Yen Memorial Album

July 24th, 2014

yen

I’ve written about Yen Records before, but in case you’re just joining us for the first time – Yen Records was a sub-label of Alfa Records, launched in the early-80s by Japanese electronic superstars Yellow Magic Orchestra (YMO).

The label pretty much became a clearinghouse for YMO to release music by their friends and colleagues. YMO members Yukihiro Takahashi and Haruomi Hosono often performed on many Yen releases, as did Ryuichi Sakamoto, albiet to a lesser extent.

In 1984, Yen Records founder Kunihiko Murai passed away, and this record is a tribute to him – featuring many exclusive tracks and remixes by a wide variety of Yen artists. It’s a great record, and an excellent summary of the Yen label. I hope you like it.

Yen Artists
God Be With Us Till We Meet Again
Platonic Stochastic
I don’t know who the “Yen Artists” are, but if the rest of this album’s tracklisting is any indication, I suspect that these tracks include all three members of YMO, Tachibana, Koji Ueno and Jun Togawa, among others. The first track is, I think, an adaptation of an old hymn, and it was written by Yukihiro Takahashi and Haruomi Hosono. The second is a very unusual, almost musique conrete, composition that was written by Ueno.

Yellow Magic Orchestra
Rydeen (Remix Version)
I own 27 different versions of “Rydeen,” so I’m fairly confident in saying that this remixed version is exclusive to this album. It’s not all that different than the original cut, it actually comes off more like a single edit with some really random sound effects thrown in, but goddamn if it isn’t a great piece of synthpop.

Hajime Tachibana
Rock (New Recording)
Previous Tachibana I unearthed featured him sounding like Art Of Noise. This has him sounding like Art of Noise meets 80s-electro era Herbie Hancock. Robot vocals! Sweet keyboard riffs! Sequencers! Loving every minute of this.

I bet Daft Punk have this track on vinyl.

Sandii & The Sunsetz
Sticky Music (Remix French Version)
I posted some Sandii stuff a few months back. I’ll probably be deleting those links in a day or so. So if you’re interested in them, check that post out.

Sandii is fucking great though and I love her. So expect more Sandii on Lost Turntable in the near future.

Guernica
Maronie Dokuhon (Remix Version)
Guernica is Kenji Ueno and Jun Togawa. Seperately they released classical piano music, synthpop, prog rock and damn near everyting in between. Combined they sound like some bizarre fusion of opera, cabaret and YMO backing tracks. Like Klaus Nomi? You’ll probably like this.

Miharu Koshi
Petit Paradis (English Version)
One of the many idol-type singers who Haruomi collaborated with during the Yen years. I don’t know how popular she was during her peak, but she’s continued to be incredibly prolific, sometimes going through periods of releasing albums on a near annual basis. This is a cute song, very typical of the kind of stuff that Hosono was releasing with other artists at the time.

Inoyama Land
Pokala (Remix Version)
Inoyama Land were a duo comprised of Makoto Inoue and Yasushi Yamashita. In 1983 they put out their first album, Danzindan-Pojidon, on Yen Records. It’s a pretty great collection of ambient electronica, and if you dig Tangerine Dream, Diskjokke or The Orb, I think you might like it. It’s never been released on CD outside of the super-pricey Yen Box though, so it’s probably a bit hard to find. I’ll probably put it up here someday.

The group also has two other releases, both coming out years later in the late 90s. I think at least one is a compilation of unreleased material. Outside of Inoyama Land both Yamashita and Inoue were members of a group called Hikashu, one of the only Japanese synth-pop acts from the era who don’t seem to have any YMO connections.

Keiichi Ohta
Seean No Kodomoichiba (Remix Version)
This man only released one album, the utterly strange collaborative effort with no English title that is based on an obscure Japanese novel. This track is a remix of a song from that album, and features operatic vocals by Makito Hayashi, who never released anything on her own. The track was written by Keiichi, but was produced by Hosono and Takahashi, and features keys by Koji Ueno, practically making this a YMO track.

