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Studio One Dub – The Original


Studio One Dub – The Original

Right Around the World

Today’s Sound Today

Soul Jazz Records, 2004 CD

  1. Bionic Dub
  2. Take A Ride Rhythm
  3. Sky Rhythm
  4. Taurus Dub 2
  5. Hooligan
  6. Dub Rock
  7. Rastaman Version
  8. Jah Jah Version
  9. Creator Version
  10. Running Dub
  11. Hi Fashion Dub
  12. Pretty Version
  13. Race Track Version
  14. Spawning
  15. In Cold Blood Version
  16. Chase Them Version
  17. Feel The Dub

A wonderdul dub CD!



A while back, I found a CD on Philips Brasil, representing “Brasil” – though it likely has more to do with what was on offer in 1984, at the advent of the compact disc.  So, maybe not your best selection, but a selection none-the-less…

Brasil (Philips Brasil 822842.2)

  1. NEY MATOGROSSO – Bambo de bambau
  2. ERASMO CARLOS – Close
  3. KLEITON & KLEDIR – Viva
  4. ELBA RAMALHO – Banho de cheiro
  5. CAETANO VELOSO – Eclipseoculta
  6. GAL COSTA – Rumba Louca
  7. ALCEU VALENCA – Anunciacao
  8. MARINA – Fulgas
  9. EMILIO SANTIAGO – Nego John
  10. JOAO BOSCO – Nacao
  11. CHICO BUARQUE – Morena de Angola
  12. TOQUINHO – Aquarela
  13. ELIS REGINA – Nada sera como antes

Total time: 57:55

Like I said previously, newer stuff Mostly from 1983 – so while the guys I actually like (such as Hermeto Pascoal) are likely described as M.P.B. – with this disc, I can hip myself to 1984 Brasil, as such.

The Best of Ken Burns Jazz


“The Best of Ken Burns Jazz”

(Columbia CK 61439, 2000)

I never saw the complete series, but I would be willing to sit and watch.

  1. LOUIS ARMSTRONG – Star Dust
  3. NOBLE SISSLE feat. SIDNEY BECHET – Dear Old Southland
  5. LOUIS ARMSTRONG – St. Louis Blues
  6. DUKE ELLINGTON – The Mooche
  7. FLETCHER HENDERSON – Hotter Than ‘Ell
  8. BENNY GOODMAN – King Porter Stomp
  9. ARTIE SHAW – Begin The Beguine
  10. DUKE ELLINGTON – Cotton Tail
  11. COUNT BASIE – Jumpin’ At The Woodside
  12. BILLIE HOLIDAY – Solitude
  13. DIZZY GILLESPIE feat. CHARLIE PARKER – Groovin’ High
  14. THELONIOUS MONK – Straight, No Chaser
  15. SARAH VAUGHN – They Can’t Take That Away From Me
  16. DAVE BRUBECK – Take 5 (45rpm version)
  17. HORACE SILVER – Doodlin’
  18. JOHN COLTRANE – Giant Steps
  19. MILES DAVIS – So What

This is a simple single disc “Best Of” for the “Ken Burns Jazz” film.  There is a 5CD slightly more comprehensive CD set that exists, but I only found the 1CD version.

Getting Back To It

I will be getting back to my writing about music very shortly.  Truth is, I have been more concerned about my health than my writing, so the writing got given the back seat.

Selling off:

DINO VALENTE – Dino Valente (RPM UK CD) $10 postpaid anywhere in the US…

  • Ron

Allan Holdsworth

I had the good fortune to see Allan Holdsworth play live a few times.  He was always amazing – but, then again, I was a huge fan of Tempest!

I managed to get some of his hard-to-find records / CD’s, too:

I.O.U. (US)

Tape Formats

Today’s topic from Mark Moerman!

Now that disc has sort of taken over from tape, it seems appropriate to write about failed tape formats.

Micro Cassette – I don’t have any pre-recorded ones, but I am told they exist.

Reel-to-Reel – I only have a few pre-recorded ones left, after they got expensive on eBay.  I have hundreds of ones I recorded.

Cassette – Is this really getting ‘big’ again?  I remember buying a Sony TC-161SD and thinking it was a big deal! (But that was in about 1973!)

8-Track Tape – I used to have a lot of this format, but…my first car (a Datsun B-210) had an 8-track Tape player in it!

4-track Tape – Madman Muntz!  Was similar to an 8-Track, but didn’t have a capstan in the cartridge.

Playtape – Remember then Playtape?  No way to record onto one of those.

Australia and New Zealand Music

Topic from Brian Ware…

When I was married (previously), I ran a company called ‘ANZ Imports’.  There was a place for me to advertise, “One Step Ahead” – so we took out an advertisement in that ‘magazine’ and went to town!

I duly went to New Zealand 7 x times – but only once to Australia (we’re talking 1980 – 1987); both of those places are wonderful countries and I am pleased to say I went to both of them.  I ended up with a LARGE collection of New Zealand music (I even had business cards printed up, “Specialist in New Zealand Artists”) – NEWS FLASH!  Nearly everything that got released in Australia got released in NZ.

The man I worked for during that time, Tony Harrington, was my facilitator for all of this (he was who actually owned ‘ANZ Imports’).  The world was a very different place that long ago; The NZ dollar was about half of a US dollar, so I could offer, well…everything coming out of both Australia and New Zealand!

During  1980 – 1987, not everything from Australia and New Zealand got a US release.  But a lot of great stuff was being released there!  (However, I have 3 x shelves of NZ music, yet only really 1 x shelf of Australian music!).  The big Australian groups were Icehouse (also known as The Flowers), INXS, Midnight Oil…the biggest NZ group was Split Enz.

And, yes, some groups got US issues – Mental As Anything, and (eventually) Split Enz.

My personal favorite group was The Swingers (Phil Judd from Split Enz!).  They never came and played here (that I know of) – they only had one LP, but it was very, very good!

I remember Split Enz LP’s (remember, seasons reversed) “resting in a customs-house bed”, so we could not sell ‘em – and that was for an LP + 12”!  (Not a very good one, as I recall – remember being disappointed with “Conflicting Emotions”?)  The NZ issue had both an LP & 12” single.

During my many visits to NZ, I got to meet Blam Blam Blam (who were uncooperative), Dick Driver (Who never had much anything for me to sell), and Mike Chunn (of Split Enz, who got me dubs of the Split Enz clips, at a time when that was impossible otherwise!).  I remember watching Tommy Adderley perform in Takapuna!  I also remember going to the farewell show of Split Enz in 1984…that didn’t last!

But in 1987, the LP pressing stopped in NZ; at the time, that seemed to be a death sentence!  Australia quickly took up pressing CD’s for both Australia and New Zealand.

Thomas Diethelm

As far as I know, this is it for Thomas Diethelm music you can hear!

