& Others

--One-shot CD reviews (M-Z)--

MACARTHUR A CONTTI
Achya No Taki--vocal aBE Rolls Royce--organ & piano Angry Ai--trombone NHK (Kyouiku TV)--bass Kiteretsu Ereki--guitar Nishida Bellboy--trombone Sege des GARCONS--drums
	Initial Initial -- (25:47) -- (2006) -- Like, I Love You Records -- love-001 Pressure Hiiii! Wake Up Stand Up Elebossa (translated by Achya No Taki as: Eat Some Sweet Stuff And Relax) Datsunaron (translated by Achya No Taki as: Fruitless Manifesto) 3-getsu 75-nichi (March 75th) Lucy Blackman Wake Up Stand Up~Addict Mix featuring Nice Hashimoto
A wacky, off-beat CD to represent a wacky, off-beat group. It makes sense. There’s a surprisingly wide range of material. The excellent musicians all get a chance to shine, and the soulful groove is undeniable. It seems to flow like a force of nature from this band, but is regularly interrupted by humorous breaks and odd choices in the mix. This wonderful groove comes so easily to MACARTHUR A CONTTI, they are naturally inclined to mess with it. and yes, they sometimes appear a trifle deranged. My friends, it may be the cost of allowing the groove to flow so freely, and they’re even better live!

MAD MOISELL
Taeko Ito--guitar & vocal Tomomi Miura--bass & bg vocal Yoppy Kobayashi--drums & shouts
	Mad Moisell -- (24:08) -- (1997) -- BLOSSOM -- BL-39317 00002 (U.S. release) Donkey Johnny Love World It’s A Wonderful Life! Love Is Like A Shooting Star Drunken Tiger Love Me Honey Do Debt Collector Big Late Tasmanian Devil Bloody Duel Super Highway Lovers Rider “Thank you very much for your listening...We are Mad Moisell” (not listed)
“We’re Rock ‘n’ Rollers!” they claim on their debut American release, and they do not lie! They rock, and they roll, and they do it with more over-the-top joy than I’ve heard in quite some time. I can’t get over how Taeko rolls her ‘R’s--every single one of them! It’s the vocals (mostly sung in Japanese) which make this an exciting release. The band plays competent, spirited rock-a-billy, and the songs are good vehicles for their clowning impersonation of crazed, hillbilly rockers. This CD was recorded in six hours. I can’t wait to see them live!

MEAN MACHINE
Ayumi--vocal, blues harp & trumpet Chiwaki--guitar, bg vocal & tenor sax Yukarie--bass, bg vocal, keyboards & tenor sax Yuki--drums, bg vocal, keyboards, percussion & tenor sax Chara--drums, bg vocal, keyboards, percussion & tenor sax
	Cream -- (53:05) -- (2001) -- Epic Records Japan Inc. -- ESCL 2270
	Su-Hah Johnny Back Lucky Star Amai Candy (Sweet Candy) My Little Bag Love Mission “M” Te Ni Nore (Ride In My Hand) Paper Moon Anata No Kimochi No Mama De (Whatever You Feel) Oui? D'accord? Just One Day	Soba Ni Ireba (Be With Me) Knock On You Ai No Te (The Hand Of Love)
Yuki of JUDY AND MARY; Chara; Yukarie of THE THRILL; Ayumi’s an actress; Chiwaki is a pop singer. This approaches a j-pop super group. They wanted to do the girl group thing, but made the rule that no one could play an instrument they knew! It sounds like really smart amateurs, playing hip, idiosyncratic pop songs. The harmonies are beautiful, and they know how to use the studio, so the incompetence behind them is often even more wonderful. It’s a strange new pop music, where you never know what’s coming next. It’s conceptually brilliant, fun, exciting, and often awe-inspiring.

THEE MICHELLE GUN ELEPHANT
Yusuke Chiba--vocal Futoshi Abe--guitar Koji Ueno--bass Kazuyuki Kuhara--drums
	Casanova Snake -- (59:56) -- (2000) -- Triad/Heat Wave -- COCP-50245
	Dead Star End Cobra Young Jaguar Plasma Dive Revolver Junkies Dust Bunny Ride On Naked Sun Raphsody Bogie’s Dawn Silk Pinhead Cramberry Dance	Angie Motel GT400 Pistol Disco Drop
This thing rocks, and it rocks hard! At first, it comes off a bit heavy-handed. The singer comes out of his corner swinging and doesn’t slow down till ‘Naked Sun’. If you prefer subtlety, and want a classier pummeling, check out the guitarist. He’s right there, all the time, and versatile as hell. The rhythm section pounds it out, and the songs are crafted enough to get their point across. These guys know what they’re doing. Things slow down in the middle, but atmospherics kick in, and make it all real. The band revs up again towards the end, and they close with a pounding, throat-stripping ballad.

MILK CROWN
Kunihiro Ohsuga--vocal & guitar Kazuo Ozaki--drums Ryuji Yasuno--bass Makoto Totani--guitar
	Inazuma (A Flash Of Lightning) -- (39:42) -- (2000) -- BMG Funhouse, Inc. -- FHCB-8003 Chaos Mourou (Dizziness) Tenshi No Idenshi (Gene Of Angels) Easy Life The Broken Earth Face Concrete No Kawa (Concrete River) Kaihou (Emancipation) Barbara Yanda Tamashii (Sick Soul)
I saw Milk Crown on the Factory site, impressing me enough to pick this up. It’s well-done hard rock, and occasionally comes up with something original enough to get excited about. It’s a traditional rock sound, and yet, as I’ve continued to listen, I’ve been surprised and rewarded by its range and subtlety. The technique is quite good, the band is powerful, the vocals are strong, and they have a real feel for the music they’re playing. The only other release is mellower, and more mature. I prefer Inazuma, but a different guest guitarist, Akira Yasue, and some of the tunes, make it worthwhilte.

