this wasimported at regulkar CD prices while the Kylyn albums were seldom seen This is essentially a compilation - Tokyo Joe, seems to be unique. Sakamoto wrote songs and played guest synths for them. The CD - * contains 2 tracks (15 minutes) from Thousand Knives that Watanabe played on. Early fusion stuff that I don't care for. Ryuichi Sakamoto and Kazumi Watanabe Tokyo Joeġ978 Nippon Columbia/Denon DC-8586, 33C38-7580Īkiko Yano has a big presence on this album (sings, plays, composes) considering she does not get title billing. If you translate the title as "The new Japanese Electronic Folk Song / National Music", the connection to Kraftwerk becomes obvious. There seems to be a mix up between "Nationalhymne" - national anthem and "Volkslied" - folksong in the I think I can clarify a little issue with the track "Das neue Japanische Elektronische Volkslied". Nick adds: I see some kind connection between Kraftwerk saying they were creating folksongs for modern times, Maybe Sakamoto is also kind of making light of Japan's "new folk"? movement in the earlier 70s and him doing a music in a German experimental style. This last track would reappear some years later, in much twisted form, on that strangest of YMO albums: X00 Multiplies. Sakamoto's wacky sense of humour manifests itself in the track-titles why Japan would need a new national anthem is beyond me, especially as the End of Asia seems to be near. Island Of Woods is a distinctly non-techno-pop sort of experimental piece, and sounds like maybe a leftover project from his student days. On this piece he's joined by Yuji Takahashi, who'd much later turn it into a 2-handed arrangement for Chitose Okashiro's album. However, he does show us his piano-playing skills in Grasshoppers, which are quite good Sakamoto is one of the few in the electronic music field who can really play the piano. There's plenty of invention here and there but alas, also some laborious counter-point and the album lacks overall coherence, in contrast to most Sakamoto projects to come. Kylyn was another band to receive some of his attention around this period, and a few of its members like Kazumi Watanabe participate here.Īlthough it gets better after repeated listening, it is clearly a starter's album by someone learning his craft, especially production, which tends to sound a bit flat. It was released one month prior to the first YMO album, YMO being the band to which he would devote most of his time for the next 5 or 6 years.
If you like RS's synth work, you'd want to get this one and then skip to B2 Unit A little primative but still quite interesting. Clearly influenced by German synth music of the past decade. Takahashi plays drums and Hosono cameos, Matsutake sequences. Sakamoto's first solo (aside from a rare jazz release). These versions and the differences are noted in the notes. While sometimes this entails songs sung in English, unfortunately they usually have fewer tracks all together. Sakamoto often creates versions of his albums for Japan and "International" versions. While his music still uses many synthesizers, today, his style certainly can't be classified as just Japanese synth-pop. Since doing synth music in Japan was where he originally made his mark he certainly deserves a major place on these pages. > to Sakamoto Albums since 1994 to the page on Sakamoto Live Albums to the page on Sakamoto Collaborations and "Best Of" albums.įor some time Ryuichi Sakamoto has been a true international recording artist. (*) means I don't own this means I've listened to this album but don't own oneĪ couple odds and ends by Derek Higgins marked by "DH:"Īnd some clarification by Jonas Wårstad who has his own discography Ryuichi Sakamoto - pre1984 studio albums Ryuichi Sakamoto solo before 1984:
0 kommentar(er)