DIETHELM, THOMAS                                                      82 – ’89                                                 FINK & STAR DE        F&S 2052.2       CD                1994                                                                                          14

1994 14 TRKS stereo CD collection                          SWI                                                       CD


DIETHELM, THOMAS                                                      BIG SHAKE                                            PHONAG SWI           F&S 2006.1       LP                 1989                                                                                          10

1989 10 TRKS stereo LP                                             SWI                                                       LP


DIETHELM, THOMAS                                                      MEMORY GAMES                                PHONAG SWI           F&S 2005.1       LP                 1988                                                                                          10

1988 10 TRKS stereo LP                                             SWI                                                       LP


DIETHELM, THOMAS                                                      PENGUIN IN LOVE                               MERCURY SWI          830547.1           LP

1986                                                                               11                                                          1986 11 TRKS stereo LP Swiss pressing!              SWI                                                                                        LP


DIETHELM, THOMAS                                                      SHAVED                                                SPOON DE                 SPOON 014       LP                 1981                                                                                          10

1981 10 TRKS stereo LP                                             SWI                                                       LP


DIETHELM, THOMAS / BRANDENBERGER                  DIDI L’AMOUR                                     GOLD SWI                 LP 11049           LP

1978                                                                               11                                                          1978 11 TRKS stereo LP                     SWI



DIETHELM, THOMAS / FAMULARI, SANTINO           DIETHELM / FAMULARI                      POLYDOR SWI          813405.1           LP

1983                                                                               7                                                            1983 7 TRKS stereo LP                       SWI



DIETHELM, THOMAS / FAMULARI, SANTINO           FLYER, THE / OLD TORERO (PS)        MERCURY NL            821140.7           7″

1983                                                                               2                                                            1983 2 TRKS with pic sleeve             SWI



DIETHELM, THOMAS / FAMULARI, SANTINO           LIVEBE & CHAOS (GUITEROS)            DIETHELM SWI         –                           CD

2000                                                                               8                                                            2000? 8 TRKS stereo CD                    SWI



DIETHELM, THOMAS / FAMULARI, SANTINO           VALLEYS IN MY HEAD                         MERCURY SWI          822774.1           LP

1984                                                                               6                                                            1984 6 TRKS stereo LP                       SWI


Black Randy memories

Black Randy


“No gift is too great for my people!”, I once heard Black Randy say.  I was only lucky enough to see them a few times.

These days, they are more famous as Dangerhouse Records artists.  In fact, I recently bought another set of Black Randy 45’s (“Trouble At The Cup”, “Idi Amin” and “I Slept In An Arcade”), which I am not entirely convinced were legit – of course I own originals, purchased when the band was still together.

Black Randy died in 1988; I used to hear it was something else (drugs?), but Wikipedia says he died from AIDS.

The band was always very tight, on stage.  They could really play!  I remember thinking, Randy himself is the only one who is not a professional musician – but ultimately, they were all great.  I remember going to see The Screamers at a club out in the San Fernando valley, and Randy was yelling encouragement at them, “You came back too soon!”.

Friends at my work (Superior Music, in Glendale, CA) knew about Black Randy, too.  His only LP “Pass The Dust, I Think I’m Bowie” was a very special LP, and it still is (despite Long Gone John’s CD of it).

Simply put, Black Randy acted “black” – or as close to black as L.A. punks ever got!

But as Randy could be somewhat crude, there was no “eulogy” when he died.  He was just another victim.

There’s a film “Ladies and Gentlemen The Fabulous Stains” that Black Randy & His Elite Metrosquad appear in, if you want to see them “in action”.

Toshi Nakanishi

“Do You Like Japan?”

The Works of Toshio Nakanishi and Associates

By Ron Kane

This stars of this story are:

Moichi KUWAHARA                                               

  1. 1950.12.09

Hajime TACHIBANA                                              

  1. 1951.10.28

Yann TOMITA                                                         

  1. 1952.10.11

Chica SATO                                                              

  1. 1954.03.28


  1. 1956.01.11

Masayuki “Prince” KUDO [K.U.D.O.]

  1. 1960.06.09

Gota YASHIKI                                                         

  1. 1962.02.26

and also

Haruomi HOSONO (Y.M.O.), Yukihiro TAKAHASHI (Y.M.O.), Masami TSUCHIYA (IPPU-DO, solo career), Seiichi TAKAHASHI (Tiny Exotica Boys, Watermelon, Group of Gods), Kan TAKAGI [M.C. Kan; King Cut Kan], Seiko ITOH, Masayuki “Vagabond” SUZUKI (Watermelon, Metro Farce, Pearl Brothers etc.)


Katsuya KOBAYASHI (Snakeman Show), Masatoh EVE (Snakeman Show), Kazufumi “Echo” KODAMA (Mute Beat, Kodama & Gota), Izumi “Dub Master X” MIYAZAKI (Mute Beat etc.), Takayoshi MATSUNAGA (Mute Beat, Tomatos, Tycoon Tosh etc.), Takemi SHIMA (Plastics), Masahide “Ma-Chan” SAKUMA (Yoninbayashi, Plastics, Dip In The Pool), Hiroshi FUJIWARA

And the combinations of some of the above people to make the groups:

Snakeman Show

The Plastics



Mute Beat

Tycoon To$h and Terminator Troops

Love T.K.O.

Natural Calamity

Group Of Gods



Much of this story is written as an annotated discography.  For this discography, all LP, Cassette, Compact Discs and videos are Japanese original releases, unless denoted otherwise.

I first interviewed Toshio Nakanishi via email in 1997.  I interviewed Hajime Tachibana in person, at Hajime Tachibana Design in Tokyo in 1997.  It is important to remember that both Mr. Nakanishi and Mr. Tachibana consented to be interviewed in English (not their first language, which is Japanese!).

Before hearing The Plastics, probably the only Japanese musicians I had ever heard were Y.M.O. (and possibly the new wave works of actor Kenji Sawada AKA “Julie”).  The ‘new wave’ had already been active in Europe and the U.S. by the time of the debut Plastics record – in retrospect, I probably didn’t give The Plastics enough credit at the time – they seemed like ‘Toshi-Come-Lately’ types.  Y.M.O. were the Japanese exponent of the world ‘pop’ synthesizer boom (of the same wave as, say, Kraftwerk or Telex).  And shortly after I heard The Plastics, I also heard P-Model (the very famous Japanese techno-pop group of Susumu Hirasawa and friends) – it seemed to me, at the time, like The Plastics were nothing special, just another Japanese group riding on the drum machine wave.

Indeed, from their Japanese debut to their final record for Island Records in England, very little time had passed.  But the subsequent musical releases from Toshio Nakanishi and Hajime Tachibana very quickly helped elevate The Plastics from ‘curiosity’ to ‘high art’ – 1982’s “H” by Hajime Tachibana was the record from this group of artists that really caught my attention.  With it’s saxophone angularity, when I first heard it, I didn’t even put 2 + 2 together to realize that it was made by a Plastics member!

I had the advantage of knowing who Melon were, the first time I heard “Do You Like Japan?”  It was the two singers from The Plastics – which is not an accurate description of Melon, even in 1982!

By the time of 1984’s “Cool Music” (by Watermelon), I was being deeply influenced (and rewarded) by the music and vision of Toshio Nakanishi.  For me, that album in the summer of 1984 is the pre-cursor to the whole “Lounge Nation” movement of the mid-to-late 90’s!  (OK, I know that Haruomi Hosono was mining the Martin Denny vein, way back in ’78…)

But, like a lot of stories, for me – this story was to become out-of-sequence for several years.  After 1987’s “Deep Cut” (by Melon), I wasn’t to hear any new works from Toshio Nakanishi until almost 1994!  From 1987 until 1993, about the only music I heard from Japan was the seminal dub reggae group, Mute Beat – who I didn’t even realize were connected to Toshi/Melon (via the band Rude Flower) etc.

I found the “Major Force Vol. 1” CD in a used bin at a record store in L.A. in late 1993 –Well, let it suffice to say that my mind was blown: I had found what Toshio Nakanishi had been up to!

In 1994, I offered to write an article about Toshio Nakanishi for Giant Robot magazine in Los Angeles.  As luck would have it, someone gave Toshi a copy of my article – and he wrote to me from London.  We kept up our communications and in 1997, I proposed to formally interview him (via email).

Also, between 1994 and 2002, I visited Japan seven times, each time finding pieces of the puzzle…and meeting wonderful and helpful people, such as Taro Kesen at File/Major Force Records in Shibuya, Hajime Tachibana and Moichi Kuwahara (Mr. Snakeman Show).  In addition to interviewing Hajime Tachibana, I also interviewed Moichi Kuwahara several times – but the interviews turned out to be too informal (i.e. I can’t remember his quotes clearly, and I definitely wouldn’t want to mis-quote him!).  But he definitely helped me get a better feeling for some of the material, particularly about the “Melon” works.