Koji Ueno
Adagietto (Remix Version)
Ueno is on so many tracks on this record that it’s nearly an Ueno LP. All this Ueno has left me wanting to know more about him, so I went digging on Discogs. Apparently this man is (or at least was) a goto studio player in Japan, and has appeared on dozens of albums, including many from YMO members and associates. From what I can gather, he’s an accomplished pianist, violinist and bass player – but I wouldn’t be surprised if he’s an accomplished marimba, saxophone and flutist as well. Dude seems like the type.

This is a very mellow piece, unlike just about anything else on the album – classical almost. Very relaxing.

Yukihiro Takahashi
It’s Gonna Work Out (Remix Version)
This is a remixed version of a track that appears in its original version on Takahashi’s 1982 album What, Me Worry? Like pretty much all things Takahashi-related from the 80s, it’s pure gold. The more of Takahashi’s solo stuff I hear, the more I think he was the most talented pop musician in YMO. Sure Hosono and Sakamoto may be more technically gifted and diverse than Takahashi, but I’ve never heard pop music by either that’s as good as some of the stuff on Takahashi’s solo records. The man is incredible.

Super Eccentric Theater
Beat The Rap (Remix Version)
Super Eccentric Theater (Or S.E.T.) was a comedy troupe that was on Yen Records. I think I can hear Yukihiro on this track in the chorus.

This is their send-up of rap music.

It’s not funny.

Testpattern
Modern Living (Remix Version)
Testpattern released one album, 1982’s Apres-Midi, which I snagged a while back. I love it, even if they do sound a bit like YMO also-rans with a more mellow, easy-listening sound. This is a remixed version of a track from that album, and it’s better than the album version thanks to some nice added synths.

Jun Togawa
Do Not Renai (New Recording)
The singer of Guernica strikes again, this time with a nice synthpop ballad. This sounds like early Kate Bush. So those with a low tolerance for squeaky vocals may want to proceed with caution.

Interior
Hawks (Remix Version)
Interior put out a couple of records in the early 80s. I have one, and to be honest it’s nothing to write home about. Their instrumental tracks were okay, but whenever they tried to add vocals to the mix they just sounded bland and boring. This is an okay song, but nothing really memorable either.

Tamao Koeike
Kagami No Naka No Jugatsu (Remix Version)
The name may read Tamao Koeike in the LINER notes, but this is a YMO track. They wrote it, and they perform all the instrumentation on it. Koeike is just the singer. And she apparently didn’t really impress anyone at Yen Records, as the single for this track was the only thing she ever released. A shame, as it’s not a bad tune and she has a nice voice.

Haruomi Hosono
Yunemiru Yakusoko (Original Version)
Typical Hosono stuff from the 80s – meaning that it’s really damn good.

Posted in Complete Albums, Guernica, Hajime Tachibana, Haruomi Hosono, Inoyama Land, Interior, Jun Togawa, Keiichi Ohta, Koji Ueno, Miharu Koshi, Sandii, Supper Eccentric Theater, Tamao Koeike, Testpattern, YMO, Yukihiro Takahashi | 5 Comments »

The Super Flyest

July 23rd, 2014

I NEED HELP SOMEONE HELP ME.

There is an insanely awesome super deluxe edition of Frankie Goes To Hollywood’s Welcome To The Pleasuredome coming out later this year via PledgeMusic. However, do to stupid bullshit lawyer shit, it can’t be purchased by anyone living in the US or Japan. As those are the only two billing addresses I have, I’m screwed.

Would any of my UK/Australia/wherever readers be so kind as to buy it in my stead and mail it to me? I’ll pay for everything, including shipping, of course. I’ll even send you some tunes if you so desire.

If so, leave a comment with your email address. I won’t approve it, I’ll just use it to contact you. Thanks!

Someone helped me out! Thanks for all the offers everyone!

And now for something completely different.

tnt

Super Fly TNT – Original Motion Picture Soundtrack

The original Super Fly is widely regarded as a classic of the “Blaxploitation” era of films, and is typically mentioned in the same breath as other classics such as Shaft, Foxy Brown and Cleopatra Jones. But here’s the thing about Super Fly – it’s really not that good a movie.

