The Day…” but it’s still a damn fine listen and a great time capsule of the era from which it came. These remixes (and the B-side in between) great, can you dig them?

Also my copy was signed? So that’s weird.

EPO
恋はハイ・タッチ-ハイ・テック (Hi-Touch Hi-Tech)
I’m not going to lie and say that I know a shitload about this artist. They could be a lost legend of the 80s Japanese synthpop scene, although I doubt it. I’m just going to say that I really like this cheesy as hell dance tune and I thought that yinz might like it too. It’s not like, great, or anything. I feel like I found the Japanese equivalent of Pretty Poison of something, but it’s a good jam for happy times.

Posted in EPO, Pop Will Eat Itself, remixes | 3 Comments »

Unfortunately Named Japanese Bands and Bambi Remixes

January 21st, 2018

Lots of updates and news to get out of the way first!

Firstly, I was offered to be interviewed on a Japanese TV show and talk about my love of Japanese record stores and Japanese music! How exciting, right?

Well, I turned them down. Go to my other blog to find out why. Spoiler: it sucks.

Also, I’ve had a few comments recently both here and on Twitter regarding my health, as I complain about that a lot. Figured I should mention that a bit and say that, thankfully, I’m starting to feel moderately human once more. I had a bad combination of some kind of lung infection, a major fibromyalgia flare-up, and aggravated herniated disc. All of these problems are beginning to subside and I’m starting to feel like my old self again, slowly but surely. Of course, I’m sure I’ll catch the flu that everyone in Tokyo seems to have at the moment, but until then, I feel super(ish), thanks for asking.

Colored Music
Colored Music
A few months ago picked up the compilation More Better Days, which collects some of the highlights that could be found on the Better Days label. I’ve heard Better Days described as an “avant pop” label, which I guess is good enough. They were very jazzy, but understand that Japanese jazz (especially from the 80s) was a bit more on the wild side than you’d probably guess. Don’t forget that the entire Japanese synthpop scene was born out of the jazz scene of the late-70s! So when I say that the music on More Better Days has a jazz feel to it, understand that it also travels into punk, new wave, ambient, electronic and pop territories, sometimes all on the same song.

Anyways, More Better Days is like 90% bangers, and is 100% worth you time to pick up. Be warned though, that it may set you down a rabbit hole of hard-to-find and exceptionally out-of-print obscure Japanese music that’ll cost you an arm and a leg.

Example: Colored Music, who have two tracks featured on that LP. Their music is damn hard to describe. The track I’m sharing tonight reminds me heavily of Talking Heads or Material, new wave with a disco groove you can dance to. But its off-kilter in a way that neither of those bands ever were. Like, the breakdown halfway through is odd enough, but the way that segues into a Fripp-eqsue feedback-laden solo? What the hell is that? This shit is dope as fuck. Thankfully CD copies of Colored Music aren’t impossible to come by. You can find it online for about $40 or $50 new. That sounds like a lot, but CDs retail for nearly $30 in Japan, so you’re not really paying all that much of a mark-up when you think about it.

Anyways, however you want to get it, get it. I won’t judge you. This shit needs to be heard by more people.

Hajime Tachibana
Bambi
Bambi (Fashion Photograph Mix)
Bonus Bambi Groove
XP (I Love You Mix)
Bonus Whistle Groove
I had no idea that Tachibana went full electronic house in the early-90s, even going as far as to collaborate with Towa Tei for a few tracks. These are from the 12″ single to “Bambi,” the title track from the 1991 album of the same name. These don’t sound like the Tachibana songs I know. They’re decidedly less insane and have things like a recognizable song structure and melody, but they’re groovy as hell. They really feel more like Towa Tei tracks, to be honest. And that’s not really a bad thing let’s be real here.

Posted in Colored Music, Hajime Tachibana, remixes | No Comments »

His name is Ryo and he plays guitar synthesizer

January 14th, 2018

I wrote a thing on my other site about Japanese “city pop” and how it’s becoming kind of a thing in the states to the degree that it’s now becoming kind of a thing in Japan. It’s weird.

The funny thing to me is that, in my opinion, city pop isn’t all that interesting. That is, of course, working under the assumption that city pop is an actual, definable, genre (and it’s really not). But I’m not going to harp on anyone who does dig on it. It’s different, and that’s cool.

I went through a lot of different city pop acts on YouTube, trying to find a few that might appeal to me. Usually I would find a track or two I would like by artists like Taeko Ohnuki or Junko Ohashi, but my interest would just stop there – at a track or two. They just couldn’t hold my interest.

It bums me out. I wish I could be more into this stuff. It’s funny that some form of Japanese 80s music is starting to catch on in the fringes of the outskirts of mainsteam, but it’s the one type of Japanese 80s music I’m just not that into.

You know what I am into though? Utterly bizarre cross-genre electronic music built on obscure synthesizer technology.

Ryo Kawasaki - Featuring Concierto De Aranjuez
I never heard of Kawasaki until a few weeks back, when I started getting his name in my “recommended viewing” list on YouTube due to all the city pop I was looking up. Aside from being Japanese though, Kawasaki doesn’t have much in common with city pop. While city pop certainly overlaps with jazz in many ways, Kawasaki is a jazz musician first and foremost, working exclusively as a jazz guitarist throughout most of the 70s.

I checked out a few of his 70s albums, and everything I heard was, at the very least, interesting. He’s a jazz guitarist, and some of his stuff is just too jazzy for me, but on some of those albums he branched out into great funk tangents. And throughout all of them his guitar playing is absolute stellar top-notch stuff.

But in the 80s he took a hard turn and embraced guitar synthesizers entirely. Of course, this is what I’m the most interested in and what I’m sharing tonight.

Featuring Concierto De Aranjuez is an experimental electronic album built almost entirely on guitar synthesizers. The linear notes explicitly state that no keyboard synthesizers were used on this record, only guitar synthesizers and a handful of drum machines. The album is split into two halves. The first half, like the title suggests, is based on the Concierto de Aranjuez by Joaquin Rodrigo. It starts out almost entirely acoustic, only using the synthesized melodies as a backdrop at first. But as it progresses the more synthetic sounds rise to the forefront. It’s a bizarre combination, like a Spanish guitarist somehow ended up on a Klaus Schulze record. Really amazing stuff.

Things go full digital on side B, with tracks like “Marilyn” barely using any traditional guitar sounds at all. It’s amazing that all of it was created using only guitar synths and drum machines. At times it really sounds like he’s using sequencers and keyboards. Incredible.

I really wanted to showcase this album tonight because I think it’s a dynamic and intriguing record. This is not simple “new age” music. This is not a fusion album. This is something different. This is something you really got to hear.

Ryo Kawasaki actually did a lot of other fascinating stuff in the 80s and I’m trying to track it down. I hope I can share more in the future.

Posted in Complete Albums, Ryo Kawasaki | No Comments »

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