One of the great difficulties in researching this material is the utter and complete lack of English language information on this topic!  I have found articles about The Plastics written in English, but mostly they’re from British newspapers, who couldn’t get past making jokes with xenophobic perceptions of Japanese people.

Taro Kesen at File really helped me by providing a complete Major Force Records discography – but finding those old Major Force 12” records for sale was another story all together!

So, a lot of what I am going to write are my thoughts and feelings about the material, with all the benefit of 30+ years of hindsight and some interviews with the artists and some of their friends.

Hopefully, we will end up with a better idea about what this music means in a ‘global musical context’, while creating the first real set of English language information about the works of Toshio Nakanishi and his associates.

RK:      Please tell me about “before” The Plastics.


TN:      I was an art school student, I had 4 pages in a fashion magazine called “So-en”.  For those pages, I could do anything, so I did illustration, art direction, hired a photographer, did a fashion shoot…then I joined the illustrator’s studio called “Pater Studio”, with Chica Sato (stylist) and Hajime Tachibana (graphic artist).


Pater Sato was a famous illustrator already (his works appeared in U.S. Playboy magazine, he did a Manhattan Transfer LP cover, Chic’s “Believer” LP cover etc).  He also helped us a lot with the original set of “Plastics” visuals.


RK:      When did you get interested in making music?


TN:      Gee, I don’t know.  Maybe when I was 13 or 14?


RK:      Did you or Chica or Hajime have any records released before The Plastics?


TN:      No, never.


RK:      Didn’t Hajime have a group before The Plastics?  I read that he did.


TN:      No, he didn’t.  Hajime was like Yuzo Kayama’s movie “Wakadaisho”.  Remember Aodaisho ‘bad one’?  Well, he was like that.  He was driving a red MG convertible, with two stunning girls.  Later, we found out that everything was ‘rental’ – it was a friend’s girlfriend, somebody else’s car…


RK:      In the liner notes for the Melon “Serious Japanese” 12” single, it says that Chica “formed The Plastics in 1977”.  Is this true?


TN:      Yes, it’s true.  The first Plastics gig was 1977 at Seibu Department Store in Tokyo.


RK:      I read that Talking Heads’ David Byrne somehow got a Plastics demo tape.  Any idea how this came about?


TN:      Hajime & I did the Talking Heads “Japan Tour” booklet (tour program) design and they liked it a lot.  Afterwards, we designed some single sleeves for them (note: the sleeve design for the Talking Heads “Cities” UK 12” bears the words “Artwork by Plastics”) So we hooked up and the played our “Robot” tape before each show.  At the same time, Iggy Pop was staying at the same hotel in Shinjuku, so Iggy got the same demo tape as well.  Shortly after that, Iggy & (David) Bowie were trying to produce The Plastics, but it never happened


RK:      How did Masahide Sakuma become involved with The Plastics?  Is he the same man who later did ‘dip in the pool’?


TN:      Yes, he later produced ‘dip in the pool’.  When he became involved with The Plastics, he was Chica’s stylist friend’s boyfriend.  He came from a Japanese progressive rock band called “Yoninbayashi” – they were a Japanese King Crimson-sort-of group, he was already pretty well-known in that field.  So, everybody was surprised when he joined a band like The Plastics – we were supposed to be non-musicians!  He was a bit of a “control freak” about the synths, but we needed a ‘technical guy’.


RK:      You once told me that a drummer from some G.S. (Group Sounds = Japanese 60’s rock music) was involved with The Plastics originally.


TN:      That was the 2nd Plastics.  The first line-up was me, Hajime, Chica, Fuku-chang on Keys, F – bass, Asai – drums (yes, we did have drums!).  F’s girlfriend, Ray – backing vocals…we did some Roxy Music, Bowie, Sex Pistols covers – but only two originals “I Am Plastic” and “Tokyo Banzai”.  The 2nd version of The Plastics existed for only about one month, no gigs.  That was me, Hajime, Chica plus Hiroshi Ohguchi from The Tempters.  I don’t remember who played bass.  Then there is the ‘recorded’ line-up…


RK:      How did Invitation/JVC become involved?  Were other (Japanese) labels interested in The Plastics?


TN:      They came to see out gig and we got signed.  Kitty Records were interested (because of our first producer, Stomu Yamashta)…also Phonogram, I think.  I’m not sure now…


RK:      How did your early (first) single “Copy” b/w “Robot” get released on Rough Trade Records in England?


TN:      Our English friend knew Geoff Travis (Rough Trade owner/director).


RK:      Was the Rough Trade single released before the Invitation releases?


TN:      Yes.


RK:      Was the “Top Secret Man” 45 and the “Welcome Plastics” LP successful in Japan?


TN:      Not bad, we sold something like 130,000 copies.  “Top Secret Man” got banned because of a Ministry of Defense scandal – some agent had sold some “Top Secrets” to Russia!


RK:      Please tell me about who you consider to be the peers of The Plastics, in the Japanese music scene of the time.


TN:      There was the Sadistic Mika Band before us, some glam rock things, then ‘punk’ happened.  There was a scene called “Tokyo Rockers”, serious ‘punks’, but we were a bit out of it.  I wanted to mix Kraftwerk with the Sex Pistols & 60’s bands like The Monkees… Sakuma named it “techno pop”.  At the same time, in Ohio, Devo was starting to happen; in Tokyo a ‘fusion’ band went ‘electro’ – which was Y.M.O. (Yellow Magic Orchestra) – they were just jamming in the jazz club called ‘Roppongi Pit Inn” – they got a big record deal.  There was a theatrical new wave band called Hikashu, who were our allies.  We always toured around with Sheena & The Rockets, Anarchy and The Juicy Fruits – new wave was happening!


New wave was indeed happening – let’s not forget: this record appeared in January, 1980!



“Copy” b/w “Robot”

7”: Rough Trade UK RT 030, 1980 with picture sleeve


Different earlier recordings than the Invitation “Welcome Plastics” LP versions!  This is the first release of The Plastics – people all over the world could now hear them!  I recall that many people in the US/UK were skeptical of anything from Japan in the music scene, and this record was no exception.  How did it sound to western ears?  A mix of Kraftwerk, Talking Heads, B-52’s?



“Welcome Plastics”

LP: Invitation VIH-6065 (1980.01.25)

Original LP has paper inner sleeve with lyrics, designs

CS: Invitation VCF-1560 (1980)

CD: Invitation VICL-2013 (1990.04.21)

Recorded Tokyo 1979.09


At least one Japanese promo 12” was issued – I think it was for “Top Secret Man”, but possibly it was only the same version from the LP.  A few imported copies of this important debut LP made it to the U.S. and Europe, but probably not very many at the time.  “The Last Train To Clarksville” provided some listeners with a single familiar piece of material – everything else was NEW!  Another familiar thread was that it was all in English, albeit some unusual usage of the English language!



Top Secret Man

Digital Watch


I Am Plastic

I Wanna Be Plastic

Can I Help Me?

Too Much Information

Welcome Plastics


I Love You Oh No!



Last Train to Clarksville






“Top Secret Man” b/w “Delicious”

7”: Invitation VIH-1070 (1980) with picture sleeve



RK:      “Origato Plastico” followed very quickly after “Welcome Plastics”; also, there were many ‘guests’ on the 2nd album.  Was there any record company pressure to make a second album so quickly?


TN:      No, but we felt pressure from the New York ‘new wave’ scene.  Creative way.




“Origato Plastico”

LP: Invitation VIH-28013 (1980.09.25?)

Original LP has lyrics insert, with photos

CD: Invitation VICL-2014 (1990.04.21)

Recorded Tokyo 1980.07


The cover version on this LP is “Eight Days A Week”.



Diamond Head

No Good


Back To Wigtown




Dance In the Metal


Park / Eight Days A Week




RK:      If “Origato Plastico” was recorded 1980.07 and “Welcome Back” (the next album) was recorded during 1980.10 (for Island records), it must have been a very busy time to record 2 albums in 3 months!  Please tell me about signing to Island records.