I mean, yeah, it’s not a bad movie. It certainly oozes style, and Ron O’Neal is one of the coolest motherfuckers who ever graced the silver screen. But it’s a pretty boring flick. It meanders for far too long, the acting is at times incredibly weak, and it’s not even directed all that well. And it’s entirely lacking in Antonio Fargas, who was literally in every other blaxploitation movie from 1969 to 1978. The only reason why we still talk about Super Fly to this date is because of its soundtrack, which is still probably one of the top five greatest soundtracks of all-time (a list that, for me, includes Purple Rain, The Crow and Flashdance and I will not budge on that).

But while Super Fly isn’t a great movie by any stretch of the imagination, I’m going to assume that it’s better than the sequel Super Fly T.N.T., which came out just a year after the 1972 original.

I say “assume” because, while I’ve read a great deal about the flick and have watched the odd clip on YouTube, I’ve never actually seen the movie in its entirety. It’s barely been seen by anyone since it’s original theatrical release, in fact. It would occasionally resurface on VHS throughout the mid-80s (I know my dad’s video store had a copy) but that was about it. As far as I know it has never been aired on cable television and its never been released on Blu-ray, let alone DVD, or even freakin’ laserdisc. It belongs in the pantheon of great lost films still searching for a new home video release, alongside other classics such as Willard, Rad and Meatballs III, y’know – classics.

Equally rare is the film’s soundtrack, which was performed and composed by African band Osibisa. It was released on LP alongside the film in 1973 and that was it for that. Judging from its rarity it appears that it never even got a second pressing on vinyl, and to date has never had an official CD release. And it’s a damn shame, because while I can’t speak to the quality of the film from which it came, the soundtrack to Super Fly T.N.T. is some dope shit. An amazing combination of funk, African music, and even some rock elements, it holds up amazingly well.  Check it out.

But whatever you do, don’t check out anything that’s even remotely involved with the second Super Fly sequel; The Return of Super Fly. Amazing VHS box art aside, that is not a quality flick.

 

Posted in Complete Albums, soundtrack | 2 Comments »

I Was (Not Was) Lonely

July 22nd, 2014

I cannot believe I’ve been keeping up this pace for almost the entire month now. I don’t think I’ve written this much in years, even if it is just a little bit everyday. It feels good, good enough that I’m going to try and keep up a similar pace even when the month ends. Not everyday mind you, no way, this shit is insane, but I really am going to try and update this site at least twice a week starting in August.

And I’ll hopefully someday remember that I have another site and write stuff there again. Actually, I have two major projects planned for that site, I just need to motivate my lazy ass to actually write them. They involve, like, work and stuff though, so it’s a little harder than me just rambling on about 80s dance remixes like I tend to do here. Here’s hoping I can put them together tough. More people need to hear my complex and involved thoughts on Yes.

I want to review every Yes album. I don’t know why. I don’t even like Yes that much.

Was (Not Was)
How The Heart Behaves (12″ Vocal Mix)
How The Heart Behaves (Bonus Rub)
How The Heart Behaves (Club 7″)
How The Heart Behaves (That’s How the Bollerhouse Behaves Mix)
Glad I can find second-rate remixes my 80s also rans in Japan as well as America. I bought this in a Disk Union in Chiba, I wish I knew how the hell it ended up there. Although now that I think about it, Was (Not Was) is the kind of weird-ass bizarre band that would become popular in Japan, especially in the 80s, so I guess that I shouldn’t be all that surprised that I keep seeing their singles turn up here.

 

Posted in remixes, Was (Not Was) | 1 Comment »

Bad English and PWEI

July 21st, 2014

It was a three-day holiday weekend here in Japan – which means extra work for me. Yeah, I know it’s counter-intuitive, just roll with it okay?

As such, I’m beat, and I really don’t have a lot to say about tonight’s music other than that I like it, you should like it, and I hope you enjoy it. So instead, here’s a collection of bad English I’ve heard from students since I started working as an English instructor in January

  • “My daughter loved school, she pleasured herself.”
  • “I find pleasure in your lesson.”
  • “How long are you?” (I HEAR THIS EVERYDAY AND IT’S ALWAYS FUNNY)
  • “How much height do you have? I don’t have much height.”
  • “I am a trick!”
  • “I like to watch football, the play is very HOT!”
  • “I potato dinner.”
  • “I like black music!”

