Akina Nakamori – Fushigi (1986)

After a month laying low due to restrictions on some platforms, we’re back! You probably are seeing some reposts and more will come along the way, these are actually all-time bests of the ‘IM’ so don’t miss it, ok? Moving along our Top 5 entries since 2014, having Akiko’s and Slađana’s posts already listed, its time for our third entry, and it is a very singular one; a brief but dashing turning point that was not well comprehended by its main audience ergo the (almost) failure of the sales and single-digit weeks at the radio-charts.

Debuting on the production control, with only 21 years old, rising as the artist of the year and a complex idea in terms of sound, 不思議 remains one of the greatest albums of an era by an underestimated singer, performer, and actress. We’ll be only commencing on Akina’s bio, so please attend to the rest on future entries, though today’s are the REAL deal for us.

楽しんでください!

Let’s go to our artist:

Early Idol Years

Nakamori Akina (中森明菜), born July 13, 1965, in Kiyose, Tokyo, Japan, is a multiple award-winning Japanese pop singer and actress who debuted in early 1982. She is the face of the idol era of the 80s alongside Seiko Matsuda (her supposed rival) with hits such as the extraordinary “Kazari Janai No Yo Namida Wa” and world-wide hit “Desire”.

As a singer, Nakamori came to be known for her mature yet rebellious style and powerhouse vocals, but also for her ever-changing image both visually and musically as opposed to the (very) conservative J-Pop scene. She is also known as “tragedy queen” for most of her serious or sad tone songs unlike the happy and carefree sound of pop music.

Desire ‘Frenzy’

She was highly successful from her debut to 1989 when she attempted suicide after a failed romance with Masahiko Kondo, with the scandalous involvement of Seiko Matsuda as the third part and mostly to stress induced by the tabloid media. Even though she has never regained the same success, she has still managed to carry on a steady career.

Today Nakamori has built her image more like a cover artist with her Utahime cover albums, also with the award-winning Enka one and recently a comeback with unedited studio material being Fixer (2015) and Cage (2017) her last cover one. With a career almost as long as 30 years, and millions of records sold she has explored many different music genres including pop, rock, R&B, jazz, folk, blues, enka, and Latin music. (!)

Let’s go to our album:

Pioneer Private 1989

In 1986, at 21, Nakamori matured in her singing style, choice of songs and partnership over its musical arrangements. The first single of that year, “Desire (Jōnetsu)” proved to be one of the highlights in Nakamori’s career, this was awarded at the Record Taisho Grand Prize at the 28th Japan Record Awards, her second in a row, in an unprecedented achievement at the time, stating Akina’s as the #1 artist of Japan that year. (!)

Then she released Fushigi, an experimental album that is considered to be one of her most artistic works ever. Inspired by Mike Oldfield’s Tubular Bells, this conceptual album differed from her previous works with a more mysterious and eerie sound both music and vocal-wise. On the album, Nakamori sang more dramatically and her vocals were also mixed into the background. This unusual mixing caused some confusion among consumers and some actually contacted the retailers thinking the record was defective.

Fushigi Promo

Despite the riskiness of trying something so avant-garde the album still reached #1 and sold over 464,000 copies. By the cover, you can tell something is darkling about everything and sure there is! After hearing it for the first time, I was sure there was something wrong with the files and had to download them again and again until I realize how magnificent the proposition was. The dark and gothic beauty of the entire project oddly caught me and how good it is to be able to feel this. Now the ‘IM’ is proudly presenting this to you all, come check this unique experience and also watch some terrific live renditions between 1986, 1987 and 2003, it is a joy to see her perform!

The ‘IM’ highlights are マリオネット (Marionette) and Teen-Age Blue.