TN:      It wasn’t that busy – there weren’t any new songs!  And recording in Nassau, Bahamas sounds like a holiday!  About Island…Chris Blackwell saw our live show somewhere in the U.S., also he liked our promo film (the video for “Top Secret Man”).  He knew that MTV was coming soon – he needed someone to look good & be interesting.  He had signed Grace Jones – before that, I think about all he had was reggae groups back then.  So he was very keen.


RK:      In the “Serious Japanese” 12” bio, it says that The Plastics played concerts in “over 50 countries in the world”.  3 LP’s in one year and so many concerts???


TN:      Not 50 countries!  But 50 cities in Europe and the states.  Still, it was a crazy enough rock & roll tour.  We were totally different people, afterwards.  Drinkin’ & smokin’ all that shit, you know.  Europe & the states…




“Welcome Back”

LP: UK Island ILPS 9627 (1981.03?) also U.S. Island release

Original UK LP has paper inner sleeve, with lyrics, designs and photos

LP: Invitation VIH-28030 (1981)

CD: Invitation VICL-2050 (1991.05.21)

Recorded Nassau, Bahamas 1980.10

Produced by Alex Sadkin


…And The Plastics get introduced to the world at large!



Diamond Head





Top Secret Man







“Good!: b/w “Pate”

7”: Invitation VIHX-1507 (1980) with picture sleeve

Non-LP B-side.



“Peace” b/w  “Desolate”

7”: Invitation VIHX-1518 (1980) with picture sleeve

This is the final Japanese Plastics 45.




“Diamond Head” b/w “Peace”

7”: Island UK NIP 1 (1981) gold coloured flexi disc with picture sleeve


Interesting that the two U.K. Island label singles are both flexidiscs – too bad that they both had to have a silly numbering prefix (“NIP”).



“Pate” b/w “Last Train To Clarksville”

7”: Island UK NIP 2 (1981) picture flexi disc without picture sleeve

“Pate” is the same as found on VIHX-1507.


TN:      After the tour, Chica & I stayed in NYC for about 8 months, hanging around with the Lounge Lizards, Brand X’s Percy Jones, David Byrne…also people from Funkadelic – I saw a very early gig of Afrika Bambaata…the scene was African funky groove.  Very early hip hop.


Also, I did a gig in the Peppermint Lounge in NYC with the name “Melon” already.  The band members were Bernie Worrell, Steven Scales, Percy Jones and Doug Bowne.  It was a super session.  We played Japanese G.S. (group sounds) plus Plastics/Melon songs. I was already into the idea called “Melon Project”.


RK:      Was the intention to make a “new Plastics” when you went back to Japan?


TN:      It was supposed to be “new Plastics”, but it didn’t happen. I went back to Japan with Doug Bowne (the drummer of the Lounge Lizards) for rehearsals with Plastics, but it didn’t work.  Also, Ma-chang (Sakuma) was involved with the songwriting.  It sounded like King Crimson again…it was shit.  I didn’t like it.  Also, Shima was not happy because I brought a drummer back…Hajime wanted to do his ‘sax thing’…there you go…maybe I should have made a solo album then…


RK:      Please tell me about your early association with Moichi Kuwahara and “Snakeman Show”.  Why were Plastics + Y.M.O. called ‘Crapheads’ instead of just Plastics’ or just ‘Y.M.O.’?’


TN:      Good question.  Let’s ask Moichi.  I’ll give you his address…


RK:      Obviously, you met a lot of interesting people in 1979 – 1980 – 1981; Please tell me who was most interesting for you.


TN:      David Byrne.  Brian Eno.  Jean Michel Basquiat.  Don Cherry.





“Snakeman Show”

LP: Alfa ALR-28009 (1981)

2LP: Alfa ALR-40003/4 (1985 re-issue)

2CD: Alfa ALCA-9082/3

Song:  1 song with The Plastics + Y.M.O. = “Crapheads”

Recorded Tokyo 1981

Produced by Moichi Kuwahara


For those who haven’t had the pleasure, “Snakeman Show” was a comedy radio show from Osaka, founded by Moichi Kuwahara.  Not a million miles from “Saturday Night Live” or (possibly?) “Cheech & Chong”.  But their records were more like very current musical ‘scene highlights’ with a little comedy thrown in for good measure.  Outside of Japan, these records were of interest largely because of the Y.M.O. content.  Some members of Snakeman Show had studied English in the U.S.!




“No More Fight” (aka “Senso Hantai”)

LP: Alfa ALR-28027 (1981)

2LP: Alfa ALR-40003/4 (1985 re-issue)

2CD: Alfa ALCA-9082/3

Songs:  2 songs by Melon (with guests from B-52’s, Adrian Belew etc.)

Produced by Moichi Kuwahara



RK:      Even as early as the first Japanese 45 of The Plastics (in “Delicious”, the B-Side of “Top Secret Man”), there are mentions of “Melon Papa”.  Does “Melon” have an additional significant meaning?


TN:      No, it’s just Chica’s favorite fruit.  Also, “Melon Papa” was Hajime’s father.  He was working in the Mellon Bank.


RK:      In the T.R.A. (Tokyo Radical Artists) cassette/magazine 1982 winter issue No. 2, Melon is called “De Melon”.  Was that the original title for the “Melon Project”?


TN:      Yes.


RK:      On that tape, I see that the musicians on “Corazon de Melon” are ‘Rude Flower’.  Please tell me about how you came to work with ‘Rude Flower’.


TN:      Rude Flower was the former name for Mute Beat.  Gota Yashiki was in Rude Flower, but I don’t remember Kazufumi Kodama being in there…we went to see Rude Flower because the bassist was a friend & I was impressed by the snare drum sound of Gota’s drum kit.




“T.R.A. Winter Issue No. 2”

CASS: TRA Project T-700249 (1982)

Unique never-re-issued song:  “Sun Is Red”




“T.R.A. New Artist Catalogue 1983”

CASS: TRA Project T-881020 (1983)



RK:      “Do You Like Japan?” has Y.M.O. and Masami Tsuchiya (of Ippu-Do) involvement, as well as many guests from New York.  Did Y.M.O. become involved because of Moichi Kuwahara?


TN:      Sort of, but I knew all of them already, especially Haruomi Hosono.  He lent me a Carl Jung book about U.F.O.’s for the U.S. tour (of The Plastics).  Both of us were digging Balinese (Indonesian) music…he’s very ‘spiritual’.




“Do You Like Japan?”

LP: Alfa ALR-28044 (1982)

Original LP has embossed cover and full-color lyrics and photo insert

CASS: Alfa ALC-28042 (1982) cassette slides from top of the box!

CD: Alfa ALCA-19 (1990.03.25)

Recorded Tokyo 1981.04, New York 1981.05

Produced by Toshio Nakanishi and Moichi Kuwahara


Do You Like Japan?

O.D. (Optimistic Depression)

Honey Dew

Song of Apollo


I Will Call You (& Other Famous Last Words)

Million Years Picnic

Don’t Worry About After Death (Shaka Shaka Nippon)

Neutron Nevada Never Say Die

Final News




“P.J.” b/w “Eddie Spaghetti”

7”: Alfa ALR-760, 1982 with picture/art sleeve

These tracks eventually re-released on the “Shinjuku Bladerunner” CD and

“Terimakashe” LP.



RK:      “P.J.” (Perky Jean) was a type of Shiseido cosmetic, wasn’t it?  Was this single made in cooperation with Shiseido advertising?


TN:      Yes.  There was supposed to be ‘mucho money’ involved, but it was not much…


–  –  –


RK:      Tell me about your song “Rice Dog Jam” on Masami Tsuchiya’s solo album. 


TN:      I just wrote the stupid lyrics and read it.  I remember the bassist from The Pretenders (Pete Farndon) was visiting us at the studio in Tokyo.




