MUSIC

Sadao China is well known as a Ryukyuan folk singer and producer of many famous bands including the Naneze, and his legendary debut song “Sukikanna” was recorded when he was 13 years old. After 66 years, this is reissued on 7inch vinyl in the original Marutaka Records format, which is hard to find even among Okinawan record collectors. The B-side is a Nu-doh dub mix, a collaboration with HARIKUYAMAKU, which is a crossover of Nu-doh's original and contemporary music without losing the original style. Limited edition release.

This innovative work of Okinawan pop music is based on island songs, subtly blended with the essence of reggae, soul, rock, etc., and has a comfortable and unique laid-back vibrato. This is a rare masterpiece that includes many originals, and is finally being reissued this year, the 50th anniversary of Okinawa's return to mainland Japan!

Ryuichi Sakamoto's seventh solo album, "Neo Geo," co-produced with Bill Laswell for global release, showcases a fusion of top musicians across various genres, including Sly Dunbar and Bootsy Collins. Infused with electronic tones intertwined with organic and ethnic flavors like traditional Okinawan and Balinese music, the album was meticulously crafted in both Tokyo and New York, reaching audiences in over 20 countries and marking a significant milestone in Sakamoto's solo journey.

The work by an up-and-coming producer who made his major debut with Nippon Columbia's album "Mystic Islands Dub" in November 2023, exploring the possibilities of Okinawan folk songs and dub!

He gained attention with his work ``Shima DUB'' (2013), which was based on an old song from his roots in Ryukyu, and has released two 7-inch works to date, ``Oshima Yango-bushi'' and ``Sulukill Kuichar.'' The album “Mystic Islands Dub” was also completed immediately. Harikuyamaku is currently one of the most popular dub producers and is highly trusted as an engineer for Okinawa-based artists such as Yukino Inamine and Ododoafrobeat. This album contains 5 psychedelic to trancey dance tracks that are truly ``kachashi (stirring)'', where high-speed swirling sanshin meets deep electronic & dub.

Shoukichi Kina, who was born in Koza City (now Okinawa City) in 1948, grew up listening to the sound of sanshin played by his father, Shoei, a master of Okinawan music. While in senior high school, Shoukichi Kina composed “Hai Sai Ojisan,” which later became one of the greatest hit tunes ever to originate in Okinawa. After he entered university in Okinawa in 1966, Shoukichi Kina formed Champloose and, finding it difficult to take his studies seriously, devoted much of his time to music, eventually leaving school entirely. It was around this time that various stories began to emerge — some true, some not quite — of his being a kind of nocturnal “King of Koza,” that he managed the folk music club Mikado, and that he made quite a lot of money as a dealer in a gambling casino. In any case, perhaps because his first efforts at forming a band were not too successful, it wasn’t until ten years later, in 1976, that he reformed the band around his father’s folk music group. It was from then that the distinctive “Champloose Sound” began to emerge — a unique combination of rock and Okinawan folk that was exactly right for those times, and these times, too. Before long, the “sound” found avid listeners among musicians and fans on the Japanese main islands, and such was its power that an album was quickly planned and, in 1977, recorded (at the Mikado, as it happened.) That album, Shoukichi Kina and Champloose, today considered a seminal chapter in the annals of Japanese rock, received overwhelming public attention, particularly as Makoto Yano, Akiko Yano and other famed musical innovators participated in the sessions as guests. Thanks to its nearly instant popularity — and to some adroit timing — the first Champloose concert outside Okinawa, in December 1977, was also a crowning success, with round after round of standing ovations from the sell-out crowd at Tokyo’s Nakano Sun Plaza. The second Champloose album, Blood Line, released in 1980, was not as quick in coming. But the wait was worth it, for the sessions, recorded in Hawaii with guests including Ry Cooder, Haruomi Hosono, and Makoto Kubota resulted in numbers such as “Jing Jing” (which rose to the Number Two spot on the British disco charts), “Hana…” which was sung by Tomoko Kina, covered by many others and is now a standard in Thailand, and other memorable cuts. The third and fourth albums, Matsuri, recorded in 1982 in collaboration with Makoto Yano, and Celebration Live, a live album released in 1983, did not disappoint the many fans Champloose had gathered during these busy and fruitful years. Unfortunately, those fans had to wait another seven years for the next album. Again the wait paid off: in August 1990, a 32-track digital recording machine was “imported” into Okinawa for the sole purpose of capturing the latest Champloose sound — a sound that by then had evolved and expanded to include, in addition to contemporary rock and Okinawan folk, a number of other musical factors ranging from reggae to jazz to Ainu melodies and more. Furthermore, both as a symbol of the wide scope of the group’s musical concepts and as a tribute to the inspiration they had received from Shoukichi Kina’s father, the latter also participated in the recordings. After the release of that fifth album, fittingly called Nirai Kanai — Paradise, the group returned to active performance, and from May 1991, began work on their sixth and latest album, Earth Spirit. Five of the 11 numbers on Earth Spirit are traditional Okinawan songs, and while such music normally has no choruses, Kina — joined by his fellow band members and by some outstanding guests from the fertile ethno-pop world of Paris — managed to weave some in, along with (not surprisingly) the irresistible flavors of Africa and the Caribbean as well.

