WVFI's Luxury Interview-Chisel meets the Breeders (1992)

Chisel: Ted Leo (guitar), John Dugan (drums) & Chris Norbord (bass)

Two members of Chisel (Ted Leo & Chris Norborg) caught the Breeders at the crossroads between their Safari EP (familiar then to "in the the know" listeners) and the breakthough of Last Splash that has gone on to become recognized as an essential album of the '90s (and a favorite of Olivia Rodrigo).  This interview originally appeared in WVFI's Luxury ("today's barometer of youth culture") in fall of 1992. 

WVFI's Luxury Vol. 1, Issue 1-Fall 1992
WVFI is the college radio station for 
the University of Notre Dame

In October (1992), a pair of Luxury staff reporters (Chris Norborg and Ted Leo) had the opportunity to meet with the Breeders backstage at Chicago's Cabaret Metro in the midst of the band's fall tour supporting their second album, Safari. Pod, their first album on the British 4AD label has just been re-released in America. The Breeders feature Kim Deal of Pixies fame on vocals and guitar and the drummer from England's Spiritualized (Jon Mattock). Kim's twin sister, Kelley Deal (guitar) and Josephine Wiggs (bass) were present for the interview. Another interviewer from the University of Wisconsin was also present. 

Luxury Operative Chris: What's the drink you guys were drinking that everyone was getting sick off of? I read this thing in I think it was Melody Maker.  Well, what was in it?
Kelley Deal: It's vodka, Kahlua and Bailey's.
Chris: Kahlua?
Kelley: Yeah, it's really tasty.
Chris: Oh. 
Kelley: There should be warnings...
Chris: Oh, it's really dangerous...
Josephine Wiggs (British accent): It's dangerous because it...it tastes like a milkshake, but it's three shots of spirits in the same glass.
Chris: Who was it who was really suffering from it?
Kelley & Josephine: Tanya, Tanya threw up twice.
Chris: Oh, no. 
Kelley: I mean, her body weight...
Chris: Is she still ill now?
Kelley: No, I think she's all right now. 

Breeders 1992: L to R: Jon Mattock (drums), Kim Deal (guitar),
Tanya Donelly (guitar), Josephine Wiggs (bass), Kelley Deal (guitar)

University of Wisconsin interviewer: I haven't really read much about you guys, except that...I mean the British press fawns all over you guys and is totally like psycho about it, but like, I mean, that's a cool photo through, with the red, that's awesome, But, um, they build you up and then they carry you guys down...I mean obviously not you all, but the British press...
Kelley: They do, yeah.
Josephine: Yeah there is a tendency to do that, probably because they're bored.
UW interviewer: Like the band Suede. 
Kelley: Plus, England is so small, You could probably fit it all in Texas or something.
UW interviewer: Sure, probably. 
Luxury Operative Ted: Or Indiana.
UW interviewer: I'm from Texas, from El Paso. 
Kelley: I think we're going to play there next leg of the tour, this is the band's recreational vehicle. 
UW interviewer: Yeah it's beautiful, I was going to mention...
Ted: Cool, yeah.
Kelley: My dad is driving us around. 
UW interviewer: Yeah?
Ted: Alright.
Kelley: And my mom just joined up with us yesterday, that's why this place is so nice and clean, isn't it nice?

Kelley Deal and Josephine Wiggs in Mr. Deal's RV
Photo from the BreedersArchive

Chris: Speaking of your father, I was going to ask you, You and Kim, before the Pixies or anything, what did you guys do? You guys played together a while, didn't you?
Kelley: We did, we've played ever since we were in high school. We played at this bar called Mo's Lounge in Ohio, we did disco stuff.
Ted: Oh yeah?
Kelley: Yeah
UW interviewer: Covers or originals?
Kelley: Covers. We had this keyboard player who would do...These old ladies would yell out 'You redheaded F---!' cause the guy had red hair.  It was just gross, awful, Think about it, you know, you have those memories, where you blush, ugh! But anyway, after that we just did some stuff around Dayton. We got out of the disco, and more into the kinda drug-era thing. 
Josephine: (laughs) But we weren't into drugs.
Kelley: And, we opened up for Steppenwolf, and John Cage stuff, you know. 
Chris: Did you win a contest or something?
Kelley: No, (unintelligible name) was in that heavy metal band, they're still going on, aren't they? And so we'd play around, it was just Kim and her acoustic guitar and her and me singing, just a little acoustic duo, you know? And so we drive up to this gig, and it's all motorcycles.
Ted: Oh wow! (others chime in cries of surprise)
Kelley: But it really turned out good, I mean they really liked us.  We were pretty surprised about that. A bit relieved, too.
UW interviewer: What about Ivo Watts-Russell? what's that guy like?
Kelley: He is so nice, he's great.
Josephine: Yeah, he is a really nice guy  I don't know, he's just really calm, and quite often, when things feel as though they're in a complete state of chaos, I'll just ring him up, and say 'Look, here's what's happening and stuff.' And he's just got a real good view on things. 
Chris: Is it the same way with Vaughan Oliver? I know he does the album covers for most of the 4AD stuff, like v23 is that what it is?  These people, how integral are they, the image that they create with the records like with Pod and stuff like that?
Josephine: I think the the whole 4AD image is a very recognizable style, and I think Vaughan had a lot to do with that, because they made a decision, that we were going to have an in-house designer, and I think that the whole unity that there is with the label, with one guy deciding what's going to get put out, and it's all stuff that he likes, and you've got one guy who's doing all the artwork, gives it a real sense of unity that I think is really cool.  I think people like it, like the Coca-Cola brand name, it's something instantly recognizable and people like that. 
UW interviewer: And now with those distribution deals, you don't have to pay thirty dollars to get a record anymore, like Dead Can Dance and all that stuff, you can get it. It's kinda nice.    