And the best things I’ve heard:

  • “You are big like Totoro, you are big and soft.” (AW FUCK THAT’S SOME CUTE SHIT)
  • “You are so great!” (He meant tall, but I didn’t stop him)
  • “I want to hear what you say about all music.”
  • “I need you to tell me what these Meat Loaf song titles mean.”

That last one was from a 68 year old woman by the way. Wagnerian rock lives in Japan.

Pop Will Eat Itself
Wise Up! Sucker (7″ Version)
Orgyone Stimulator
Can U Dig It (Riffsmix)
I can dig it. These come from the 12″ single to Wise Up! Sucker. The 12″ mix is on that, but you can get that on just about every digital music store, so grab it there instead.

New Order
New Order Megamix
Off a bootleg 12″ single. Don’t remember any of the details sorry.

Posted in B-sides, New Order, Pop Will Eat Itself, remixes | 2 Comments »

Bakersfield Boogie Boys WTF

July 17th, 2014

bakers

Bakersfield Boogie Boys
Okie From Muskogee
Get Off My Cloud
I Get Around
Flying Tigers
Okay, so this is a thing.

Don’t know much about this one, I bought it in Pittsburgh several months before I headed off to Japan. I can’t even remember why. Probably because it was stupid.

Yeah, that’s probably why. That’s why I buy a lot of things.

I guess this would be early electro? Maybe early electro combined with some new wave, post-punk and art-rock thrown in together. All mixed with some Dr. Demento style humor as well.

What I’m saying is, it’s fucking weird.

There are almost no performance credits on the album, but if I had to hazard a guess, I would suspect that two of the group’s members were Richard Foos and Harold Bronson – the co-founders of Rhino Entertainment, which was previously a novelty record label before becoming the world’s goto re-issue label. They’re both credited as producers on the LP’s limited linear notes and they both contributed to a few other novelty and comedy records of the era.

The only performer credited at all on the album is Shari Famous, the vocalist for the covers of “Get Off My Cloud” and “I Get Around.” When searching for info on her online I found that her full name is Shari Famous Foos, so I assume that she is/was Richard Foos wife. She also was in a shitload of never-made-it groups during the early years of punk, as this interview with another punk also ran, Rich La Bonte, points out.

If you couldn’t gather from the song titles, the first three tracks on this EP are covers, with “Flying Tigers” being the only original track (at least I think it is). That last track actually features some pretty good guitar work, and some of the strangest lyrics I’ve ever heard (“plastic waffles of my dreams”).

The next time someone says to me “Oh, you live in Japan? That place is so weird, right?” I’m going to show them this.

 

Posted in Complete Albums | 3 Comments »

Janet Lauper

July 16th, 2014

So, quick question for yinz (that’s Pittsburgh for “y’all).

I’ve been posting a lot of Japanese and/or game music lately. Are any of yinz interested in that stuff at all? I’m always surprised when those posts seem to bring me in less traffic/comments than my silly 80s and dance remixes. Don’t get me wrong, I love Pet Shop Boys, Cyndi Lauper and Prince just as much (okay, way more) than the next guy, but I kind of like posting the Japanese stuff more, mostly because no one is doing it, but also because I feel there are a billion amazing great Japanese artists from the 80s that no one outside of Japan know about.

So, when you come here do you just skim the artist names and then close the tab if you don’t recognize them? Or do you download stuff you’ve never heard before just see check it out?

Of course, this is my blog and your answers to those questions might be entirely meaningless, but it’s nice to get input.

Now silly remixes of 80s dance music.

Cyndi Lauper
Time After Time (Special Remix 1)
Time After Time (Special Remix 2)
So a few months ago Epic re-released Cyndi’s seminal 1983 debut album She’s So Unusual. I reviewed it and basically called it a travesty of a release, with shit bonus tracks that focused too much on “EDM” modern-day remixes instead of the vintage mixes that fans have been clamoring over for years.

Someday I’m going to record high-quality vinyl rips of all the mixes they excluded (including the various “Girls Just Wanna Have Fun” mixes). Until then, here are some weird DJ-only mixes of another great Lauper classic.