MISSILE GIRL SCOOT
Junn--vocal U-ri--vocal Yosuke--drums Gak--guitar Keita--bass
	Wanderland -- (58:32) -- (2001) -- Toshiba/EMI -- TOCT-24564
	Entrance Get Back KKP Connections Finish The Worry Days Don’t Rely On Me Work And Work Everytime It Rains No Sweat Naked King The Winding Road Rock’n Roll H High School	Train I’m Aware Now Samurai Thick Forest Wanderland~Set Free My Heart
MISSILE GIRL SCOOT are a powerful band fronted by two women. The woman with the higher register voice mostly sings, but also raps. The woman with the lower register voice mostly raps, but also sings. They balance each other well, and could easily entertain with a less adept band. Previously, the music seemed hard-edged and dark. Wanderland, though, is startlingly diverse, with beauty and joy to balance the anger and discontent. Rock, rap, ska, and pop, is blended and interspersed, and the mix, like a wave, churns up snatches of guitar, percussion, or vocals to flavor the rich sound.

MOLICE
Rinko--vocal & rhythm guitar Yuzuru Takeda--guitar Ikuhiro--bass Takashi Koyama--drums
	Doctor Ray -- (45:37) -- (December 10, 2008) -- Velour Voice -- VV-010
	White Vertigo Headphone Ms. Panic Dear Change Love Song Pop Superb Space Bili-Bili (Electric Shock) Hole!! Pale Wind	Pretty Sound In The Light
Rinko and Yuzuru Takeda were in a band called CHINA CHOP. Now they’re in a band called MOLICE. Rinko writes and sings the songs, and Yuzuru provides a subtle and wise guitar. Rinko’s vocals deliver catchy melodies, and she often seems to be doing back up vocals as well as the lead vocals. The drums are crisp. The production, by MOLICE, is solid and full, and someone has added the occasional odd sound or effect, which almost always adds a new dimension to the songs. It’s a strong first release, full of up-tempo dance/rockers, with a spooky, pop feel guaranteed to charm.

MONG HANG
Ba--vocal Kanou--guitar & bg vocal Umezy--guitar & bg vocal Keitaimo Wuja Bin Bin--bass, hššmii & bg vocal Atsushi Tanaka--drums, percussion & bg vocal Man-bubu--keyboards, timpani, xylophone, vibraphone, tabla, percussion & bg vocal Yohei Bohemian--chime, glockenspiel, steel drum, kagura-suzu, congas, djembe, pianica, triangle, didgeridoo, percussion & bg vocal
	Mong Hang -- (37:22) -- (2001) -- Bad News Records -- BACA-3 Bi Bog Ele Bechico Mesopotamia Orange Seximo Fingers Mangcha Mountains I Harapo Mountains II Harasu Sap Alan On The Tellial Gommos
The CD opens with a repeated “Ladies and Gentlemen”, and ends with a rousing, sing-along finale. It’s very much a theatrical presentation, with many tracks connected, and themes changing and reappearing. Friends have compared MONG HANG with Zappa, and there are similarities, but I find their humor more self-reflexive, and their music more magnanimous. The range is truly amazing, and strange new worlds are regularly presented. Still, human warmth dwells in them all, and they’ll fit any number of stories you might wish to invent.

MONO
Takaakira Goto--guitar Tamaki--bass Yasunori Takada--drums Yoda--guitar
	Under The Pipal Tree -- (63:49) -- (2001) -- Tzadic -- (U.S. release) Karelia (Opus: 2) The Kidnapper Bell Jackie Says Op Beach Holy Error #9 L’america Human Highway
MONO are an instrumental band. Still interested? Then you’ll probably enjoy this hour-long sonic journey. Overall, it’s a softer, sadder sound than the Hey, You EP I’d heard previously, but there are certainly moments when the band rises to its full height and displays its powers. The playing is beautiful, often delicate, as the repeated chord structures are made flesh, and the songs rise majestically, then softly recede, as if part of a tide. There’s a dark, but very natural feel, that will cast a spell on you, and slow the world around you to a crawl. Close your eyes, and its waves will wash over you.

MUMMY THE PEEPSHOW
Maki Mummy--vocal & guitar Natsu Summer--bass Rising Yuki Sun--drums Youngus Akkie--guitar
	This Is Egg Speaking... -- (26:26) -- (1999) -- Benten Label -- BNTN-040 We Are Dear Big Tongue Jenny Wa Gokigennaname (Jenny Is Feeling Bad) Annie Wonder Bread, Angel Soup Dirty Snowy Red Coat Spring Pants Has Come Ne Sois Pas Si Bte Dobu Rock Anthology~Rock Me Bartender (Gutter Rock Anthology)
Better production is partially responsible for the improvements here over their first release. They continue to lean on a punk sound, but the well-arranged background vocals and some of the songs show a growing pop influence. Their technique is improving and the songs are surprisingly varied. My favorite is the sweetly childish ‘Dirty Snowy Red Coat’. Their energy, joy of life, and explorative nature are their strengths. Four songs have English lyrics so scattershot they seem dadaist inspired. Yet, I believe Egg has something to say. I’m listening.