Tracks Include:

A1 Back Door Night

A2 ニュー·ジェネレーション (New Generation)

Lyrics By: 竹花いち子

A3 Labyrinth

Chorus: Katsumi Fujikura

A4 マリオネット (Marionette)

Lyrics By, Music By: 安岡孝章

A5 幻惑されて (Genwaku Sarete)

Chorus: Minako Yoshida

B1 ガラスの心 (Glass No Kokoro)

Arranged By: 井上鑑

Bass: Chiharu Mikuzuki

Drums: Hideo Yamaki

Guitar: Tsuyoshi Kon

Keyboards: Akira Inoue

B2 Teen-Age Blue

Chorus: Etsuko Yamakawa, Kiyoshi Hiyama

Keyboards: Satoshi Nakamura

Keyboards, Chorus: Kazuo Shiina

B3 燠火 (Okibi)

Arranged By (Brass): 椎名和夫

Drums: Anton Fier

Keyboards: Haruo Togashi, Minako Yoshida

Saxophone: Jake H. Concepcion

B4 Wait For Me

Lyrics By: Show

B5 Mushroom Dance

Chorus: Keiko Aso

Music By: 井上ケン一

Musicians

Arranged By: Eurox (tracks: A1 to A5, B4, B5), Kazuo Shiina (tracks: B2, B3)

Bass: Haruo Okano (tracks: A1 to A5, B4, B5)

Chorus: Anri Sekine, Eve, Haruo Okano, Isamu Hasegawa, Yoshimi Niikura

Guitar: Tsutomu Kurihara (tracks: A1 to A5, B4, B5)

Keyboards: Anri Sekine (tracks: A1 to A5, B4, B5)

Lyrics By: 麻生圭子 (tracks: A1, A3), 吉田美奈子 (tracks: A5, B2, B3),

Sandii (tracks: B1, B5)

Music By: Eurox (tracks: A1 to A3, A5), 久保田真箏 (tracks: B1, B5),

吉田美奈子 (tracks: B2, B3)

Trumpet: Shin Kuzuhara (tracks: B3, B4)

Violin: Anri Sekine (tracks: A1, A2, A4, A5, B4)

Credits

Design (Cover): Yasuo Mochida

Directed By: Katsumi Fujikura

Engineer: Hiroyuki Satoh, Motonari Matsumoto, Yasu Itohbrass, Mr. Kenmochi

Photography By: Kazunori Tsukada

Producer: Akina Nakamori

Remix, Mastered By: Nobuo Ishizaki

Management: Fusanori Nakoh, Hiroyasu Chinone

Companies

Phonographic Copyright: Warner-Pioneer Corporation

Made By: Warner-Pioneer Corporation

Recorded At: Sedic Studio, Sound Inn Studio, Freedom Studio, Sound Atelier,

Cherry Island Studio and Music Inn Studio

Mixed At: Sedic Studio and Warner-Pioneer Studio

Mastered At: Warner-Pioneer Studio

Reprise Records ‎– L-12595 – 1986.08.11

Cage’s Persona – 2017

Yoshiko Sai – Mikkō (1976) [Repost]

Due to the great success of Yoshiko Sai’s first entry, simply the most viewed during this year, today we present another album of this incredible haunting artist!

Let’s go to our history:

Edo (modern Tokyo) became the seat of government for the military dictatorship in the early 17th century Japan, the so-called Edo period (1603–1867). With an ‘everlasting’ peace and prosperity, the merchant class at the bottom of the social order found themselves the greatest beneficiaries of the city’s rapid economic growth. Other classes were the samurai and the craftsmen. Many indulged in the entertainment of kabuki theatre, courtesans, and geisha of the pleasure districts.

The term Ukiyo (floating world) came to describe this hedonistic lifestyle. Printed or painted ukiyo-e images of this environment emerged in the late 17th century, the merchant class, who had become wealthy enough to afford to decorate their homes with such brilliant works. Depictions of beautiful women, kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica were amongst the popular themes. (!)