Safari ep-Design by Vaughn Oliver

Last Splash-Design by Vaughn Oliver

Chris: Do you expect to be recording again soon?
Kelley: December. Yeah, we're doing a few new songs tonight.
Chris: Oh yeah?
Kelley: Yeah, we've got what, seven new songs to do, they're all like a minute, minute twenty or so.
Chris: So you've got an LP coming out soon?
Kelley: In the spring. (Editor's Note: Last Splash was released on August 30, 1993)
Josephine: Yeah, if we get it recorded in December, it'll be ready for the spring. 
Ted: What label will that be on?
Josephine: It'll be 4AD and over here we got license through Elektra. 
Ted: Do you find it's easier working with indie labels like 4AD? I mean, how involved in the dealings with Elektra have you been?
Josephine: To begin with, Elektra didn't really know what we were about, because of the weird origins of the band, and there's horror stories. Kim, when Safari was released, sat at home thinking 'Oh, the record's coming out in two days time, and I haven't done any press for it.' So, she rang up the press department at Elektra and said 'I am available, you know. I'm not lazy about doing press stuff,' and they said, 'Oh, we thought it was a reissue of an old record and we weren't going to do any press.' They had no idea we had a new record coming out, and that's kind of scary. 
Ted: Yeah, that's awful. 
Josephine: I think it has to do with the fact that it is a big organization. They have got so many other names to be dealing with. 
Kelley: Or with Glastonbury, remember, when we had to tell them that we were doing a....Was it Glastonbury?
Josephine: Yeah it was. 
Kelley: They said, 'You're not going to play there, why should we be advertising?
Josephine:  Yeah, somebody from Spin rang up, asking if she could interview, or review the gig or something, and they didn't even know that we were playing at Glastonbury.
UW interviewer: Did this anger you?
Josephine: It's just annoying because it means that there are people who's job is to be doing that and they're not doing it. But, then, every walk of life is like that. If you go into any office there's people not doing anything or reading the paper. So, you can't get too uptight about it. 
Kelley: I think we should just be thankful that 4AD is a major player, and not smaller, because this gives you a good indication of what could happen if we were solely dealing with Elektra. 
Josephine: If you, as we occasionally do, talk to bands who are trying to get deals and stuff, if you get a deal, when you're just starting out with an independent label who hasn't got much money and stuff, they can't give you a big advance, but they will take care of you and they will interested, and will prioritize you as a band, whereas, if you sign to a major company, the chances are, you're just going to get lost. 
Kelley: But then again, and I've heard Kim say this, she's like 'Forget all this indie label stuff' because of Rough Trade. 
Ted & Chris: Oh yeah...yeah.
UW interviewer: Is that why they released Pod again or is it because you guys wanted to be like Temple of the Dog and kind of like re-release it and you know...
Kelley: We weren't told they were re-releasing it. We don't have the slightest idea why they wanted to re-release it. 
Josephine: I thought it was about that you couldn't get it anymore. Since Rough Trade went down you couldn't get it anymore.  And then when the Rough Trade stuff was auctioned off, Elektra bought the masters. 

Chris: I wanted to ask about the "Safari" video shoot, was that fun, or was it a mess? What was that like?
Josephine: Well it was fun at the time, yeah.
Chris: I love that video, it's one of my favorites. 
Josephine: The one bad thing about it was that we were on this white shape on the floor. I think that was part of the reason that it was so static, was because we couldn't really walk around on it because it would make marks.  So it was like 'you've gotta stand real still, you mustn't move your feet!'-so of course everybody is like this. 
Kelley: Yeah. (laughs)
Josephine: But, you know, it was good fun. 
Kelley: I was kinda bummed out about the size of the studio, because, well, have you seen the original, the Black Sabbath one?
Ted: I haven't seen the Breeders video, sorry. I haven't watched MTV in a while. 
Kelley: It's huge, the space, and their little bodies take up half the screen. 
Chris: Which Black Sabbath?
Kelley: "Paranoid," it's on that tape, MTV Closet Classics, anyway, they're about half size. Then when we got into the studio we were like 'I dunno, it seems kind of small...so, what are we going to look like on TV?'...That was one cool part about it. 
Josephine: Yeah, it was, it was. Because the size of the TV screen is like this, and the size of the figures is like this on the Black Sabbath video, cause they did it in a huge warehouse...
Ted: So, what's your favorite Black Sabbath song?
Josephine: (after a pause) I don't know, I guess "Paranoid."