AKINA NAKAMORI
Akina Nakamori--vocal & The Fantastics: Kohichi Fujino--keyboards Takafumi Shimada--bass Takeshi Watanabe--guitar Ryo Kitagawa--guitar Shinya Kitamura--drums Ikuo Kakehashi--percussion Kazushi Makiguchi--keyboards Kazuko Takemasa--Pf(?) Yohko Yamada--bg vocal Kaoru Oyama--bg vocal Shinichi Ishihara--bg vocal
	Akina East Live -- (89:20) -- (1989) -- Warner Music Japan -- WPCL-690~1
	Disc One: 1. Tatto 2. Desire 3. Fin 4. Solitude 5. Blonde 6. I Missed “The Shock” 7. Sand Beige 8. Al-Mauj 9. Gypsy Queen 10. Tango Noir 11. Meu Amor É	Disc Two: 1. Slow Motion 2. Twilight 3. Second Love 4. Nampasen (Wrecked Ship) 5. Kazari Ja Nai Noyo Namida Wa (Tears Are Not Decoration) 6. Kin Ku (Restricted Zone) 7. Shoujo A (Girl A) 8. Jukkai~1984 (10 Commandments) 9. Hanbun No Shinwa (Half Legend) 10. Southern Wind 11. Kita Wing (North Wing)	12. Blue On Pink 13. Liar
Akina Nakamori is the exception to the J-pop singer rule. She sings well, and has done so for over twenty years. This two-CD live-set is her in peak form. The songs and arrangements are the best the company could find, and the top-notch band sounds twice its size. This is Japanese pop at its slickest, but when Akina sings, I believe her. I don’t know what she’s singing, but I feel it, and the consistency in material and performance is stunning. The booklet has pictures of the beautiful star from the show. Want more? There’s a video available.

PAPAYA PARANOIA
Yumiko Ishijima--vocal, bass Kinuko Maki--guitar Chiaki Kishida--drums Harumi Enomoto--keyboards
	Mohaya Koremade (Not Anymore) -- (47:33) -- (1985) -- Captain Records -- CAP-1012-CD Gogons Natsu Ga Owaru (Summer’s Ending) Gokuraku Correction (Heaven Correction) Tsuki No Usagi (Rabbits On The Moon) Kifujin No Sampo (Madam’s Walk) Oni No Koubutsu Animal Print (Demon’s Favorite Animal Print) Dance Ga Sunda (Dance Is Done) Shuuru Understand (Surreal Understanding) Wagamama Na Nikushoku (Selfish Flesheating) Anata Ni Aitai (I Want To See You) Mohaya Koremade (Not Anymore) Rinse
PAPAYA PARANOIA’s eclectic range of songs is startling. If this is a collection of early singles and EPs, as I once heard, that would help to explain things, but the production and engineering credits are the same throughout. Flavored by the new wave/punk of the time, their experimental approach took them places nobody’s been back to. These are fully-fleshed songs, performed with guts, and theatricality. The guitar and synthesizers create the diverse sounds, and Yumiko adapts new characters for each of the unique environments.

POLYSICS
Hiroyuki Hayashi--guitar, vocals & programming Kayo--synthesizer, vocoder & vocals Junichi Sugai--drums
	Neu -- (41:19) -- (2000) -- Ki/oon Records -- KSC2 357 (released in U.S., slightly altered)
	Go Ahead Now! MS-17 XCT S.V.O. Making Sense Each Life Each End (Sputnikless Mix) Disorder CY/CB X-Rays (This Is My Life) What Plaster Caster	Urge On!! (Velocity 2) I’m A Worker
This is one rockin’ CD! Yes, THE POLYSICS incorporate techno aspects in their sound, but there’s so much rockin’ going on, you almost can’t hear the songs for the sounds. It’s easily as overpowering as their live sound! Vocals often get buried. Who knows what else is in there? Part of me wishes it was all cleaner, so I could enjoy the cleverness of these songs and odd sounds. The rest of me is enjoying diving into this swamp and losing myself in its rich muckiness. If you like your techno clean and pristine, stay away! If you don’t mind getting dirty and trying something Neu, it’s for you!

THE PORTUGAL JAPAN
Fukiko The End--guitar & vocal Suyako The End--bass & bg vocal Cherry The End--drums & bg vocal
	The Portugal Japan -- (37:46) -- (2005) -- Sazanami Label -- SZNM-1009
	Joey Boy Meets Girl Shadow Girlfriend Love You Baby Yeah Yeah Nobody Wants, Do Love Me Have Love Will Travel Black Jacket Savage No, I Want	Ticket To Your Arms Kick Out The Jams
The flavor is RAMONES’ style punk, mixed with ‘60s girl pop, and it’s fresh enough to have been put out during the first onslaught of new wave and punk, when styles and quantities of pop were mixed with punk in search of commercial success. THE PORTUGAL JAPAN are energetic, and delicious. They are both more punk and more pop than THE RUNAWAYS or THE GO-GO’S, and in a glorious way, more innocent, too. The playing and production are plebian. Yet, the pop instincts of the songwriting are dead on. Best of all, behind the seemingly effortless pop is a roaring rock band.