Utagawa Kuniyoshi, 1844
Utagawa Kuniyoshi, 1844

The peak period in terms of quantity and quality was marked by portraits of beauties and actors by masters such as Kiyonaga, Utamaro, and Sharaku in the late 18th century. This peak was followed in the 19th century by a pair of masters best remembered for their landscapes: Hokusai and Hiroshige. Following the deaths of these two, and against the technological and social modernization that followed the Meiji Restoration of 1868, ukiyo-e production went into steep decline.

Some ukiyo-e artists specialized in making paintings, but most works were prints. Artists rarely carved their own woodblocks for printing; rather, production was divided between the artist, who designed the prints; the carver, who cut the woodblocks; the printer, who inked and pressed the woodblocks onto hand-made paper; and the publisher, who financed, promoted, and distributed the works.

Hokusai, 1830-32
Hokusai, 1830-32

Japonisme, or Japonism, is a French term that was first used (theorized) by Jules Claretie in his book L’Art Francais in 1872, it refers to the influence of Japanese art on Western art. In 1854, Japan re-opened trade with the West (after 265 years of isolation) and Japanese artworks including fans, porcelains, woodcuts, and screens were introduced in huge numbers to Europe, mainly France and the Netherlands.

The 1862 World’s Fair in Europe brought even more attention to Japanese art, during the 1860’s ukiyo-e, Japanese woodblock prints, became very popular and were a source of inspiration to many impressionists and post-impressionist artists in the west including Monet, Manet, Degas, Gauguin, and Van Gogh. (!)

Utamaro, 1793
Utamaro, 1793

Let’s go to our album:

Released on July 25th, 1976, Mikkō was Sai Yoshiko’s second album, a wonderful acid-folk register on which she gets assisted by a string of big-name musicians such as Kuni Kawachi on arrangements. At times the disc draws in Indian influences (sitar and tabla), but once she gets to singing, the listener is lulled into her own private, mysterious sonic world, through which one gets sucked in by her wide-ranging vocalizations. At the time of this recording, she was merely 23 years old.

This is a quieter, entrained album, compared to Taiji No Yume, with less variety of styles, making a melodic somber entry. I really would like to know more details about the lyrics, will any Japanese friend could help us? This is such a stunner voyage of consciousness, welcome to the unique realms of Yoshiko Sai, be ready!

1977's Promo
1977’s Promo

The ‘IM’ highlights are Tenshi no Yōni and Mikkō.

Bonum Cursum!

Tracks Include:

A1 Theme ~ 母さまのうた (Theme ~ Kāsama no Uta)

A2 鏡地獄 (Kagami Jigoku)

A3 (Haru)

A4 絹之道 (Kinu no Michi)

B1 人のいない島 (Hito no Inai Shima)

B2 眠りのくに (Nemuri no Kuni)

B3 天使のように (Tenshi no Yōni)

B4 漂流船 (Hyōryūsen)

B5 密航 (Mikkō)

Translations, respectively:

Theme – Mother’s Song, Hell of Mirrors, Spring, Silk Road, Desert Island

Land of Sleep, Like an Angel, Ship Adrift and Stowing Away

Credits

  • Acoustic Guitar: 吉川忠英, 野間義男
  • Cello: 阿部雅士
  • Drums: 山下秀夫, 田中清司, 武田光司
  • Dulcimer: 生見慶二
  • Electric Bass: 江藤勲, 高水建司
  • Electric Guitar: 高中正義, 津村泰彦
  • Electric Guitar, Acoustic Guitar, Sitar (E. Sitar): 矢島賢
  • Flute: 中川昌三
  • Piano, Keyboards: 大谷和夫, 松岡直也
  • Strings: 新音楽協会
  • Tabla: 瀬上養之助
  • Vibraphone: クニ河内
  • Arranged: クニ河内 (Kuni Kawashi)
  • Lyrics, Music: 佐井好子 (Yoshiko Sai)
  • Engineer伊豫部富治
  • IllustrationYoshiko Sai
  • Design (Cover Design) – Teichiku Design Section
  • Directed: 春名勇

Companies

  • Made: Teichiku Records Co., Ltd.
  • Recorded: Sound Creation Studio
  • Mixed: AMS Studio

Recorded at Teichiku No.1 Studio and Sound Creation Studio.