                             

The Breeders at a Cincinnati Reds baseball game-Sept. 2023

                                  

UW interviewer: So, have you been listening to a lot of music on this tour, or..
Kelley: Well, our RV, we had a catastrophe, it's so weird, every night it's like some new thing. The first thing that happened, we blew both tires out on the one side while going a mountain in Pennsylvania, I think it was. 
Josephine: No Maryland.
Kelley: Yeah, and it was the middle of the night, like two in the morning and we blew out two tires, and so it took all night to get that fixed. And the next night at the hotel, in Washington DC, our first gig out of Ohio, somebody broke into the RV and stole two Walkmans, some tapes and stuff. 
Josephine: and a guitar...
Kelley: Yeah, an acoustic, so..no, we haven't listened to much music. (laughs)
UW interviewer: Is it out of line to ask about, like other bands, like the Throwing Muses, your opinions of any of the current stuff they're put out, like the Red Heaven?
Kelley: I haven't really listened to it. 
Josephine: I was really surprised by the production on it, it really took me aback the first time I heard, it, especially the drums, But, having heard a few things since then, I'm kind of more used to it now. Her voice is great on that album, I think it's the best her voice has ever sounded, real, real good. 
Chris: What do you think of  a lot of other new bands now, like PJ Harvey?
Josephine: I saw them do a show a little while back and I kind of understand all the attention they've been getting, they put on a great show, they're very intense. 

After another lengthy and insightful question from the other interviewer, our dynamic Luxury crew ran out of tape and sadly the interview came to an end.

Photos depict Chisel as the Mummies from a Halloween show!

Chisel live at Chicago's Empty Bottle in Feb. 2023
Photo by author James Kennedy

Falling Sugar-Self-titled

CD released by Fuzzy Pals Records (Japan)
LP by Bachelor Records (Austria)

Every once in a while you come across an album where everything falls in place. I first encountered Falling Sugar on a graphic for Mike Rogers' Japan Indies 2024 Music Awards and then heard them on the Todd-o-Phonic Todd WFMU radio show when he played “West Coast.” I'm guessing their band name is most likely inspired by the fantastic Beatlesque ‘60s pop Nugget “Falling Sugar” by the Palace Guard. The continued influence of the '60s looms large on their debut album. They even pay homage to that decade by briefly quoting sections of the Troggs’ “Can’t Control Myself,” and “She’s Got Everything” by the Kinks as points of departure into their own songs.

Falling Sugar are the co-headliners for Mike Rogers' final Japanese Indies Music Awards show

Off the Cuff
On their originals, they exude a ramshackle charm with their catchy combination of ‘60s pop and ‘90s indie-pop played with maximum joy. They shape an amalgamated and shambling sound that approaches and lands near the first-rate pop that the Apricots and Dizzy Joghurt whipped up 25 years ago along with Mama Guitar, the Pebbles, Berry, and Tirolean Tape. When they go more into bubblegum mode, they are found somewhere in the same aisle as the Cherry Splits and the Strawberry Zots.

Disk Union display-notice the Each Time by Eiichi Ohtaki promo in 
the southwest corner. 

Listen People Their self-titled album contains the excitement and exuberance expected in a strong debut. Overall, they achieve a rounded-out sound with propulsive percussive momentum, strummy guitar, prominent bass, and buoyant keyboards-in other words the active ingredients of bubblegum music. They strike upon this captivating sound with Mikko’s keyboard playing providing the requisite bounce that pairs up with her gliding voice that is well-suited for this type of music. Monma’s bold and pronounced bass brings in both mod-ish and Motown elements, while Toyozo Toyoshima’s apt (punch & strum) guitar playing and experience plays a major role in the band. When not with Falling Sugar, you can find him somewhere in the world playing in the Fadeaways, Angel Face, Paul Collins Beat-to name just a few of his many involvements. All the original songs are co-compositions by Toyozo and Mikko.