PRAMBATH
Chihiro Isadora--vocal, bass & synthesizer Captain--guitar & vocal Mar--guitar & vocal Iso-chan--drums & bg vocal
	My Heart Beats For You! -- (28:26) -- (2005) -- Groovie Drunker Records -- KOCA-24 My Heart Beats For You! The World Of Endless Refined Sounds Can You..? I Wake Up Screaming Boys Order I Wish You Sweet Dreams.. Level Play Loud! Play Loud! I Just Know My Rock And Roll Kills Your World!
Their live show was OK. Their 2002 CD, Sweet & Hot!!, was OK. My Heart Beats For You! is proof positive that they not only deserved to be at the Radio Heartbeat Power Pop Festival, they belonged there. They’re a fine power pop band, with a punk edge. Best yet, their use of the studio has improved tremendously since Sweet & Hot!! Technically, PRAMBATH is on top of their game. The recording adds not only clout, but class. Chihiro sounds a bit too much like a chipmunk, but uses her voice well, and the English lyrics are included in the booklet, if you can’t understand them.

THE PREDATORS
Sawao Yamanaka--vocal & guitar Jiro--bass Shinpei Nakayama--drums
	Hunting!!!! -- (20:18) -- (2005) -- Three Mountain Records -- TMRD-0001 Bakuon Drop (Roaring Drop) Recall Me Dizzy Life Sleepy Dragon Mustang Hippy Lizard Man Last Hunting
Sawao Yamanaka is vocalist/guitarist for THE PILLOWS, Jiro is the bassist for GLAY, and Shinpei Nakayama drums for STRAIGHTENER. Here they are rocking together as THE PREDATORS. They seem to have stripped down the sound, simplified the songwriting, added a dose of punk, and then rocked it out hard and sweet. The songs have a definite gloss to them, and the band sounds like they’re having themselves a damn good time kicking these tunes out. The exception is ‘Last Hunting’, which is more of a demo/jam. It’s not as slick, but it does still rock! What are they hunting for? Good rockin’ fun!

PUFFY (aka PUFFY AMIYUMI)
Ami Onuki--vocal, guitar & trumpet Yumi Yoshimura--vocal, guitar & sax
	Spike -- (57:17) -- (2001) -- Epic Records -- Sony Music Imports 810186 (U.S. release)
	Boogie Woogie #5 Sumire (Violet) Mondoumuyou (Shut Your Mouth, Honey) Cosmic Nagaretabi (Cosmic Wonder) Destruction Pancake Su-i Su-i Sui Sui Pool Nite (Swimming Pool) Aoi Ringo (Green Apple) Sakura No Hana Ga Saku Amai Amai Kisetsu No Uta (This Is The Song Of Sweet Sweet Season When Cherry Garcia Blossoms Bloom) Umi Eto (Into The Beach)	Puffy No Rule (Puffy’s Rule) Juunigatsu (December) Love So Pure Circuit No Musume~The Readymade JBL Mix ‘99 (Wild Girls On Circuit)
It’s my first time to hear PUFFY’s music. It’s nearly as slick as I’d expected, and more fun each time I hear it. True, it’s shallow, but it’s also positive, upbeat, cute, and there is a lot of variety in the styles and the production. Ami and Yumi write a good deal of the lyrics, and their vocals are joyful. ‘Love So Pure’ is the one song in English, and listening to it, I can’t help but think if this was on my radio, the world would be a better place. Some of this is as close as anyone’s come to copping ABBA, and some of it rocks! This is the classiest, hippest, manufactured pop I’ve heard in a long time.

THE QUESTIONMARKS
Keita Kondo--vocal, guitar, bass, noise machine & keyboards Naoki Otsu--drums
	Boo! I’m A Ghost! -- (24:11) -- (November 3, 2009) -- Tokyo No Records -- TNR005 (U.S. release) Studying For An Examination Boo! I’m A Ghost! UFO Club The Metamorphosis The Ghost Left Town The Fool Feedback No. 1 UFO Club
THE QUESTIONMARKS are a mix of garage rock and undisciplined psychedelia, like from back when psychedelia meant freeform experimentation. The songs are repetitive riffs, but anything can happen, strange sounds burbling up into the mix, electronic squeaks, feedback, or full on guitar solos, some here by Toru Matsui of DMBQ. It gets noisy at times, but the insistent pounding of Naoki Otsu’s drums keeps things rooted in garage rock, where psychedelia originally sprang from. Keita Kondo’s experiments are wild, crazy fun. I just wish I could understand his lyrics, which are all in Japanese.

ROCKET JACK VADERS
Sue--guitar & vocal Shinko--guitar & vocal Vinta--bass & bg vocal Kakuta--drums & bg vocal
	Loud Stereo -- (28:29) -- (2001) -- M Records -- MR-0006 1-2 Jet Hell Ano Ko Wa Baby! (That Girl Is A Baby!) Let’s Get Marder Inazuma Girl (Thunder Girl) Loarch El Passo Good!! Bova Feet Go A Head!
This is a strange mess, but the range is surprisingly wide. The first thing you notice is the surf and hot rod influences. Eventually, darker, more rockin’ aspects make their presence felt. The distortion of the inexpensive overdubs begins to take on a noirish feel, and I started to truly appreciate the dark cheesiness. Imagine the soundtrack for a cheap ‘60s teen exploitation movie about juvenile delinquents if it was recorded today by a Japanese band for no money. Add the strange ability to make a sloppy, ragged-sounding band sound catchy, cool, dark, and yet, not very dangerous.