            “Rice Music”

LP: Epic/Sony (1982)

LP: NL Epic EPC 85953

CD: Epic/Sony ESCB-1363

Song:  “Rice Dog Jam” (Toshio Nakanishi vocals, words)



RK:      Why wasn’t “Homework” released by Alfa?


TN:      I don’t know.  I never thought about it until now.  Maybe I thought the sound quality was not sufficient for a major record company?  You know, it was only a 4 track cassette…




“Home Work”

CASS: TRA Project Special TRA-S 03 (1982?)

Produced by Toshio Nakanishi

CD: 2005 release!


Don’t Stop

Don’t You Like A Blowjob?




Can’t Stop It

Spy                              (from Snakeman Show “Nankai No Hito” session)


Song for Brigitte Bardot

Sexanova                     (from session for Tamao Koike)

Rain                             (yes, The Beatles song)

Pure Innocence




Tamao Koike’s version of “Sexanova” was eventually released in “Yen Box 2” CD set.



RK:      Why was your next release a ‘split’ album?  There must have been enough songs for both a Melon and a Watermelon album…


TN:      Ask Moichi.  It was not my idea.  He tried to put everything on one album.


RK:      There were a lot of ‘guests’ on the “Pithecan…” album, many members of the ‘Cioccolata’ group, Rude Flower/Mute Beat.  Did you meet the Cioccolata group at the Pithecan nightclub in Harajuku?


TN:      Cioccolata were the ‘house band’, you know.  They came to the audition and passed it.  Mute Beat was regularly playing at Pithecan nightclub also…so the ‘Pithecan’-era Melon was about 12 people on stage, a mish mash of Mutes and Chocos…




            “Snakeman Show presents Disco Mix Melon and Exotic Sounds of Watermelon Group

at Pithecan Thropus Erectus Strike Back”

LP: Alfa ALR-28053

Original LP has booklet

LP: NL Pick-Up PU-0006 (1984)

CASS: Alfa ALC-28051

CD: Alfa ALCA-18 (1990.03.25)

Recorded Tokyo

Produced by Moichi Kuwahara


Melon Side:


(Snakeman Show)

Do The Pithecan / Happy Age

(Snakeman Show)

Pure Innocence

(Snakeman Show)

Trance Dance International

Pithecan Ondo


Watermelon Side:


La Poupee Automate               (by Nino Rota)

Tune From Rangoon               (by Martin Denny)

Misirlou                                   (by M. Roubanis)

(Snakeman Show)

Fly Me to the Moon                 (by B. Howard)

Emerald Sea                            (by Les Baxter)

(Snakeman Show)

Ahmefuri                                 (CASS + CD only)(by Les Baxter)

(Snakeman Show)

Jungle Flower                          (by Les Baxter)


(note: some versions have a censored “Fly Me To The Moon”, some do not!)




“Do The Pithecan”

12”:  Pick-Up NL TPU 0016

Cover is topless photo of Chica


A:        Do The Pithecan – Happy Age

B:         Pure Innocence – Trance Dance International


Willem Wisselink of Pick-Up/Idiot Records in Holland told me in 1992 that Alfa Records was very upset that Pick-Up had put the topless photo of Chica on the exterior cover of the record.  “It was supposed to remain inside of the record sleeve – so it would be more special”, says Toshi.


RK:      At what point was Watermelon formed?  I understand that it was kind of the ‘alter ego’ of Melon.  Did you pick your favorite musicians?  Where did Seichi Takahashi (Watermelon’s piano player) come from?


TN:      He is from the original Yann Tomita group, Tiny Exotica Boys.  They didn’t get a record deal from Invitation because The Plastics had just gotten signed.  So it was just really Yann Tomita introducing me to his old mates – I didn’t know any of them.


RK:      Did the Tiny Exotica Boys ever get a record released?


TN:      No.  They are still joking about it!  “If The Plastics didn’t exist…” In those days, the competition was really hard.  Also, Yann said he had ‘mis-read’ the ‘timing’ – the sensation was ‘new wave’ then, not ‘exotica’.  Too soon for exotica and too late for the 70’s when Hosono did some ‘exotic’ type stuff.  So the Tiny Exotica Boys missed the wave!


When I first met Yann Tomita (at the Melon “Perky Jean” session), his impression was one of a very professional studio musician.  But he was pretty kooky as well.  He gave me a bunch of cassettes called “Lush Hour Music” and it was all in there, weird ‘exotic’ music.  Maybe 7 – 8 hours of Les Baxter, Martin Denny, Arthur Lyman etc…and I fell in love with that kind of music.  I asked Yann to do some ‘exotica’ with me and his reaction was like “I’m not into that kind of music anymore.  It’s all finished, inside of me.  But if you want to do it, I can introduce you to those guys who can do it” – (obviously, the Tiny Exotica Boys!).  To this day, I don’t know why he didn’t introduce me to Gen Tamura, the original pedal steel guitar player of the Tiny Exotica Boys.


Anyway, Yann wanted to put a record out, but he didn’t have a record deal then, so he changed his mind about doing it.  I said we were going to make an album, do a tour…also, I told him not only cover versions – we have to make some new stuff – and that interested him.  The result was pretty good.




“Cool Music”

LP: Alfa ALR-28060 (1984.06.25)

Original LP has full-color page, one side photos, one side lyrics, info

CASS: Alfa ALC-28056 (1984.06.25)

CD: Alfa ALCA-9168 (1995.10.18)

Recorded Tokyo

Produced by Toshio Nakanishi


Haroumi Hosono (of Y.M.O.) had covered “Hong Kong Blues” back in the 70’s; in a few years, Toshi would re-cover “Egyptian Reggae” for Major Force Productions; “Sexanova” was originally demo’d on “Home Work” and would much later appear in “Yen Box 2” by Tamao Koike; “The Gate Of Japonesia” and “Quiet Village” would both be re-recorded for the next Melon LP, “Deep Cut”.


Wild Side:


Quiet Village                           (by Les Baxter)

Hong Kong Blues                    (by Hoagy Carmichael)

Tiare                                        (by Eddie Lund & Steve Graham)

Jungle Flower                          (by Les Baxter)

Egyptian Reggae                      (by Jonathan Richman)

Never On Sunday                    (by Manos Hadjidakis)


Mild Side:


On A Clear Day                      (by Lerner & Lane)

Sexanova                                 (Toshio Nakanishi)

Moon Flower                           (by James Van Heusen)

The Gate of Japonesia                         (Yann Tomita)





LP: Alfa ALR-20003 (cassette: 1982.02.21?  LP: 1984.07.25?)

Cover design by Toshio Nakanishi

CD: Alfa ALCA-9081 (1994.07.27)

CASS: Alfa MOI-1 (as “Snakeman Show – A Pirate Edition”)

Recorded Tokyo

Produced by Moichi Kuwahara



RK:      How did you come to sign with CBS/Sony after 3 years with Alfa?  When did Masayuki Kudo and Gota Yashiki join Melon?


TN:      Moichi knew the A & R man at Sony.  Kudo & Gota officially joined at that time.


RK:      Was there an album to go with the “Serious Japanese” 12”?


TN:      We were into making 12” singles.  An album seemed so ‘old fashioned’.




“Serious Japanese”

12”: CBS/Sony 12AP-3056 (1985.09.01)

Original 12” has biography insert

12”: UK Ten/Virgin

Produced and arranged by Melon


A:        Serious Japanese (Tokyo Mix) long version


B:         Serious Japanese (San Francisco Mix)

Serious Japanese (Tokyo Mix) short version



RK:      Why did Melon move to England?  Why not NYC?


TN:      More opportunities for the music business, cheaper studios, cheaper everything.  Japan was becoming an expensive place to live!  And we liked London – except for the food!  Why not NYC?  I didn’t want to raise my kids in NYC.


RK:      How did you come to work with Nick Froome and the Def Jam people?