Falling Sugar: Clockwise L-R 
Mikko (Vocals, Organ), Monma (Bass), Toyozo (Guitar, Vocals) Ani-Pon (Drums)

Short, Sweet & Succinct 

“Sugar N Honey” brims with vocals reminiscent of the aforementioned Mama Guitar and a ringing Rickenbacker guitar comparable to the McCharmlys. “West Coast” leans in almost an anorak direction with its brisk melodies that would appeal to both Peach Kelli Pop and Pedal Records listeners. Be sure to catch that "Eight Days A Week" riff on the outro. The band is also stellar when they slow things down and incorporate a charming and chiming xylophone on songs like “Take Around” that recalls the best indie-pop featured by Shredding Radio/Magazine 25 years ago. By the way, “Take Around” seems to be a wonderful combination of “You, You, You” the 6th and “Leave all your Old Loves” by the Liverbirds, (later covered by the Shebrews). “Sigh” is overflowing with Herman’s Hermits/Merseybeat influences that will have SFTRI fans recalling the Stool Pigeons. Their rendition of “After Hours” fittingly closes. This Velvet Underground classic pop song was famously sung by Mo Tucker as Lou Reed said the song was too innocent and pure for him to sing himself.  They ace the cover by adding a dash of Death By Chocolate, which should not come as a surprise.

Bubbling Under

The quartet displays a deeper understanding that the roots of the bubblegum lie in the cubicles of the Brill Building as their record is immediate, catchy, tuneful and made to endure. While most of the late ‘60s American bubblegum groups were uniformly male, it’s refreshing to have females on the forefront, which has long been a major strength and characteristic of mold-breaking Japanese music. Falling Sugar excel with their originals and overall their debut captures the undeniable and vibrant spirit of the Tokyo garage scene, while putting a new spin on the most welcome sound of strummy Japanese bubblegum garage pop.

As a display of their adventurous approach, they have been known to play the Equals’ classic “Police on my Back” as part of their live sets.  I hope they give this song the studio treatment for a future release.

Sachiko Kanenobu-Fork in the Road

Jacket design by illustrator Kendra Ahimsa @ardneks

This is a rare case of a re-recording for the better. In October 2023, Fork in the Road was released only in Japan by Nippon Columbia on CD and Tuff Beats on vinyl. This album is a restored, refurbished and refreshed version of a recording that was originally released in 1998. Fork in Road also stands as an exception to the usual dire results of re-recording in that the contributors actually enhance and expand the sound as they are highly complementary collaborators. It also helps when you have someone so finely-attuned and conversant like Makoto Kubota (Les Rallizes Dénudés, Sunset Gang) as the producer. I have been hoping Light in the Attic would pick it up and release (or distribute) it in North America as their 2019 reissue of her 1972 debut album Misora was such a critical and commercial success for them.  For a while, I thought Fork in the Road would remain only as a Japanese release and an expensive import as things appeared pretty quiet on this side of the Pacific. However, in early 2024, Sachiko's music came back to the international forefront as her song “Aoi Sakana” (Blue Fish) from the aforementioned Misora album was featured in the Wim Wenders film Perfect Days-joining Lou Reed, Maki Asakawa and Otis Redding on its soundtrack. Finally, in fall 2024, the Los Angeles-based Temporal Drift label made a very-limited vinyl pressing of Fork in the Road available through an special arrangement with Tuff Beats of Japan. 

At age 76, Sachiko Kanenobu is an inspiration as she remains open to artistic idealism when it can easily all be given up in the name of convenience. She is also a model of continuous creativity along with being an adventurous musician. Her admirable daily regimen places a foundation under her that allows her to further pursue artistic goals. Earlier this year, she explained to The Sonoma-Index Tribune, partly what keeps her going: “Each day is precious to me. Each day is a new day. I pray every day. I stretch, exercise, eat healthy.”  She is indeed an inspiration and her music on Fork in the Road reflects her expanded range of motion. Her healthy practices have also allowed her to start touring again (after the Covid hiatus) the expanse from Japan to the Eastern United States. 

While Misora is unquestionably exceptional as a singular statement, Fork in the Road is also impressive as it’s open to a wider array of East-West musical influences combined with a sagacious voice that conveys years of life experience, but remains open to boldly proceeding by intuition.  There is an overall forward slant to Kanenobu’s voice and ring to her guitar playing that expresses her resolute, but open-hearted and ultimately optimistic approach to music and life. 

Highlights and Standouts

The album opens with とべたら本こ “Tobetara Honko.” It's actually the theme song to a 1972 NHK's children's drama with the title supposedly referring to a type of jump rope once popular with kids in Kanagawa. The Kinks cover “I Need You” delivers a kick with its requisite thick and bold treatment and Dylan-esque vocal delivery that is coiled with “We Love You” by the Rolling Stones and reinforced with the backing vocals of Steve Gunn. The shuffling title song “Fork is the Road” is another standout and is most reminiscent of Chrissie Hynde-if she went other way and left Ohio for Osaka instead of London all those years ago. The fidelity is high and the production is lush and absolutely fitting to the music full of psychedelic flourishes.  不思議なメロディー“Mysterious Melody” unfurls out the speakers with its see-through clarity and submerges the listener with its conflicted and churning verses and flowing choruses. The keyboards played by Carwyn Ellis of Rio 18 are simultaneously haunting and luxuriant.