THE RODEO CARBURETTOR
Takeshi Kaji--vocal & guitar Makoto Takizawa--bass Nobuya Sakai--drums
	Black Luster Songs -- (34:35) -- (2006) -- Epic Records -- ESCL5006
	Outblaze God Of Hell Acid Groove Pissed Off R&R Ni Kuchibuke (A Kiss To R&R) Way Gekko Dance~Galaxy Version (Moonlight Dance) Rodeo Volt Dive In Go Antics	Gang Of Pirates Meaningful
This, their first release in Japan, shares only two songs with their U.S. release. It manages to rock as hard, and yet presents the band as more multi-faceted. Many of the songs are given odd little signature intros before their engines kick in. There is variety, but they generally rock it hard, and they’re stripped down for maximum impact. This is a tough band, and it’s good to see them unfurling more of their colors. They’ve got the chops, and seemingly the inclination to be one of Japan’s hardest rockin’ outfits! If you like hard rock with a punk edge, you’ve definitely gotta hook up with some RC!

RON RON CLOU
Hitoshi Arai--guitar & vocal Atsushi Kodota--drums Atsushi Ura--bass & vocal
	"First Album" -- (27:39) -- (1995) -- K.O.G.A. Records -- K.O.G.A.-006 Annoying Kids Are White Scooter It’s Not Everything Disappointed Chelsea Morning Kiss The Sky Stage Falling Stars Here Comes A New Day I Call Your Name
The cover proclaims, “10 great fast pop tunes!!”, and in just under thirty minutes, that’s what you get. The production is a bit thin, but this trio is technically good, and the songs are catchy, and lots of fun. They’re sung in English, that, when deciphered, contains surprisingly intelligent comments on youth and growing up. They cover ‘I Call Your Name’, and do express some of the early BEATLES’ energetic charm, but the music itself rocks with such a forward propulsion, I’m reminded more of THE BUZZCOCKS. It’s well done pop, and it’s clean!

SENTIMENTAL BUS
Natsu--vocals Akinori--keyboards
	Sayonara Girl -- (41:42) -- (2000) -- Epic Records -- ESCB 2164 Sunny Day Sunday Cycling Beat 330 Sayonara Girl (Goodbye Girl) Summer Time Kids Story Hikokigumo To Chiwagenka (A Jet Trail And Petty Quarrels) 400.000.000 Rock Weed Crown Yellow Train Silver Snow Tsuki No Sora Riders (Moon Sky Riders) Maniac Mondai (Maniac Problem) Hanzubon (Shorts)
When I first listened to this, I chalked it up as good pop music, but it’s really grown on me. I like it! Without losing its sweetness or energy, it has heart and it breathes life. Natsu and Akinori write all their own songs. Akinori even sings one--Hey! It’s a change of pace. They have a full band in the studio with them, and even some impressive guest appearances (in two songs each) by suGar Yoshinaga (of BUFFALO DAUGHTER), Zoë (of HAL FROM APOLLO ‘69), and Hoppy Kamiyama who also gave the CD its sweetly-offbeat production. It’s wacky. It’s fun. It’s warm. It’s endearing

SHAKALABBITS
Uki--vocal Take-C--guitar & bg vocal King--bass Mah--drums & bg vocal
	Clutch -- (47:35) -- (2004) -- Evil Design/Xtra Large Records -- XLCN-71004
	Can’t Escape The Chocolate Syrup Mushroom Cat Number Plate Wish Of A Vampire Monster Tree It’s Our Secret Candy Ball “Pobby To Dingan” Pivot Admire g(star)s(star)g Spice!	12. Hoshizora No Shita De (Underneath A Sky Full Of Stars) 13. Comeback Anytime untitled jam
SHAKALABBITS are a hot trio with Uki, out front, handling the lead vocals, and making it four. She also writes the lyrics, leaving Mah, the drummer, to write the music. They’ve definitely got some ska influences, but they tend to play it at such a hyper speed, it comes off as spirited rock, no matter what the beat. They’re a tight, technically gifted band, and Uki’s sweet vocals give it all a nice pop glow. It’s a hard rockin’, happy time, and I certainly forgive them for taking the JUDY AND MARY model and trying to build something new, ‘cause it’s a good party, and what more can ya ask for?

SIX O’MINUS
Kensuke Fukasawa--guitar & vocal Shunsuke Hirase--bass Taisuke Endo--drums & percussion
	Bury The Sun -- (28:02) -- (2007) -- Travelin’ Word -- DDCZ-1438 Kangaeru Kinoko (A Thinking Mushroom) Midnight Massive Cocaine Electro Cocaine Daydream Massive
Keyboards play a major part in SIX O’MINUS’s sound, which centers around the funk-style bassist. The keyboards and guitar add a jazz attack, with the guitar keeping things off-balanced. The drums either take a straight rock approach, or lean toward jazz aspects. It’s a strange, intriguing conglomeration of some ragtag new-groove, led by a spazzy vocalist, who doesn’t sing, so much as dictate, sometimes excitedly, sometimes in a whisper. I could do without ‘Electro Cocaine’, a remix, but otherwise, am falling under the SIX O’MINUS spell. They’re exploring something new and brave.