TN:      We changed our management from Moichi to Masami Tsuchiya’s management, called Mashimo – he was a bit of a hustler, though.  His offices were called “Dial M” & “File”.  Yes, “File Records” name came from his office.  Nick Froome was Dial M’s suggestion.  He had something to do with the Pet Shop Boys and the Art of Noise…but it ended up being a lot of bullshit in the end.  He wasn’t good for us.  Not experimental enough.


Def Jam came from the Sony connection – also, ex-Plastics manager, Steve Ralbovsky was the A & R man for Sony in NYC for Def Jam.  He used to say that he was the one who signed them.  Oh well…


RK:      By the time of “Deep Cut”, there had been 4 different 12” singles by Melon, but no Melon LP since 1983.  The “Serious Japanese” single had been released in England by Virgin/Ten, not Sony.


TN:      The Virgin/Ten was just a one shot deal.  I guess they weren’t too serious.  We went up north (in England) for a promo gig, but something happened and we couldn’t make it.  Also, Malcolm McLaren was there, both of us very upset with Virgin’s organizing.  Also, the guy at Virgin, Kazu Utsunomiya, moved to L.A. for Virgin USA.  That’s it – we were finished with them.


RK:      Was Epic (Sony) UK behind (supportive of) “Deep Cut”?


TN:      I thought they were…well, it didn’t sell well in the UK, so they gave up on the idea quickly, maybe.  But the contract was for Sony worldwide.




“Deep Cut”

LP:  Epic UK EPC 450513.1 (1987)

Original UK LP has inner sleeve with lyrics

CD: Epic UK EPC 450513.2 (1987)

CASS:  UK Epic EPC 450513.4 (1987)

CD: CBS/Sony 32DP-???

Produced by Nick Froome



Quiet Village                           (by Les Baxter)

Uptown Downtown

Hard Core Hawaiian

Hawaiian Break

Time Enough for Love

Somewhere Faraway



Pleasure Before Your Breakfast


The Gate of Japonesia             (Yann Tomita)

Only Tonight                           (only on CD release)



“Hard Core Hawaiian”

12”:  CBS/Sony 12AP-3309

For the first time, Toshio Nakanishi is billed as “Tycoon To$h”


“Def Jam Mix Side”


A:        Hard Core Hawaiian / Hawaiian Break


“Stuupid! 4 Trax Side”


B:         Hawaiian Break


This record is cut so loud, it almost makes the needle skip!





12”:  UK Epic MELON T1 (1987)


A:        Funkasia


B:         Only Tonight




“The Gate of Japonesia”

12”:  UK Epic MELON T2 (1987)


A:        The Gate of Japonesia             (Yann Tomita)


B:         Pleasure Before Your Breakfast


Both of the above 12” singles came out in England before “Deep Cut”.



RK:      What happened to Melon, as a group, in 1988?  Were you tired of Melon?


TN:      I was too much into hip-hop and I felt like I didn’t need the band.  Just a turntable was enough for me.  We did a small tour in that style, but there was obviously no room for Chica and Gota, looking back now.  So, after a while, Gota decided to leave the group – but that was out of the blue for us.  I felt “back-stabbed” – pissed-off, actually.  The old man said “Never trust the man from Kyoto” – now I knew why!  Ha ha!


Chica lost interest in music and turned out to be a designer.



RK:      How did you come to the “Major Force” label?  How long had you been back in Japan?


TN:      I’m not sure – maybe 10 months?  I told Mashimo my hip-hop label idea and he got the deal from Sony to make another company, “File Records”, because Sony didn’t want to have a hip-hop label within it’s structure – it was too risky for them.  But they were interested in it.


But by the time File Records had been set-up, Mashimo disappeared – the office was closed, bankrupt.  I don’t know what happened between him and Sony.


Anyway, me, Kudo, Gota, Hiroshi (Fujiwara) and Kan (Takagi) had to start Major Force Records – but Gota left for England right away.  So just 4 of us, basically.  I named it Major Force, designed the trademark and stuff…it was a pretty busy time.




“Copy ‘88”

12”: Major Force/File MF 003 (1988.11.11)


“Brand New Dope Up Cyber-Rap From Tokyo”

“In Full Effect With Dope Jam Mix”


Toshi covers a Plastics song for his hip hop world debut!


A:        Copy ’88 (U Suckers!)

Copy ’89 To ’99                                  (“Copy ‘88” instrumental)

Copy Till Armageddon                                    (“Copy ‘88” words & samples only)



B:         Love & Peace

Love & Peace World Wide!                 (“Love & Peace” instrumental)

Love Rhyme                                        (“Love & Peace” words & samples only)



RK:      The next Major Force 12” was released only 1 month after the first one!  As you said before – “Was the LP out of style?”


TN:      I don’t think so now, but at that time I thought that the 12” single was much cooler.  Because of the speed itself, very quick like a magazine or newspaper.  It fit with the hip-hop style, and it’s cheaper than an album.  Everybody can afford it.




“Get Happy”

12”: Major Force/File MF 004 (1988.12.20)


A:        Get Happy!


Rock The Party (featuring M.C. Kan)


B:         World Is Crazy                                    (“Get Happy” instrumental)

Zengun in Action                    (“Action” instrumental)

Bed Jam Session



RK:      Please tell me about The Orchids.  Was Chica ever involved with them?  I think I can hear her voice being sampled, at least.


TN:      The 1st Orchids were Hisako Nakagawa (a famous fashion model) and Keiko Sato (aka Kandy K – she had formerly been Chica’s assistant).  Chica’s voice was live, I guess.  Maybe sampled as well.  The 2nd set of Orchids featured Maki Watanabe (another fashion model).




“Yes We Can Can”

12”: Major Force/File MF 005 (1988.12.20)




“Guess What?”

12”: Major Force/File MF 007 (1989.01.13)

Bass:  Mr. Takayoshi Matsunaga (from Mute Beat, Tomatos)


“Kickin’ Alive”

“Long-Waited Collector’s Item”



A:        Live Wire Voo Doo (Remix)

Guess What? (Remix)


B:         Live Wire Voo Doo (Instrumental)

Guess What? (Instrumental)


RK:      All of the Tycoon Tosh 12” singles have MANY, MANY samples on them – including some that absolutely cannot be cleared for use (such as The Beatles).  Is this why they were never initially issued outside of Japan?


TN:      Maybe one reason – but when Hollywood Basic tried to release it, that wasn’t the main problem.  It was the royalties.  “Samples themselves – we can sort it out”.  There is a special company for that (that we don’t have in Japan).  Still today, JASRAC (the Japanese publishing authority) believes that the sampler was never invented.


RK:      Who were your favorite hip-hop artists at that time?


TN:      Old school to early Def Jam stuff, until De La Soul appeared.  After that, I lost interest.  It was becoming too cliché.  Too much stupid violence.  To me, hip-hop should be free-form.  So I brought Deep Purple or Blood Sweat & Tears, Roxy Music…and as you mentioned, even Beatles records into the studio.  Back then, everybody strictly sampled black rare grooves.  I remember Kudo and Kan said to me, “It’s got to be a rare black funky record to get the groove”.  I got so tired of asking, “Can I sample this?”  Plus, I started getting into guitar again.  Playing an instrument is so much easier than constructing a record with samples.




“Major Force Compact Vol. 1”

CD: Major Force/File 28MF 010 D (1989)

TINY PANX:  Last Orgy

HIROSHI & K.U.D.O. (Featuring DJ Milo from London):  Thumpin’ (D.J. Mix)

HIROSHI & K.U.D.O. (Featuring DJ Milo from London):  Return of The Original Art Form

(D.J. Mix)





THE ORCHIDS:  Yes, We Can Can

THE ORCHIDS:  I Will Call You




This first volume of “Major Force” covers the “A-sides” of MF-001 – MF-007 (there is no MF-006).



TN:      I wanted to do something like rare groove, “quiet storm-style” soul music.  Something sexy, like what Jane Birkin & Serge Gainsbourg did.