Mixdown at AMS Studio from March to May 1976.

Black ‎– BAL-1018

Yoshiko’s Painting Cover Art

Yoshiko Sai – Taiji No Yume (1977) [Repost]

Born on June 22, 1953, at Nara prefecture, Yoshiko Sai since his childhood demonstrated its precocity and many artistic gifts. During her elementary school days, she loved to paint and read all the classics from mythical writer Edogawa Rampo (The Japanese Poe). In junior high school, she was a member of the coral, taking his first lessons in music; by high school, she played (casually) in a folk-rock group.

In 1972 she tried to enter the Kyoto City University of Arts but wasn’t accepted, then she tried the Kyoto Doshisha University where she passed the entrance examination. In May of that year, she was caught by kidney disease, having to spend a year in observation.

Portrait
Portrait

Over this period she would recall:

‘I read a LOT of books from famous novelists, such as Mushitaro Oguri, Yumeno Kyusaku, Juran Hisao, and Yokomizo Masashi. These dark novels made me accept and relax about the disease, my forthcoming production of lyrics and music was strongly tied with this fact.’

After leaving the hospital, she incessantly started to wrote poetry and in 1974 debuted and won a contest at a local radio program. She then received an invitation to play an opening act for Rabi Nakayama concert. Two record companies became interested in her music and after the show, she was contracted by Teichiku Records.

1978 Promo
1978 Promo

Yoshiko Sai recorded four albums in four years, between May 1975 and December 1978, the 2nd (Mikkō) and 3rd (Taiji No Yume) of her releases may be considered more Progressive than Folk. Unfortunately, she abruptly retired from a career at the age of 25 in 1979.

A story told is that Yoshiko may have doubted her talent in music and lost her self-confidence. In recent years, a revival of interest in his music made her come back to record a new album with Jojo Hiroshige, called Crimson Voyage in 2001. Lastly, there’s been some re-releases from its 70s records, unedited live performances and poetry books.

Let’s go to our album:

In 1977 she moved to the Nippon Columbia company, and on September 25, she announced Taiji No Yume (Fetus Dream). Heavily inspired by the pre-war oddball and ghostly neurosurgeon doctor and writer Yumeno Kyusaku, hence the strange atmosphere this disc abides in. Quite dark in the overall texture, at the time of this she was merely 24 years old. Totally unknown for non-japanese listeners, this album is really a must for people into some more advanced Japanese historical recordings.

Melancholic Breeze
Melancholic Breeze

With utterly beautiful arrangements by the legendary Yuji Ohno, this is certainly my favorite album from her. A kaleidoscope of genres that spring from the depths of the inner mind: folk, jazz, bossa nova, flamenco, prog, rock and so. Yoshiko Sai plays the role of each and invites us to another dimension of reality, the “IM’ highlights are for:

Aoi Glass-Dama, with nice synths and strings, this rock ballad has an interesting crescendo, delivering an amazing emotional interpretation. And Taiji No Yume, a 9-minute epic, simply one of the best Japanese songs of all time, without exaggeration, I’ll let the words and adjectives to you, do not miss Yoshiko Sai’s haunting realms. 良い旅!

Tracks Include:

A1 ヒターノ (Gitano)

A2 アルハンブラの青い壜 (Alhambra No Aoi Bin)

A3 ある晴れた夜 (Aru Hareta Yoru)

A4 波止場 (Hatoba)

A5 春の夢 (Haru No Yume)

A6 海の沈黙 (Umi No Chinmoku)

B1 青いガラス玉 (Aoi Garasudama)

B2 遍路 (Henro)

B3 白昼夢 (Hakuchūmu)

B4 胎児の夢 (Taiji No Yume)