SPANDECKS
Yano--drums Michiko--bass & vocal Matsu--guitar & vocal
	Spandecks -- (19:15) -- (2002) -- Stiffeen Records -- SRCD-1009 1. Paranoia 2. Helmet 3. French Doll 4. Clock Tower 5. Sweets 6. Team Drive 7. Bus Gas Explosion 8. I Love 3 Chords 9. Dead Body 10. Alien Dash 11. Cheerleader And Her Miniskirt Bomb (untitled)
The SPANDECKS were three young women with a primitive, and fairly brutal guitar attack, sweetened a good deal by two charming vocalists, who both sing well, and often sing together. The entire thing is very punk-styled, including “One, two, three, four” countdowns for many of the songs, and the guitar out front, but the vocals put across the fun they’re having, and the instruments are handled well, giving these short, brutal attacks precision, and often a surprisingly edgy pop joy. In the back cover photo they’re shown riding a rollercoaster. The SPANDECKS are some good rocking fun!

SPOOZYS
Jun Matsue--vocal, guitar & computer rhythm Rola Korpi--vocal, sampling & synthesizer Naomi--synth bass & synthesizer Wataru Daiko--drums & rhythmkeep
	Existence Of Super Earth -- (31:20) -- (1998) -- Biosphere -- BICL-5006 Cone Shape U.F.O. Can Computers Have A Mind? Invasion Of The Flying Saucer Pets Alien Have The Ability To Aerobi Space Man Human Cyborg Relation Space Biosphere Ventures Spoozys Theme The Man With The X-ray Eyes
They introduce themselves as “surf space invaders from out of space...” Obviously, both THE PLASTICS and THE B-52’S were big influences. This is fun music, with a bit more ‘60s sci-fi sounds than either of those bands. The vocals are shared by both male and female. The lyrics, not always understandable or terribly important, are in English and are included in the booklet. Quirky and innovative, every song works and every song rocks. I saw them recently, loved the show, and was very impressed by the guitarist who led this fine band.

STONE DEAF
Yukio Yamamura--guitar & vocal Ai Niikura--drums & vocal Koujiro Akai--bass & vocal
	Stone Deaf -- (36:49) -- (2005) -- Hardon Records -- HORSD-4011 Where Are We Going Parade Hot Shot Cool Cat New Ballad Get & Loss Sentou No Otoko (Man Of The Spire) Dream Police Superstitious
STONE DEAF are catchy, yet somber, modern rock. Their influences are largely from current western rock. The band met in England, playing in different bands, but formed STONE DEAF in Japan. The guitarist handles the lead vocals and wrote most of the material. His guitar work is especially impressive, though he tends to avoid leads, relying on sharp licks which eloquently state their piece and move on. The drums and bass do a fine job of support, and the production is good, mixing in the occasional odd sound effects to color the proceedings.

SUPERCAR
Koji Nakamura--guitar, synthesizers & vocal Miki Furukawa--bass & vocal Junji Ishiwatari--guitar Kodai Tazawa--drums
	High Vision -- (48:13) -- (2002) -- Ki/oon Records -- KSCL 450 Starline Warning Bell Storywriter Aoharu Youth Otogi Nation Strobolights I Yumegiwa Last Boy Nijiro Darkness Silent Yaritori
Remember when all the young punks, pressing for a new sound, ran out and bought synthesizers? SUPERCAR steps straight into that early ‘80s, romantic, English synth sound, and makes it their own, with no new addition to, or perversion of that sound, other than Japanese vocals. Miki’s vocals add a depth to the music when she sings; but Koji, lead singer/synthesizers, has definitely captured a feel for those times in both his vocals and synthesizer work. If you loved that sound, and have been regretting that there are no bands working that particular groove, here’s a band that is.

SUPERSNAZZ
Spike--vocal & guitar Kanako--guitar Tomoko--bass Skinny Minny--drums
	Superstupid! -- (27:25) -- (1993) -- Sub Pop -- SP209b (U.S. release) Breakout Johnny Black Cat Sometimes Middle Of The Way Playing My Guitar Uncle Wiggly Hardcore Comanche Creeps First Time Is The Best Time Papa Oom Mow Mow
SUPERSNAZZ continue today with almost the same lineup they have here, (the current drummer, Shoe, formerly played with TEENGENERATE). Yet, their first full-length is my favorite of their releases. Every song rocks, and it sounds like a band having the time of their life, banging out their favorite songs. The five covers cover a wide spectrum, and add a certain classic feel to the proceedings, but they do not overshadow the originals. All of which proves that, in rock, energy and enthusiasm mean more than technique and experience anyday, bub.

SUSAN
Susan--vocal Yukihiro Takahashi--drums, keyboards, vocoder & bg vocal Haruomi Hosono--bass, keyboards & bg vocal Hideki Matsutake--MC-8 & Eµ Kenji Omura--guitar Ryuichi Sakamoto--keyboards
	Complete Susan -- (93:02) -- (1980-84) -- Sony Music -- MHCL 497-8
	Disc One: 1. Modern Flowers In A Boot 2. 24,000 Kai No Kiss (24,000th Kiss) 3. Dream Of You 4. Do You Believe In Magic? 5. Ah! Soka (Ah! So That’s It) 6. Freezin’ Fish Under The Moonlight~Eatin’ My Backbone 7. Glass Girl 8. It’s No Time For You To Cry 9. Screamer	Disc Two: 1. You’re My Number One 2. Koi Seyo Otome (Girl’s Must Love) 3. Training 4. Blow-Up 5. I Need Your Love 6. I Only Come Out At Night 7. Go Go 8. Nuit De Saint-Germain (Night Of Saint Germain) 9. Tokyo Sue 10. My Love 11. Modern World	Samarukando Ohdouri (Samarukando Avenue) Shabon Doll (Soap Bubble Doll) Koi Wa Dance (Love Is A Dance)
Susan was the YMO gang’s attempt at creating a pop star. Now Sony has released all of her material in one double-CD box. Hurray! It’s techno/pop, half in English, produced by Yukihiro Takahashi, written and played by the YMO gang and their friends. It’s brilliant, bouncy, and cute, with YMO’s smartness factor intact. It was probably too smart for commercial success, and they could have dumbed it down, but for those of us who appreciate smart pop, this release will have you happily singing, and dancing, along, techno hipness intact.