RK:      So this is why you drafted in a female vocalist?


TN:      I love to work with ‘beautiful chicks’, you know.  And, no, I can’t sing like that.


RK:      It was only Sexy TKO for 2 releases – why did the name change?


TN:      That was Yoshi Terashima, Gota’s manager, who was always trying to get a deal for Major Force in the UK & the US.  He said, “Sexy TKO doesn’t sound too good for the British – it makes it sound like it has a very limited musical range – you would have to make ‘sexy music’ all of the time!”  I never thought about it, but I agreed in the end.




“Touch Me, Take Me”

featuring Loretta

12”: Major Force/File MF 013 (1989.10.15)

12”: Major Force/File MFAD-057 (1997.03) re-issue


A:        Touch Me, Take Me (Soul version)

Touch Me, Take Me (Magic version)


B:         Touch Me, Take Me (Rocky’s Revenge)

Touch Me, Take Me (Day Light Mix)




“China Syndrome”

LP: Major Force/File MF 014 (1989.11.15)

To$h + K.U.D.O.


Red Side:


Natural House (God Is Alive)                         (Instrumental)

China Syndrome

Paradise Lost

2 Mike Masters                                                (featuring M.C. Kan & Hisako from The Orchids)


Yellow Side:


Be Thankful for What You’ve Got                  (words: William Devaughn)

Green House Effect

Country House (Instrumental)

Paradise Found

Midnight (Instrumental)

Eazy 2B Hard – Positive Vibration                 (words: Vincent Ford)

Economic Animal in Concrete Jungle             (Instrumental)





“Life Is A Science”

12”: Major Force/File MF 017 (1989.12.08)




“Major Force Compact Vol. 2”

CD: Major Force/File 28MF 019 D (1990)


T.P.O.:  All The King’s Men

ECD:  Check Your Mike

CHAPPIE:  Run Run Run

CHAPPIE:  Follow Me…(Pon!) Mi A Chappie

SEXY T.K.O.:  Touch Me Take me (Rocky’s Revenge)

TYCOON TOSH:  China Syndrome

TYCOON TOSH:  2 Mike Masters (with Kan Takagi)

HIROSHI & GOTA:  It’s A New Day

T.P.O.:  Hiroshi’s Dub (Savanna Mix)

THE ORCHIDS:  Life Is A Science

THE ORCHIDS:  Flower Power



“Presents Beautiful Girls”

CD: Major Force/File 20MF-024D (1990)

Produced & Arranged by Toshio Nakanishi & K.U.D.O.


The Shining

T Plays It Cool

Be Honest

Full Moon

The Shining                 (Instrumental version)




“Tribe of Love”

featuring Loretta

12”: Major Force/File MF 021 (1990.05.27)

12”: Major Force/File MFAD-057 (1997.03)

Produced by Tycoon Tosh & K.U.D.O.


A:        Tribe of Love (Club Mix)


B:         Tribe of Love (Tribe Down By The River Mix)

Tribe of Love (Grand Canyon Mix)




“The 1st Kiss”

12”: Major Force/File MF 027 (1990.02.04)

CD: Major Force/File 20MF-027 D (1991?)

Bass:  Takayoshi Matsunaga (from Mute Beat, Tomatos)

Produced by Toshio Nakanishi & K.U.D.O.


The 1st Kiss / Do It Hard Mix

The 1st Kiss / On The Road Mix

The 1st Kiss / Running Blademix

The Soul Kiss

Riding On A Wave…Endlessly




“Major Force Rare Tracks Vol. 1”

CD: Major Force/File 20MF-028F (1991)


Country House                                                            from “China Syndrome” LP

T Plays It Cool                                                            from “Presents Beautiful Girls”

Touch Me Take Me (Day Light Mix)               from “Touch Me Take Me” 12”


Hiroshi’s Dub (Tokyo Club Mix)

Midnight                                                                             from “China Syndrome” LP

Evil Moon



RK:      You were a member and the producer of Natural Calamity, but it sounds like your group to me – in the exotica style again.


TN:      It started as the music with my painting exhibition in Osaka, which Moichi was planning.  It was “Art, with a Walkman” – you go to every booth and there is art and music with it – you’ll listen with headphones.  I asked Mori to make a 20 minute ‘music loop’ – it turned out to be “The Hinter Land”.  Then, I was planning a ‘chill out’ guitar compilation album.  Instead of making a compilation, why not make one album with them?  Later, I named them Natural Calamity.  But it was Mori’s band, not mine.




“Down In The Valley”

CD: Major Force/File 18MF-030D (1991)

Produced by Toshio Nakanishi (he is also a group member)


Down In The Valley

Million & Half Men (Facing At Each Other)

I Will Call Up My Songs & They Will Carry Me Away (Nakanishi)

Interzone Pt. 1

Interzone Pt. 2

The Hinter Land




“Let It All Come Down”

CD: Major Force/File 23MF-034D (1992)

Produced by Toshio Nakanishi (he is also a group member)


Spirit Catcher

Inter Zone Pt. 3

After The Dolphins Gone

Inter Zone Pt. 4

Let It Come Down (Nakanishi)

Lotus Field

Foggy Mountain Break Down

Seagull Woman

Turn Pike & Freeway

Indiana Baby Blue (Nakanishi)

The Jamming



RK:      For me there is a very strong feeling of “Watermelon” about The Group of Gods CD.  For one thing, it features Watermelon’s piano player, Seiichi Takahashi.


TN:      The Group of Gods includes one more ‘original’ Tiny Exotica Boys member, Gen Tamura – the pedal steel guitar player.  The Group of Gods project was based on Gen’s work, mostly.  Yes, it could be counted as another Watermelon album.  I wonder why I forgot Watermelon’s name then?  It was in my dream in Bali, the Group of Gods name.  It was pretty important to be recording in Bali – to get the atmosphere.




“Group Of Gods”

CD: Major Force/File 23MF-037D (1992)

Produced by Toshio Nakanishi & Masayuki Kudo


Beyond The Jungle (There’s Something)

Moon Hotel

Death Is A Good Advisor       (Nakanishi)


When the Sky Falls

Moving Water (Get Wet, Get Hot)

Slack Baby Slack

Thunder Island

Space Cowboy             (Kudo)



RK:      When did you return to England?


TN:      1992.




“Dusk ‘Til Dawn”

CD:  Major Force/File 20MF039D (1992)

Produced by Toshio Nakanishi (co-produced by Natural Calamity)


Dusk ‘Til Dawn

After All Those Years

You Don’t Love Me

Tell Me What You See

Drift Away

Dusk ‘Til Dawn (Reprise)



“Deep Cut – Remix”

CD: Sony SRCL 2516 (1992.11.01)



Quiet Village ’92 Mix                                                  (Toshi & K.U.D.O.)

Up & Down In the Blade Runner City                        (Toshi & K.U.D.O.)

Hard Core Hawaiian The Fuzz Face Mix                    (Tim Simenon = Bomb The Bass)

Delightful Time Of Love (Time 4 Luv Duv)                          (Towa Tei)

Somewhere Faraway on the Shore                               (Toshi & K.U.D.O.)

Faraway & Farout Mix                        (Izumi “Dub Master X” Miyazaki, Hiroshi Fujiwara)

Pleasure Before Your Breakfast, For Your Pleasure Mix         (Howie B.)