 

Bold and Instinctual

Don’t overlook 連れていって海に “Take Me to the Sea.” Initially the rustic song reminded of Led Zeppelin III's acoustic textures, but it reveals itself in its own time and it could be considered one of the most Misora sounding songs of this album. The song is also a showcase for Ryu Kurosawa’s sitar playing. “Everyday Friday” is lovely and languid in a good Beachcomber's Buffet way, which is heard Fridays on WFMU from an island of Hawaii. “Woman in the Rain” has a cadence that might appeal to Bob Marley fans with lyrics that might attract Sonny & Cher or even Player or the Equals listeners with its mashed-up chorus calls of “Baby Don’t Go”/”Baby Come Back.”

Paul Williams (May 19, 1948 – March 27, 2013) & Sachiko Kanenobu

Sunsets and Daybreaks
In this current world filled with distractions, conflict and strife, it’s good to have the sense of sanctuary made possible by Sachiko Kanenobu and her music. Her balanced approach shows it's possible to live a more artistic and peaceful way. Just being able to now hear her second album is pretty remarkable in its own right as her songs are highly evocative and full of feeling with her lively voice and inflections that remain singular. There have even been mentions of new music in the works according to this WFMU interview! Lastly, “Fork in the Road” is indicative of Sachiko’s brave embracement of elusive creativity along with being open to continual development as an artist, person and musician-regardless of age on earth. Her late and former partner Paul Williams would be proud of the commendable paths she has taken and continues to take. 

Photo by Robbi Pengelly- Sonoma Index-Tribune

Toshi Bando's Productions: Kisetsu-Fu, Flap, Silver Lake

There are really no other equivalents to these three albums brought to the world by Toshi Bando. Perhaps some private press albums recorded in Japan (e.g., Enough, Deep End, Memorial Art, Actors & Pilotis) and maybe recordings by the somewhat popular Japanese band Woodpecker could be the closest comparison points. Surprisingly, all three albums are included in the Wonder Ground Record Guide -a Japanese reference work on Japanese private press records. What makes these albums sung in Japanese truly stand apart is that they were recorded by Japanese-Americans in Los Angeles during the late ‘70s, but with an overall out-of-time sound much closer to the ‘60s. 

While the music is front and center, their backstory still remains pretty much a complete mystery. The quest to know more of the historical context and what lies behind the curtains are certainly impelling factors. These vast unknowns may heighten the allure and intrigue, but by and large the reality is always different from the imagined with attendant stories that frequently exceed expectations. It would be an honor to present the perspectives of the participants, but I try to proceed with caution as I wish to respect people's privacy in this current distraction culture where privacy and solitude are given little to no consideration.  Sometimes the best (and only) approach may be to “Fly into the Mystery” like the great Modern Lovers song and just write your own perspectives in the larger and continual search for understanding.

Toshi Bando was the prime mover and unifying factor behind these three records under three different group names: Kisetsu-Fu, Flap and Silver Lake. Not only did he compose, play (guitar & blues harp), and sing on these albums, he also produced them as well. Each release featured rotating personnel and the musicians listed on Discogs apparently only ever appeared on these three albums. Meanwhile, I can only fathom which basements or garages in Monterey Park his bands practiced in. Maybe there were other rehearsal places in perhaps Alhambra or Eagle Rock that certainly shifted with the circumstances of the times and individual situations. On a similar note, I can only speculate where they played and what types of venues. Where were the performance stages in Monterey Park, San Gabriel, Little Tokyo or Gardena?  Was there any type of Japanese-American music circuit in the late ‘70s? Did they perhaps venture into Madame Wong's in old Chinatown and open for Japanese new wave bands like the Plastics (who did play at Madame Wong's as briefly spotted in this PBS Artbound documentary).  Many mysteries abound, but we can be certain that these once buried records can now be heard thanks to enthusiasts transferring their rare vinyl and uploading them to YouTube. The time has come to further explore the sounds of what could be best described as Transpacific folk-rock psych.

Flap: Drums-Toru Nishino, Bass Guitar-Steve Sera, Guitars & Vocals-Toshi Bando
Vocals-Kikuko Murakami

All three of Bando’s albums offer highly melodic original songs embodied with Japanese musical inflections and sensibilities. The music converges both Western and Eastern influences to express Bando’s singular vision along with a larger Nisei and Shōwa-era outlook. These most welcomed consistencies flow through all three of these albums that each have their own distinctive aspects. The common thread is these records sound way more ‘60s than the decade they were actually made in, while the music is refreshingly countervailing to the hegemonic arena rock that dominated America during the late ‘70s. To be more specific, Bando enhances his folk framework built upon the bedrock foundation of the Beatles with some well chosen ‘50s & ‘60s rock & pop and blues elements.