TAMA
Toshiaki Chiku--vocal, guitar, mandolin, harmonica, recorder & whistle Kouji Ishikawa--vocal, percussion & recorder Kouji Takimoto--vocal & bass Yanagihara Youichirou--vocal, keyboards, guitar, accordion & recorder
	Sandaru (Sandal) -- (51:49) -- (1990) -- Axec Co., Ltd. -- AXCR-1 Hokouonchi (Directionally Challenged Person) Organ Ozon No Dansu (Ozone Dance) Nihon De Yokatta (Happy To Be In Japan) Gakko Ni Mani Awanai (Late For School) Donburako (Drift Towards) Roshiya No Pan (Russian Bread) Sayonara Jinrui (Goodbye Mankind) Warutsu Oboete (Remembering Waltz) Ranchiu (Goldfish) Reiko Obasan No Kuchuyuei (Aunt Reiko Is Swimming In The Sky)
TAMA actually got a pop hit off this, their first release. Unfortunately, it was their last. Still, they’ve managed to build a large cult following and continue to record and tour. Of the CDs I’ve heard, this is easily my favorite. The originality and creativity displayed here are awe-inspiring. Largely on accoustic instruments and almost completely in Japanese, these four men have created a wonderful world full of beauty, sadness, and much wacky happiness and joy. I saw them live, and amazingly, they can recreate this world in front of you.

TEENY FRAHOOP
Noriko Furumi--guitar & vocal Yoshiko Watari--bass & vocal Masako Gunji--drums & vocal
	Wee Wee Pop -- (31:43) -- (1998) -- K.O.G.A. Records -- K.O.G.A-038
	Eat Candy Flower Goes On She Is Baby Panda Vomit Grudge A Bird In The Narrow Cage The Lucky Star Banana Juice Happy Vanilla Pop Soy Bean Sprouts To Lay	Kitchen Heavy Smoked, Salmon Sand(wich) Elephant Mummy
Lots of back-up vocals make things very sweet, even when the vocals, all in English, with most lyrics printed, are happily a bit twisted. Really, it’s happy pop that some friends cooked up in a basement, not the kind some suits whipped up in some million dollar studio. It’s pure, honest, and sweet. Some of this even rocks, and some of it’s quite artful. The lyrics about their little girl lives I don’t really understand, and that’s OK, because the fun of making this happy music with their friends needs no translation. Anyone can understand that!

JUN TOGAWA
Jun Togawa--vocal
	20th Jun Togawa -- (28:54) -- (2000) -- God Ocean -- COGO-0102 Comme A La Radio Finale Joe Le Taxi Because The Night Casablanca Moon All Tomorrow’s Parties
Jun Togawa once had an amazing vocal range, and stretched more than a few styles’ boundaries. Her now weathered voice is still uncompromising. To bid the 20th century a fond farewell, she’s chosen six songs of varied styles. Hoppy Kamiyama is in each of the four backing groups here, and produces. The theatrical vocals, and creepily ominous but spirited music, are strange and unfamiliar. This is challenging music, but approached with respect its darkest recesses will glow in a rich luminescence. The more I listen, the more I hear, and I like her Louise Brooks hair-do on the cover, too.

TSU SHI MA MI RE
Mari--vocal & guitar Yayoi--bass & bg vocal Mizue--drums & bg vocal
	Pregnant Fantasy -- (32:54) -- (2004) -- Benten Label -- BNTN 063 (released in U.S.) Ume Umai Tane Dekai (Pickled Plums Are Tasty And Have Big Seeds) Lingerie Shop Ebihara Shinji Manhole Ocha Ska (Tea Time Ska) Kedama (Hairball Boogie) Kamaboko (Fish Cakes) Souzou Ninshin (Pregnant Fantasy)
This is one of those magical CDs where there’s no telling what’s coming next. Technically they’re OK, but they’re incredibly innovative. Sometimes they sound cute and poppy, much as you would expect from the three, sweet, young women they probably are. At other times they lay down some richly original rock music, and then there are times when they just get plain spooky, and the spookiness has its own wide range, from kind of cutely weird to Japanese horror movie chill thrills. It’s an amazing release, and it’s their first full length, which gets me excited. What will they come up with next?

UP-TIGHT
Ogata--bass Shirahata--drums Aoki--vocal & guitar
	Lucrezia -- (59:44) -- (2004) -- Alchemy Records -- ARCD-157 Song For Lucrezia I Sameta Hitomi (Cool Eyes) Daydream Believer Nagai Owakare (Long Goodbye) Song For Lucrezia II
Someone was vacuuming the first time I heard this. It fit! The songs are long, and as dark as they can be. The poetics, translated in the booklet, are tender, rather than morbid. The vocals are those of a lost soul. VELVET UNDERGROUND influence abounds. In spite of it all, this band has its feet planted firmly on the ground, probably in a dark castle somewhere, and they mean it. All the colors in their paintings are brown, and yet they’re beautiful. Go ahead, surrender to ‘Song For Lucrezia II’ (22:42). No, that’s not THE MONKEES’ ‘Daydream Believer’.