Posted in Cyndi Lauper, Janet Jackson, remixes | 19 Comments »

Disco Space Invaders! Mario Bros.! Wow! Exclamation Points!

July 15th, 2014

Disco Space Invaders

disco

Funny Stuff (Seriously, that’s the credited artist)
Disco Space Invaders
Dancing Cats
Disco Space Invaders is not game music per say. In fact, it barely has anything to do with the game from which it was allegedly inspired. The title track only features sound effects from the game for a few brief seconds before diverging completely into an entirely unrelated (and entirely amazing) disco track. And from what I can tell, the hilariously-titled b-side “Dancing Cats” has absolutely nothing to do with anything (except for dancing cats).

However, it did come out in 1979, one year before the first Pac-Man children’s records were released in the states; two years before the similar-in-tone “Pac-Man Fever,” and several years before Yellow Magic Orchestra’s Haruomi Hosono would release the first proper video game music single – Super Xevious Hardcore Mix. As such, Disco Space Invaders holds the dubious distinction of being the very first game music-themed release.

It’s historical significance far outweighs its musical quality. But if you enjoy idiotic disco as much as I do (AND DO I), then you’ll probably find some joy in this.

The sleeve for Disco Space Invaders surprisingly has full production credits, complete and in English. I did a search of the people who worked on it, hoping that they would include some pioneer of Japanese electronic music or perhaps a YMO associate, but I don’t think anyone who worked on this went onto do anything of note.

Also, I really hope that thing on the cover is supposed to a mushroom-shaped alien or something.

 

Super Mario Bros. Soundtrack

mario

Koji Kondo
Super Mario Bros. Theme
Super Mario Bros. Theme (Orchestra Version)
Both of these tracks are from a 7″ single that’s simply titled Super Mario Bros. Soundtrack. This came out in 1986, and was one of many Mario-themed musical releases to be released that year. I’m fairly certain this was the first one though, and it was also probably the first record put out by Nintendo, although many would follow in the late 80s, as it was really a prime time for game music in Japan.

The first track is exactly what you think it is, a straight-up rendition of the Super Mario Bros. theme. Its different than the one that’s included on the Famicom Music album though. Firstly, it’s much shorter, only including the music from the first stage. Additionally, it features no game sound effects, it’s just music. Oddly enough, it doesn’t end with the stage complete fanfare, instead ending with the music that plays when Mario dies.

The b-side is interesting. While the direct translation of the track is “Orchestra Version,” there’s really not much orchestral about it. I think I hear some chimes in there somewhere, but it’s pretty much a souped up electronic version of the original theme. It’s really different than other arranged versions of the Mario theme that I’ve heard, and it’s actually pretty damn great. I hope they re-use it at some point.

Sadly this release doesn’t feature any linear notes, so I can’t tell you who worked on it. However, it did include a rad poster and some amazing stickers, so check them out!

20140715_212233

Full size poster. Very cool.

20140715_212254

Game shots obviously taken by someone pointing a camera at a TV.

20140715_212309

STICKERS!

 

Posted in Complete Albums, Game Music, soundtrack | 5 Comments »

Quick and Dirty with Dinosaur Jr.

July 14th, 2014

Just one track tonight, sorry. Busy day it’s 10pm and I have to be up in seven hours oh god I need to get ready for bed.

Dinosaur Jr.
Get Out Of This (No Words Just Solo)
Sometimes I feel that the world doesn’t know that J Mascis is one of the greatest guitar players on earth. While his early stuff with Dinosaur Jr. surely hinted at this, I feel that their post-reunion stuff has been even heavier on the heavy shredding, really showcasing just what an amazing virtuoso he really is. If you still don’t believe just try to play that shit on Rock Band, it ain’t easy.

This is taken from a single-sided 10″ single for “Feel The Pain,” one of the best tracks to come from the “solo” Dinosaur Jr. years. In addition to this live solo (which just fucking SHREDS if you haven’t already figured that out), the 10″ also included a live acoustic version of “Repulsion.” However, you can buy that on iTunes so I’m not including it here tonight. Sorry.

