I have hand-picked a small selection of albums from a book I picked up in Japan, which has become a music-bible of sorts for me. Some of these have made the rounds in recent years on YouTube or streaming (the Ohnuki and Nakahara releases in particular), but I selected and translated the following based on their beautiful and cohesive sounds, aesthetics and influence.
I’ve added links where I can, hopefully you can also find some other amazing music in the recommendations. I plan to translate more of these (as soon as I recover the book from my parents’ house…) so please look forward to them!
Ohnuki Taeko — Romantique (1980)
Ohnuki Taeko’s fourth album in total. With the help of Sakamoto Ryuichi and Kato Kazuhiko in the recording process, ‘Carnaval’ emerges as a digital pop song alive with the consciousness of European pop. The melancholic melody and heart-rending Brazilian-flavoured arrangement of ‘Futari’ (BPM 112) and the bossanova-style reconstruction of the ‘Sugar Babe’ era, ‘Shinkirou no Machi’ (BPM 69) are also very pleasing.
Oku Keiichi — The Good Bad Girl Again (1983)
His third release following the dissolution of Spectrum [Oku’s previous band]. EIKO, an English-speaking singer, lends her vocals to the urban disco ‘Come and Have Another Boogie’ (BPM 126) on side A1. The Good Bad Girl II (BPM 131, A5) proves a surprisingly sweet melancholy disco track with sexy vocals from Johnny Okura, and ‘Paradise’ (BPM 87, B2) AOR [Album-oriented Rock] sees mellow high-tone vocals reminiscent of Seawind’s Pauline Wilson. Pure excellence.
*My apologies, this album is nigh on impossible to find on any streaming platform, but there are samples (!) you can listen to here: http://organicmusic.jp/?pid=140648163
Kasai Kimiko — We Can Fall in Love (1976)
Richard Evans is responsible for arranging this work. In addition to the boogie jazz-fusion ‘We Can Fall in Love’ (BPM 120), Leon Russell’s well-known ‘This Masquerade’ (BPM 94) is a groovy rhythm that combines jazz and reggae. In addition, the superb medium-pop number ‘Today, Tomorrow, and More Than Yesterday’ (BPM 108) overflows with emotion and sorrowful lyrics.
Kokubu Yurie — Relief 72 Hours (1983)
A Hayashi Tetsuji production. A masterpiece of city pop/Japanese-urban boogie. There’s ‘Snob na Yoru he’ (BPM 110), a medium boogie track with a liberating hook, the Yoshida Minako-styled dark boogie funk of ‘Tobashite TAXIMAN’ (BPM 122). There are also songs that shine on the dancefloor, including ‘Dancing Tonight’ (BPM 122) and the elegant ‘Kaiten Tobira’ which appears to be based on Lamont Dozier’s ‘Going Back To My Roots’.
Kojima Michiru — Best Friend (1985)
Matsumoto Takashi-penned lyrics preceded the release of her first album composed by Hayashi Tetsuji with single ‘September Monogatari’ (B1). DJ-like grooves guide ‘Telephone’ (BPM 117, B3) and ‘Best Friend’ (BPM 96, A3). The former is a masterpiece of gentle vocals and urban boogie, like Kikuchi Momoko who came before her. The latter is perfect for ‘resort city-pop soul.’ As an aside, ‘Pretend’ (B2) is European funk, simply sung.
Sugi Masamichi— Stargazer (1983)
The famous singer-songwriter’s fifth album, known for his Suntory commercial song ‘Whiskey ga, Osuki desho.’ Along with the pop songs, we recommend ‘Show Goes On’ (BPM 101, A1) which is very similar to Billy Preston’s ‘Nothing From Nothing.’ It’s only 52 seconds long, but still manages to be uplifting. ‘Skinny Boy’ (BPM 107, A2) takes over the tension, a bright and light poppin’ soul groove that’s also DJ-friendly.
Nakahara Meiko — 2ji-made no Cinderella Friday Magic (1982) (109)
Her second album, released half a year after her first. The straight latin feel of her first album has thinned out, but the straight-played starlight-disco ‘Fantasy’ (BPM 128, A1) is absolutely exceptional. Reminiscent of Chaka Khan’s ‘What Cha’ Gonna Do For Me’ is ‘Gigolo’ (BPM 119, A2) is also spot-on. ‘Coconuts no Kataomoi’ (A3) is also a fantastic song, later famously covered by Ito Chieri.
Tsuchiya Masami — Rice Music (1982) (97)
Sakamoto Ryuichi and other members of the English band Japan participated in the first solo production by Ippu-do, recorded in both London and Tokyo. ‘Haina-Haila’ (BPM 136, A3) perfectly marries the shamisen, Japanese drums and Okinawan Eisa-style music. Nakanishi Toshio [founder of the Japanese new-wave band Plastics] provides vocals for ‘Rice Dog Jam’ (BPM 132, B2) and the ambient ‘Silent Object’ (BPM 101, B4) cement its place as one of the essential oriental new-wave albums.