All songs and lyrics by Yoshiko Sai

Blow Up LX-7021A /// 25/09/1977

Musicians

Drums: Yasushi Ichihara

Electric & Acoustic Guitar: Tsunehide Matsuki

Gut Guitar: Kiyoshi Sugimoto

Electric Bass: Kenji Takamizu (1,2,4,5,9,10) /// Akira Okazawa (3,6,7,8)

Acoustic Piano: Masahiko Sato

Electric Piano, Solina, Spinet & Synthesizer: Yuji Ohno

Percussion: Lary Sunaga

Arranged (strings, brass, instrumental) by Yuji Ohno

Credits

Directed by: Shun Ohki

Produced by: Akira Sakajima

Engineer: Tomiji Iyobe

Art Director: Kazuhiro Saito

Cover Illustration: Yoshiko Sai

Illustration: Tsuyoshi Takigaito

Photography by: Jin Komine

Layout: Takashi Eakabayashi

Taiji No Yume Illustration
Taiji No Yume Illustration

Akiko Yano (矢野顕子) ‎– There Must Be Love (愛がなくちゃね。) [1982]

Simple and direct this is one of the Top 5 albums that I’ve been listening to nonstop since our departure in 2014, a wild collaboration between Akiko, YMO and David Sylvian’s Japan. East + West = Gemstone! There will be more Akiko’s albums throughout our trip, she is a VERY special composer, singer, and performer that is still rocking on so this is just the beginning. This LP is a fav of the Blog so get ready…

Let’s go to our artist:

Akiko Yano (3 February 1955) was born in Tokyo and raised in Aomori, Japan. She began playing piano at the young age of three (!) and demonstrated promising talent. When she was only fifteen, Akiko moved to Tokyo on her own and entered into Aoyama Gakuin High School where she pursued her musical career. She later began performing in jazz clubs where her masterful skill at the piano brought her popularity among other musicians. Akiko joined a band with roots in Tin Pan Alley.

Nihon Shōjo

Akiko recorded her debut album, Japanese Girl, primarily in Los Angeles with Lowell George and Little Feat. When it was released in 1976 many reputed her to be a “girl with a musical wonder.” She then began collaborating with Yellow Magic Orchestra (YMO).
They continued to play on her next recording projects and invited Akiko to join them on two of their worldwide tours. Akiko expanded her musical collaborations with YMO on her subsequent LP releases, she continued to release LPs joined by Japan and Pat Metheny and has performed on albums by Thomas Dolby and other artists.

YMO Tour

In 1990 Akiko relocated to New York where she collaborated and toured with some of the world’s most renowned musicians including The Chieftains, Toninho Horta and Jeff Bova on his project The Hammonds. August 2007 marked her second debut as yanokami a pop unit with Rei Harakami, an electronic musician and sought-after producer.

To date, Akiko has released more than 30 (!) original albums, being Welcome to Jupiter her last in 2015, latter ones such Soft Landing are reissues or even Live records.

Let’s go to our album:

1982 Promo

The following text is taken from Jansen Photography Blog, so I will take a short extract from it, thank you for the Infos and photos!

‘In 1978 YMO performed as Yano’s back-up band for a Japanese tour, and at this time she became romantically involved with Sakamoto, following the breakup of her marriage. Although at the time this wasn’t noted in the press, once YMO became famous the story was spread across the papers, something that Akiko further highlighted herself by including clippings from the tabloid reports in a tour program. In 1979 Akiko became a support member of YMO; taking a break in early 1980 when she gave birth to daughter Miu Sakamoto, before returning for the second YMO world tour.

Japan the band first became aware of Akiko Yano because Japanese fans gave the group mixtapes of music they thought they would like. At that time, they did not know that there was a connection between YMO and Akiko. This soon changed when Japan attended a YMO concert and was introduced backstage. David Sylvian, Sakamoto and Yano started to exchange letters, something referred to in the song “David” released later in the 80s.