1977’s Kisetsu-Fu – Seasonal Wind=季節風 was released only four years after Yellow Pearl (which is considered one of the earliest Asian-American records along with Dakila’s 1972’s self-titled album released on Epic Records and sung in Tagalog). The illuminating record, with a stunning label design, is most indebted to the Beatles and their solo projects, while also reflecting attractive influences ranging from American golden oldies to Japanese campus folk and perhaps traces of Okinawan folk.

Seasonal Wind  was recorded & mixed at Dirk Dalton Recording Studio A, in Santa Monica. 土佐の海 (“Sea of Tosa”) is possibly referring to the Tosa Province of Shikoku, which is the smallest of the four main islands of Japan. The song is delivered in John Lennon/George Harrison fashion and augmented with a Dylan-esque harmonica. A downcast enka-like song tinged with the blues and flute follows under the apt title 悲しい顔は似合わない (“Sad Face”) and is moody in a good way. そこを行くのは (“Hey is that You?”) rocks out in that Beatles mode when they were trying to go back to basics with “Back in the USSR.”  Ken Miyoshi (who would later appear on the Silver Lake record) drives the saxophone before Toshi Bando soon merges on the musical freeway with harmonica playing that catches up to the saxophone-making this sound like a Fleshtones song.  雨が降る (“Rain”) provides more of that solo George Harrison sound filtered through a Japanese sensibility, while the minor keyed and impassioned plea of  福?草が咲いたら(“Pheasant's Eye”) recalls “Now or Never” from Approximately Infinite Universe by Yoko Ono.

Side two starts with yang energy. 君さえいれば (“As Long as You Are Here”) hits hard with its bluesy edges and evokes the Japanese GS (Group Sounds) bands when they started going heavy. Synthesizer and electric guitar player Yutaka Uda comes to the fore with some copious wah-wah.  春はもうすぐ (“Spring Will Come Soon”) is top-tier first-rate pop that takes off on a dash driven by a chanking rhythm guitar and Beatles-esque harmonica fills. Next, 秋は淋しい(“Lonely is the Autumn”) is a yearning campus folk number at its foundation, embellished with blues runs and topped with a lovely flute solo. There is a real Eiichi Ohtaki/Niagara slant to 砂に書いたイニシャル (“Initials Written in the Sand”)-a lovely ‘50s styled song complete with triplets that would sound perfect coming from Sony pocket transistor radio. The album closes with  誕生日 (“Birthday”) that has Bando channeling his inner-John Lennon and some subdued blues guitar playing before Ken Miyoshi adds the exclamation marks of xylophone and recorder. 

Flap (1978) is a much more succinct and spartan affair presented with a much clearer production. In fact, the fidelity soars above the somewhat submerged sounding Seasonal Wind. On an interesting sidetrack, Flap was recorded at Ascot Recording Studios in Hollywood by Jim Rayton, which was where Instant Orange also recorded two of their EPs with the same engineer. (Instant Orange were an exceptional yet unsung folk-rock band from San Bernardino, California, who were influenced by the Byrds and Love!) The studio appears to still be active today in Burbank with Jim Rayton remaining at the helm. The group had truly come into its own to offer a truly distinctive sound on Flap (TBP-02).

The biggest difference is the inclusion of female vocals with the arrival of Kikuko Murakami who brought in an entirely new dimension to their sound. Murakami’s lead vocals are like the sun shining through the marine layer on their poppier songs and also lend a dreamy quality and otherworldly feel on the slower building numbers. From the limited information I could gather, her previous singing experience was with the Alhambra High School choir. She transitions well to the pop-rock idiom and proves competent singing in a variety of styles. The album starts strong and only gets better with its mostly sunny, bright and catchy melodic songs. Murakami’s vocals grace the lovely “Summer Day” that blends well with the ‘50s percolating guitar. From this number, it does sound like Bando was definitely familiar with the legendary Eiichi Ohtaki and Niagara (f)all stars. Yoko Ono and her greatest album Approximately Infinite Universe are evoked once again in the song “Letter” with its stark arrangement and strident tone. “We Can’t Go Back” brings the fuzz in a way that deserves to be heard by musician, author and Japanophile Julian Cope. The instrumental innovations of Eleki, Takeshi Terauchi and the Ventures also figure into their guitar tones and sounds. “Blue Sky” is a lovely strummy instrumental that seems to draw from the hushed third Velvet Underground album emerging from the Shadows.