Tomorrow’s post will probably be brief as well, but it will also be fucking epic. You’ll see.

Posted in B-sides, Dinosaur Jr. | No Comments »

Trepidation and Italian Manifestos

July 13th, 2014

Today was very long, monotonous, fun, grueling, thrilling, boring and potentially exciting.

I must sleep. But here are two songs that are ruling my life at the moment.

Ryuichi Sakamoto
Broadway Boogie Woogie
I know I just posted some Sakamoto in my last post, but I just discovered this song a few days ago and I would feel remiss if I didn’t post it immediately. The song is from his 1986 album 未来派野郎. According to Discogs and other sites, the English title of it is Futurista, however, according to one of my Japanese co-workers (and the coolest person I met in Japan yet) the direct translation is Futurist Bastard.

Not only is that a way cooler title, it’s also far more descriptive of the album’s overall sound, as it takes elements from the Italian futurist movement of the early 20th century and, well, bastardizes them to fit into a contemporary pop landscape. If that sounds familiar it’s because Art Of Noise did the same thing just a few years earlier. It’s also what Sakamoto compatriot Tachibana did with his insane and utterly brilliant 1984 album Mr. Techie & Miss Kipple.  If you’re curious as to what the hell futurist music really is, wiki that shit. It’s crazy.

While Sakamoto wasn’t the first to incorporate futurist themes into a sample-filled pop landscape, he was the first to build a futurist pop song primarily out of samples from Blade Runner and a radical sax solo that would make that guy from Lost Boys blush, so that’s something.

Pet Shop Boys
It’s Alright (Extended Dance Mix)
And reset the “Number of Days since a Pet Shop Boys Remix was Posted on Lost Turntable” counter back to zero.

It’s actually been four months exactly. Eerie. Even eerier, it’s almost a year to the day since my last post of Pet Shop Boys music that wasn’t a repost. Fucking trippy.

This remix is from a 10″ single, and is not the same as the 12″ dance remix. It’s actually a bit longer than that one.

Posted in Pet Shop Boys, remixes, Ryuichi Sakamoto | 2 Comments »

坂本龍一 リミックス

July 10th, 2014

In complete and total shit news, Ryuichi Sakamoto has been diagnosed with throat cancer.

As you probably know, Sakamoto is one of my favorite composers/performers/songwriters/people alive. As the keyboardist of Yellow Magic Orchestra, he is responsible for some of the greatest synthpop of all time, and as a solo composer he created some of the most hauntingly beautiful music I’ve ever heard, including the Oscar-winning score for The Last Emperor.

Here’s hoping that devil cancer was caught early enough so that the treatment is effective in slaying the fucker and getting Sakamoto back to full health as soon as possible.

Here’s some rare Sakamoto I’ve never posted before.

Ryuichi Sakamoto
Behind The Mask
Risky (Untitled Remix)
Risky (Remix)
Risky (Ultimix Edit)
This version of “Behind The Mask” is drastically different than the original version by YMO, featuring an entirely new arrangement and vocals written by Michael Jackson. How the hell did that happen? Well, I wrote about it a while ago for my other blog Mostly-Retro, so head over there and check it out for the full story!

As for “Risky,” the original version of that track first appeared on Sakamoto’s album Neo Geo, which I think was the closest he ever go to mainstream solo success in the states (which is to say not that close). The track was a superstar collaboration of sorts, featuring music co-written by producer/songwriter/bass player extraordinaire Bill Laswell (of Material fame) and lyrics/vocals by the legendary Iggy Pop. At least, I think that’s him.

Okay, well I know it’s him on the latter two mixes, but on that untitled remix, which is taken from the “Behind The Mask” single, it really doesn’t sound like Iggy Pop. However, there is no vocalist credited in the linear notes, so I have no idea as to who it might be. Anyone out there know?

Yellow Magic Orchestra
Behind The Mask (SEIKO Quartz CM Version)
This is the original version of “Behind The Mask,” recorded for the a watch commercial. This makes “Behind The Mask” the most successful commercial jingle of all time I think. Yes, even more than “Convoy.”

Posted in remixes, Ryuichi Sakamoto, YMO | 4 Comments »

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