Japan

For her 1981 tour, Akiko recruited Masami Tsuchiya as a guitar player, and he went on to play on her album “Tadaima”. Both artists came to London in early 1982 and booked time at Air Studios, Masami to record “Rice Music” and Akiko “Ai Ga Nakucha Ne”.

Akiko specifically chose to work with Japan members and to record at Air because of “Tin Drum”; she liked the clarity of sound and the feel of the album, and wanted that for her own recording. To that end, not only did Akiko recruit the Japan members, but she employed Steve Nye and David Rhodes for the duration of the recording.

The producing role would be performed by fiancé Ryuichi as the couple would marry before the album was released in 1982.06.25.’

Akiko Yano + Ryuichi Sakamoto

So finally let us drink the waters from a synth-pop masterpiece with multiple touches you will hardly find it in any Western release!

The ‘IM’ highlights are Onnatachiyo Otokotachiyo and Donnatokimo Donnatokimo Donnatokimo.

Tracks Include:

Side A うし (Ushi – Cattle)

A1 愛がなくちゃね (Ai Ga Nakucha Ne – There Must be Love)

A2 悲しくてやりきれない (Kanashikute Yarikirenai – Unbearable Sadness)

A3 What’s Got In Your Eyes?

A4 おいしい生活 (Oishii Seikatsu – Small Time Crooks)

A5 みちでバッタリ (Michi De Battari – I Ran Straight on the Road)

Side B ぞう (Zō – Elephant)

B1 女たちよ 男たちよ (Onnatachiyo Otokotachiyo – About Women and Men)

B2 あいするひとよ (Aisuru Hitoyo – Overnight Love)

B3 Sleep On My Baby

B4 Another Wedding Song

B5 どんなときも どんなときも どんなときも (Donnatokimo Donnatokimo Donnatokimo – Anytime, Anytime, Anytime)

B6 Good Night

All songs and lyrics by Akiko Yano

Except for A2 by Kazuhiko Kato & Hachiro Sato / A5 by Yuji Takahashi & Masafumi Oka.

Credits

Arranged By: Akiko Yano, Ryuichi Sakamoto
Bass: Haruomi Hosono, Mick Karn
Drums: Steve Jansen, Yukihiro Takahashi
Guitar: David Rhodes, Kenji Omura, Robbie Mackintosh
Keyboards: Akiko Yano, Ryuichi Sakamoto

Engineer: Shinichi Tanaka, Steve Nye

Mixed By – Steve Nye

Co-producer: Ryuichi Sakamoto

Producer – Akiko Yano

This album was recorded in London with members of Yellow Magic Orchestra and Japan.

Nowadays

Osamu Kitajima (喜多嶋修) – Benzaiten (1974)

capa cópiaThe music of Japan includes a wide array of performers in distinct styles both traditional and modern. The word for music in Japanese is 音楽 (ongaku), combining the kanji  ‘on’ (sound) with the kanji  ‘gaku’ (enjoy). Many instruments, as the koto, were introduced in the 9th and 10th centuries, the accompanied recitative of the Noh drama dates from the 14th century and the popular folk music, with the guitar-like shamisen, from the 16th century. Western classical music, introduced in the late 19th century, now forms an integral part of Japanese culture. The imperial court ensemble Gagaku has influenced the work of many modern Western composers.

Notable classical composers from Japan include Toru Takemitsu and Rentarō Taki.

Biwa & Koto by Utagawa Kunisada, 1848
Biwa & Koto by Utagawa Kunisada, 1848

Popular music in post-war Japan has been heavily influenced by American and European trends, which has led to the evolution of J-pop (popular music). Japan is the second-largest music market in the world, with a total retail value of over 3 billion dollars in 2013, dominated by Japanese artists. Karaoke is also the most widely practiced cultural activity, ahead of flower arranging (ikebana) or tea ceremonies. Traditional Japanese music is quite different from Western music as it’s based on the intervals of human breathing rather than mathematical timing. (!)