Arriving like the first brisk winds of autumn, “Red Umbrella” is probably their poppiest number and falls somewhere along the folk-pop parade as the We Five, the Seekers, the Red Birds. “Love Song” showcases Murakami’s vocals before giving way to a “Pale Blue Eyes”-like epic guitar solo that lingers on like the sun setting over the Pacific. Coincidentally the album ends with a spiraling song titled “Sunset.” It’s an epic closer that reflects the indelible impact of “House of the Rising Sun” with intertwined guitars that crunch, bend and sting. Flap is my favorite of Bando’s three albums for the arrival of Murakami, the austere production and spare, but sweeping folk-pop-rock songs. Overall, it’s an attractive display of Bando’s ultra-melodic sensibilities with the ‘50s pop & rock and early ‘60s folk and instrumental elements coming to the fore.

Silver Lake-Affection (TBP-03)

The first aspect that jumps out is one of the most striking and intriguing color covers ever. Could it be emblematic of the band feeling displaced and marginalized in the transient culture of Los Angeles? Appropriately, the album was recorded at 302 Recording Studio, in the Silver Lake area of Los Angeles from February to December 1979 and released in 1980. Interspersed are atmospheric sounds (e.g., crashing thunder to start the album, seagulls & surf, winter winds) lending a mysterious undercurrent that there may be a seasonal concept and/or a thematic statement on the cycles of life coursing throught the record. The songs alternate between male and female vocals that would later be employed on Double Fantasy. The musician line-up is reconfigured (except for the vocalists and the drumming & keyboard work of Ken Miyoshi, who also contributed to the Kisetsu Fu album). The songs are presented with an overall thickened and murkier sound (in comparison to the sparkling clear production of Flap) with the vocals for the most part engulfed and subsumed by the music. Overall, the album casts a more solemn and melancholy tone than the two previous albums. “Mou Hikitomerarenai” is a vehicle for Kikuko Murakami with fuzz runs that rival the biker instrumentals of Davie Allan & the Arrows or the aforementioned Takeshi Terauchi. Songs like “Shashin” (Picture) are delivered with overall blusier hues and smokier tones that seemingly indicate that the group had moved on from coffee cafes and Obon festivals to cabarets and nightclubs. Murakami’s smoldering vocals lean more towards blues rocking Maki Asakawa than poppy Seiko Matsuda, while demonstrating her adeptness with singing in a variety of styles. On one of their rare duets “Dakedo Emily,” Bando and Murakami achieve a stirring vocal blend that commands attention. “Aoi Kaze” is an acoustic driven number with baroque acoustical runs that seem inspired by “Classical Gas.”  The pronounced fuzz returns on the dashing “Owari Soshite” along with the appearance of trumpet. Jazzy chord changes, blues bends and heartfelt singing from Bando of “Kigatsukeba Itsumo Ashita” brings the album to a strong finish.  Message in a C.C. Lemon Bottle

With their deep ‘60s influences and somewhat mysterious origins, these records live up to their private press designation, current reputation and stratospheric prices. Fittingly, Toshi Bando remains an enigmatic figure who remains busy with his gardening. It is fortunate that the records can be easily accessed on YouTube, as now more people can hear them than ever before. Still, many questions abound that could help fill in gaps. I would love to hear first-person primary accounts and recollections from any of the participants to clear up some major blind spots on the history of the groups and gain an overall better understanding of the context of the times. Keeping the mystery intact does heighten the allure, intrigue and perhaps the prices of these three obscure records, which were limited to begin with in their initial press runs. 

Nonetheless, the music speaks for itself and close listening will reveal Bando’s attempts to reconcile and express both the melancholic and the glorious aspects of life as well as the chasms between. On a larger level, Bando was able to sonically connect the Far East with the Far West on these three groundbreaking records. The recordings do represent a significant achievement as Bando and the musicians helped usher in a new era of music for Los Angeles and Japanese-Americans. Whether Bando receives belated historical recognition is still to be determined, however he definitely made waves as these could even be considered the most remarkable Japanese-American records ever recorded between the mountains, freeways and the vast Pacific.

Beachwood Sparks-Across The River Of Stars

Beachwood Sparks have always been on their own trajectory, while also considering the past and future surrounding the elusive eternal now. They were quite the lightning strike in the late ‘90s. The Clarks Wallabees-wearing band were sure exciting to read about in zines like Vendetta during the late ‘90s as they were doing something radically different, but attuned to the times. Some of its members were also said to be DJs (and maybe college students) who played “Lemonade Rock” during the mid-mornings on Loyola Marymount’s KXLU. As with so many other past forward musical movements, Greg Shaw was ahead of the curve and was able to sign them to his Bomp label in 1998.  

BAM Magazine-1999

Getting off the Ground

Their self-titled debut album delivered the (Southern Californian) goods, even if it and its Sub Pop imprimatur befuddled many reviewers outside of the Mountain West & the Pacific Coast. The band slighty drifted from their regional rustic canyon good vibrations with the more dense and experimental Once We Were Trees. They completely lost me by the late time of Make the Cowboy Robots Cry. Perhaps they wandered off the trail or reached an impasse on where to take the sound?  Although they seemed like the perfect band to be signed next by Warner Records, heading into the direction of the Flaming Lips didn’t do it for me.