WHO THE BITCH
Ehi--vocals & guitar Nao--vocals & bass Yatch--drums
	Who The Bitch -- (17:34) -- (2007) -- Sword Records -- DDCV-3001 In The Can My Rockin’ Star Cherry Mosquito My Point Asu O Ute (Shoot Tomorrow)
This was a wonderful surprise! It’s edgy punk rock, with impressive pop aspects, and even a healthy studio gloss. WHO THE BITCH wrote all the material, and produced it themselves. They rock hard and clean, the vocals are rough and straightforward, but have an obvious flair for pop, and then the backing vocals and the clean production make it all just shine. On top of that, the songwriting is both smart and cute. This is truly some of the most brilliant Japanese punk/pop since PORTUGAL JAPAN, yet it arrives at its pop/punk in a completely unique, and different way. Damn, I feel like dancin’!

YEN TOWN BAND
Chara--vocal
	Montage -- (35:44) -- (1996) -- Epic/Sony Records --ESCB 1790 Sunday Park Mama’s Alright She Don’t Care Swallowtail Butterfly (Ai No Uta) (Love Song) Shanghai Baby Shiteyo Shiteyo (Love Me, Love Me) Chiisana Tenohira (Tiny Palm) My Way
The soundtrack of Shunji Iwai’s Swallowtail Butterfly features Chara, who wrote some of these tunes, and co-starred in the amazing film. I loved ‘Sunday Park’ immediately, but once I’d seen the film, this CD’s magic grew to haunt me. The musicians, said to be a collection of Tokyo’s best, leave their mark, and Chara’s breathy vocals tear through these warm soundscapes. A great opener deserves a great closer, and the familiar ‘My Way’ serves that purpose, though it’s never sounded like this. Even the English songs have a mysterious beauty.

ZOOBOMBS
Don Matsuo--vocals, guitar & drums Matta--keyboards, percussion & vocals Moo-Stop--bass & bg vocals Bukka--drums
	Let It Bomb -- (40:50) -- (1999) -- Emperor Norton Records -- EMN 7026 (U.S. release) 1-2-3 South Central Rock Mo’ Funky (pt. 1) Mo’ Dub Pleasure Drop 4190 Bomb The Bomb Gimme Some Money Ships Are Alright Soul Bomb Don’s Dream
I’ve been looking for a ZOOBOMBS recording to recommend, but the two I picked up previously did not live up to the promise of the great show I saw in 2000. This one does! Let It Bomb presents a very unique band honestly, soulfully, and joyously. There’s a consistency at the heart of this band, but their experimentation keeps the prisms shifting as they move through funk jams, straight blues, r&b, ballads, and even a sly reference to VELVET UNDERGROUND’s ‘Sister Ray’. It’s a joyful celebration of life in its many forms, and, yes, it rocks!

Various Artists (Omnibus)
	Benten Bentoh -- (48:00) -- (1994) -- Benten Label -- BNTN 003
	We Are Baby Droop -- Droop I Am Go -- Droop Moero Untenshu (Be An Enthusiastic Driver) -- Lolita #18 Wani (Alligator) -- Lolita #18 I’m Your Mom -- The Flamenco A Go Go Cool Baby Slut -- The Flamenco A Go Go Things -- The Guinny Vamps Caution -- The Guinny Vamps Magunamu No Okite (Law Of The Magnum) -- The Choosey Mojo Bees I’ll Make You Dirty -- The Choosey Mojo Bees Mellow Metallica -- The Noodles	Juryoku Dorobou (Thief Of Gravity) -- The Noodles Gimmie The Rail -- The Love Pigs Birth -- The Love Pigs Po Po Bar -- Super Junky Monkey “It At” -- Super Ball
Benten Label specializes in Japanese girl bands, and this, their first compilation, is by far their best to date. Honestly, it is that impossibly rare V.A. collection with no bad songs on it. Leaning toward the garage-rock side of the spectrum, Benten Bentoh features two songs each by seven exciting bands, any of which I’d be happy to own a full CD by, and six of which I now do! Plus, they’ve thrown in one of my favorite SUPER JUNKY MONKEY songs, and a 0:23 weird art bit. Japanese girl band geeks need to buy this, and maybe you do too!

Various Artists (Omnibus)

Sex And Fury And Rock ‘n’ Roll DVD --Volume 0 -- (75:29) -- (2007) -- Djapango Shoots First -- DSF-0001

     ROCKET JACK VADERS--(two songs)
     KEGAWA NO MARIES--(two songs)
     ED WOODS--(three songs including ‘Monster Trash’)
     BRAZIL UFO--(five songs)
     ECODAMNED--(three songs)
     HONEY5--(two songs including ‘I Can Only Give You Everything’)
     GOGGLE-A--(two songs)
     THAT’S A NO NO!--(four songs)
     SIX--(four songs including ‘Peter Gunn Loco-Motion’)
     THE CHOCOLATES--(two songs)

Wanna check out some Tokyo underground rock clubs? Here are the highlights from ten sets, and you’re in the front row! It’s a great opportunity to check out bands from the current Tokyo underground garage/punk scene, many of whom I’m unfamiliar with. Sound good? You’re gonna love it! There’s something here for everyone who’s into this scene. The sound is a bit iffy, but it often is in the front row. Miles Wood has done a superb job of presenting what Tokyo is now incubating for us. Highlights? Way too many to mention! Learn more at Djapango Shoots First. (Song titles not listed.)