Toru Takemitsu
Toru Takemitsu

Let’s go to our artist:

Osamu Kitajima (February 3, 1949) was born and raised in the beach town of Chigasaki (Kanagawa Prefecture), as a young man he studied classical guitar and piano; his first band the Launchers, was led by pop idol and actor Yuzo Kayama, the group disbanded in the late ’60s, after Kitajima began to work on his own.

After graduating from Keio University, and already a successful composer of TV and advertising jingles, he moved for one year to the UK in 1971, which brought him in to contact with British folk and psychedelia. Inspired by The Beatles, T. Rex, and Syd Barrett, he dubbed himself Justin Heathcliff and issued a lone eponymous album.

Dr. Osamu Kitajima, 1972
Dr. Osamu Kitajima, 1972

His first solo album in 1974, Benzaiten, was a mix of modern pop and traditional Japanese music, and was well received in Japan and later released abroad (Antilles label in U.S.) where it received some underground radio airplay and sold moderately. Also in 1974 Kitajima relocated to the Los Angeles area and later opened East Quest Studios; the late ’70s and ’80s saw the establishment of its career, with more than a dozen Lp’s, he has become one of Japan’s biggest selling artist internationally!

During the decades, Osamu Kitajima expanded his work to include commercial and soundtrack work, he provided part of the music to the blockbuster mini-series Shogun and contributed to the soundtrack of Sharkey’s Machine. He also arranged the scores for PBS documentaries on Japan, Chinese/Japanese film Mandala and produced a number of artists. Nowadays, inside East Quest Records, he continues to release his own albums (new and re-issues), as well as works by countless artists.

Osamu's Portrait
Osamu’s Portrait

Let’s go to our album:

This is truly a melting pot of Western rock and Japanese traditional music, very few have pulled it off so well as Kitajima does here. Either they usually fall prey to new age sappiness or move towards amateurish exploitation, fortunately, it does not happen here, a real serious work, the type of rock-influenced world music that still hasn’t been much explored at all. The album also featured Haruomi Hosono and it utilized various electronics: synthesizerrhythm machine, and electronic drums.

A bit different from our previous entry Buddha Meet Rock, this is a more elaborate record, with brilliant musicians and cinematic feelings, being a cornerstone of Japanese folklore, be enlightened by Kitajima’s masterful work and Bono Trinus!

Benzaiten Goddess
Benzaiten Goddess

The ‘IM’ highlights are Taiyo (The Sun) and Benzaiten (Reprise).

Tracks Include:

A1 Benzaiten (The God of Music and Water)

A2 Taiyo (The Sun)

A3 Tengu (A Long-Nosed Goblin)

B1 Benzaiten (Reprise)

B2 Whoma (Immortality)

Credits

  • Acoustic Guitar, Synthesizer, Percussion, Electric Guitar, Koto, Biwa, Drums (African, Mexican), Electronic Drums (Rhythm Machine): Osamu Kitajima
  • Bass: Dennis Belfield, John Harris
  • Biwa: Masako Hirayama
  • Drums (African): Kinji Yoshino
  • Drums (Tsuzumi), Percussion (Narimono): Kisaku Katada
  • Electric Bass: Haruomi Hosono
  • Electric Guitar: George Marinelli
  • Flute (Hayashi-bue): Haruyoshi Hosei
  • Keyboards: Brian Whitcomb
  • Shakuhachi: Tatsuya Sano
  • Sho: Yosei Sato
  • Engineer: Kinji Yoshino
  • Engineer (Assistant): Yutaka Matsumoto
  • Producer: Kinji Yoshino, Osamu Kitajima
  • Distributed and Manufactured: Island Records Inc.
  • Antilles U.S. release of the album first released by Island Records (Japan) in 1974.

Recorded through Jan/Aug 1974 at Hit Studio of Jean Jean Theater, Tokyo

Whoma recorded live at Nikkei Hall.

Antilles ‎– AN 7016

Cherry Blossom Festival
Cherry Blossom Festival