At this point, the members splintered off into different projects with varying degrees of success. Farmer Dave and Jimi Hey went on to form the band All Night Radio and released the spectacularly ambitious album Spirit Stereo Frequency. I was fortunate to be able to see them live at Solar Culture on a starlit November night in Tucson. Additionaly, the Tyde always seemed like the natural companion band of Beachwood Sparks until the besotted Darren 4. However, the Tyde has risen again to release Season 5 this year, which could be their best album. Nonetheless, it’s the one that stands out the most for me with its successful attempt at evoking Florida's all-encompassing tropical (healing) vibes and Panama Jack-stylings.

Mountain, Ocean Sun They cover some varied terrain on Across the River of Stars with each song emerging somewhat stylistically distinct upon multiple plays. Their albums have generally been front-loaded and this one is no exception. They actually excel at the mid-tempo, but fall somewhat flat when they slow things down as their laconic can becomes a bit lethargic.  

Defining Moment Occupying the fitting 4th song position in the lineup, “Gentle Samurai” is a should-be smash hit and perhaps the band’s most captivating song of their career. It’s an unifying statement stacked with harmonies, ‘60s bubblegum pop embellishments and ringing guitars. While still blazing their own trail, the song clearly cross paths with Teenage Fanclub (e.g. “Baby Lee,” "I Don't Want Control of You"), the Quarter After and the Resonars. “Gentle Samurai” is testament to their promise and delivery as a band and this is what I imagined them to sound like before hearing any of their official releases.

As with all their albums, there are some missteps like the incongruous shrill guitar tones of “Gem” and boring “Desert Center'' stretches found under “High Noon." Still, when they do connect they make the summer hits and rolling rock country like “Dophin Dance” for a now mostly vanished world. On a sidenote: When I lived in the Los Angeles area, I would see the Beachwood Drive exit sign along the 101 and imagine the band living in a house up the hill like the Grateful Dead with the Byrds (or Primal Scream) playing non-stop, while I was stuck in work-a-day traffic. Their parting shot, “Wild Swans” brings out a New Order/Peter Hook bass line. By the way, a New Order influence also surfaces on the Tyde’s “Use Them." Across the River of Stars may be a bit of a rough ride and it may be their Dr. Byrds & Mr. Hyde, but it’s who they are. However uneven, it’s encouraging to hear their further sonic explorations along the shifting edges that lead to the vast expanses of the West.

The Scimitars-Desert Tales

 

Recently, I was on the nearby Gila Indian Reservation and glanced out to the vast expanse of the desert and re-realized all its majestic glory and its stretch out to the sea. In a similar way, Desert Tales is able to encapsulate and evoke the expansive mystique of the desert and connect it to the coast with its churning surf and Middle Eastern instrumental sounds. The Scimitars achieve takeoff by negotiating these cross-currents and finding the tricky balance between surf music’s guitar-driven melodic song-orientation and the fluid and open-ended nature of Middle Eastern music.

Electric Bağlama/Saz

The key differentiator in their sound is the electric Bağlama Saz played by Ran Mosessco, who also composed and arranged all the songs. The songs display Mosessco’s versatility with a variety of instruments along with alluring pull of his songcraft. Jonpaul Balak’s bass forms the backbone of their sound and provides a thick low-end rumble, while the Darbuka hand drums and the Sarangi accent the mesmerizing and intricate fretboard framework. 

The record was mastered by grunge-meister Jack Endino, but this particular stack of fierce and searing sounds lean more towards Link Wray than any Seattle sludge. The opener “Port Saiedy” arrives like a whirling helicopter with its pulsating percussion and blade-like guitars slicing the air. Seemingly inspired by Morricone, “Damascus Steel” melds the Middle Eastern to the Spaghetti Western with bass lines that go “8 Miles High.” As the song title indicates, “Marquis de Saz” prominently features the electric saz. A more resonant tone is instantly achieved with the switch to the Turkish national instrument. “Taverna” is a surging and striking Greek-inspired number that combines dashing hand drums and a serpentine melody. While their wide array of instruments are played mostly in a straight-ahead traditional manner, “Into the Catacombs” departs into a more experimental direction with its dissonance. Where will this adventurous group head next? 

2023 single

Desert Tales covers the spectrum from immediately captivating numbers to more slow-burning atmospheric affairs. Further, the Scimitars achieve an all-encompassing sound that washes over listeners, while also transporting them from disenchantment to enchantment. With these overlapping sounds, the Scimitars have extended the range of surf music out to the lands of the shifting sands. 

The Scimitars-David Berner (Guitar, Sarangi), Ran Mosessco (Electric Saz, Guitar)
 Jonpaul Balak (Bass) Pablo Baza (Drums) Rogelio Corcolis (Darbuka Hand Drums)