Based in Koza, Okinawa, producer/dub engineer HARIKUYAMAKU combines old Okinawan folk songs and dope, psychedelic DUB to create innovative music. He has received high acclaim from overseas as well, and has produced an album of DUB mixes of selected old Okinawan songs from the 16 LP-box "Okinawa Music Control" released in 1965. This one-of-a-kind music is a fusion of magical voices recorded about 60 years ago, live vibrations by Gintendan, and the mystical electro sounds of HARIKUYAMAKU.

A buoyant masterpiece from the early 90s, “The Water Garden” was created by Okinawa-born Kojun Kokuba under the inspiring image of a “happy Asia” thriving in the sea-based trading networks of the medieval to pre-modern era, with the concept that various types of music, as well as physical goods, were distributed and dispersed across the seas connecting various parts of east and southeast Asia. Fittingly, the music here has definite and distinctive Ryukyu island roots, but is informed by a number of other Asian musical traditions, layering phrases derived from numerous Asian scales, often altered by Kojun, eschewing typical Western chordal harmonic movement. Kojun uses the synths and multitrack recorders of the early 90s to, in his words, “pile up lines” in sweet and not at all overbearing melodic accumulations, with a desire to distribute and disperse a new energy from Okinawa to the rest of Asia and the world. Despite a pleasing and compelling rhythmic lilt and the use of synths and drum machines, this music was not created as a product for the dance floor; Kojun envisioned a type of electronic salon music, a “light music” made with contemporary technology. This is the first LP edition of the self-produced original 1993 CD release and includes bonus tracks and liner notes in English and Japanese.

Previously unreleased Misako Oshiro recordings produced by Makoto Kubota are now available on 7" analog vinyl! Two songs recorded at Kadena Studio One in Kadena, Okinawa in 2007 are now available on 7" analog vinyl after 15 years of recording!

A charming set of double transformations on this 7 inch. “Kajyadhi Fu Bushi” is a traditional Ryukyu minyo (Okinawa folk song), a joyous celebratory classic which is usually sung at weddings, with lyrics describing how “beautiful buds unfold”, using the distinctive Ryukyu/Okinawan pentatonic scale. Typically performed by a small ensemble of a singer accompanied by sanshin, the Okinawan precursor to the shamisen, the A-side is has been transformed by jazz musician and conductor Jun Arasaki and his group Nine Sheep, with five sanshin, four winds, piano, guitar, bass, percussion and drums. Played only once, unrehearsed but perfect in execution, for a 1977 TV broadcast, this release has been taken from the only recording in existence. The B-side is yet another transformation, a remix by the Portland “fourth world” duo Visible Cloaks.