Funk + Asia = (Love) Mix                                          (Satoshi Tomiie)

Deep In The Night (Change The groove Mix)             (Towa Tei)

The Gate of Japonesia Yann Mix                                (Yann Tomita)




“Deep Cut – Video Remix”

LD:  Sony SRLM 338 (1992) 32 minutes


Video remixed by Takeshi Nakamura, Hinonori Terai and Yuki Watanabe


Up & Down In the Blade Runner City

Delightful Time of Love (Time 4 Luv Duv)

Somewhere Faraway on the Shore




The Gate of Japonesia

Somewhere Faraway (The Document of ’87 Melon)




“Forever Plastico”

CD: Invitation VICL-22010 (1993.11.21)

CD-only Collection/Best Of – all tracks previously released





CD: Major Force/File 20MF-042D (1993)

Produced by K.U.D.O. & Toshi for Major Force Productions



Warned By Past Romances

Warning Sign Dub

Nothing Comes Of Nothing

Nothing – Less Mix

Nothing But Beat

Lost Key Blues




“Grass Roots Dub”

LP: Major Force/File 20MF-043 (1993)

Produced by Toshio Nakanishi, Masayuki Kudo, Kan Takagi


Grass Roots Dub

Essential Dub

Sax Hoodlum


Doctor Dub

Raga Rock

Egyptian Reggae          (by Jonathan Richman)



RK:      “Headturner” sounds very different from earlier Major Force ‘Sexy TKO/Love TKO’ records.  How did you come to Mo’ Wax Records in England?


TN:      We were mucking about for a couple of years with that album, making very slow progress.  So there was enough time for experiments and we were getting bored with straightforward ‘styles’.  Mo’ Wax James (Lavelle) was working in a record shop called Honest Jon’s – he was only about 18 years old then – he was a big collector of Major Force and one day I was in the shop and, as I looked ‘Japanese’ to him, he said to me “Do you have any Tycoon Tosh or any Major Force vinyl?  I’ll buy or swap anything for that stuff.”  I guess he said that to anybody who looked Japanese.  I looked at him and said, “I am Tycoon Tosh”.




“Head Turner”

CD: Major Force/File 26MF-048D (1993) 65:07

CD: UK Mo’ Wax MWMFCD 001 (1994) 64:45

            LP: UK Mo’ Wax MWMFWLP001

Produced by Tosh & Kudo for Major Force Productions

Package design by Toshio Nakanishi (on UK edition)


Siesta Sunshine

Stay (The Eagle’s Eye)

Desert Song (Fire From Within)

Whatcha Gonna Do

For What It’s Worth

Tongue In Your Ear

Heat In the City

Lost In the Amazon & I’ve Got the Jungle Blues

Travellin’ Light

Fall Of Ignorance




“Sun Dance”

CD: Down 2 Earth/File 24MF-049D (1994.04.08)

Produced by Toshio Nakanishi & Natural Calamity


After The Sorrow                    (Toshio Nakanishi: acoustic guitar)

Stoned Window

Hit The Right Thing

Smooth Mover

Rising Sun

In Between



Love T.K.O.

“Tongue in Your Ear”

12”: UK Mo’ Wax MWMFW001 (1994)


A:        Tongue in Your Ear


B:         Season of the Witch



Love T.K.O.

“For What It’s Worth / Desert Song”

12”: Mo’ Wax UK MWMFW003 (1994)


A:        12 Inch Mix By Howie B.

Album Mix

Instant Karma Mix (Piano) by: T.K.O.


B:         Desert Song

Acid Folk Mix by T.K.O.




Mo’Wax Vs. Major Force

12”: Mo’ Wax UK MWMFW004


A:        “Time Has Come” U.N.K.L.E. v.s. Major Force EMS Orchestra


B:         “Martian Economics Howie B. v.s. Major Force EMS Orchestra



TN:      Skylab was introduced to me by Howie B.  He said, “Do you wanna produce this one?  No rules, do whatever you want.  Be experimental.”  I said OK and I found myself as a member afterwards.  Now, Skylab is basically Matt Ducasse (but no more Howie B.), Kudo and I as members, but it’s not exclusive.




“Skylab #1”

CD: L’Attitude/Phonogram PHCR-1322 (1994.10.17)

CD: UK L’Attitude



River Of Bass




Ghost Dance


Rock ‘n’ Roll Woman



Green Mammal Part 2

Electric Blue

Six Nine

Exotica                        (this track supposedly only on Japanese version)



TN:      Tosh & Silver Arks was a rock thing.  All I remember was that I lost my hearing.  It was kind of serious – Mastoid infection from T.B.? (I found out later, from an operation).  But I had to deliver that album.  I put the guitar to my forehead, vibrating to the skull directly and composed.  I couldn’t hear a thing while we were ‘mixing down’!




“Cleopatra & Noah’s Ark”

CD: Major Force/File 20MF-051 D (1995)

Produced by Kudo, Kuni & Toshi

(Toshi has writing credits on every song)


You Took My Face

Faraway From Home

This Shit Is Real

World Without A Sound

Don’t Let It Come Down




“X-Rex – Marc Bolan: His Songs, Our Tribute”

CD: File 24FR 030 D (1995.03.24)

Song:  “Cosmic Dancer” by Toshio Nakanishi / Natural Calamity



“Oh! Skylab”

CD: UK L’Attitude LATCD 21 (856951.2)(1995)


These Are the Blues

Beyond the Breeze

Red Light, Blue Light

Indigo (Sabres of Paradise Remix)

Seashell (Nobukazu Takemura Mix)               ( = DJ Takemura )



“Beat Complex”

LP: Alfa ALJA-7003 (1995.11.22)

Song:  “Trance Dance International” (Beat Sonic Mix)

LP also has remixed material by Y.M.O., Sandii, Snakeman Show




“Yuri (Original Soundtrack)”

CD: Victor VICP-223 (1996.03.23)

Song:  “Long Time Ago” vocals, music and lyrics by Toshio Nakanishi

(also found on Hiroshi Fujiwara “Best” Victor VICP-40248/9, 1997.01.22)



“My Dad”

CD: UK L’Attitude LATCD 026 (852779.2)(1996)

Produced By Love T.K.O.


My Dad (Major Force mix)

Going Somewhere (Somewhere In Another World mix)

Nothing (Exotica mix)

Clean (Percussion mix)

My Dad (Out There mix OK Dad)




“Furuhata Ninzaburo (Original Soundtrack Remix)”

CD: Pony/Canyon PCCA-01025 (1996.10.18) 4 Tracks

12”: Pony/Canyon PCJA-00018 (1996.10.18) 2 Tracks




“Pussy Galore”

CD: UK Pussyfoot CDLP 007 (1996)

Package design by Toshio Nakanishi


SPACER: Contrazoom

DOBIE: The Return of the Revenge of the Death of the Legacy of Golgol 13

NATURAL 7: Secret of Natural 7                               (Natural Calamity)

CHARI CHARI: 30 minute Stop Over Di Changi Airport

SIE: Criminal Record


NAKANISHI & BERNSTEIN: Death of Fiona        (Toshio Nakanishi)

HOWIE B.: My Speedboat Is Faster Than Yours

KENSUKE SHIINA: Numbers in the Air

  1. ZAIUS: Sine Wave Assassin

MINATONE: The Fifth Column

NAKED FUNK: Pleasing the Korean


LOVE T.K.O.: Conclusion – Opening                       (Major Force Remix)

TYPHOON TOSH: Trespassing Satellite                  (Toshio Nakanishi)


“Fish Smell Like Cat”

CD: UK Pussyfoot CDLP 005 (1997)

Package design by Toshio Nakanishi


WATERMELON: Moon Shaker                                 (Toshio Nakanishi)

WATERMELON: Albatross                                       (Toshio Nakanishi)


TYPHOON TOSH: Round & Round (Medley Sound Sculpture No. 2)        (Toshio Nakanishi)

AHH FOLLY JET: She Was Beautiful

TYPHOON TOSH: Snakes & Ladders (Medley Sound Sculpture No. 1)      (Toshio Nakanishi)

CHARI CHARI: Bugis Folktales


ARROW TOUR: Mahalo Hotel



WATERMELON: Bamboo Love Shack                     (Toshio Nakanishi)




“Major Force – The Original Art Form”

2CD: UK Mo’ Wax MW082CD (1997)

Contains instrumental versions of many Major Force titles



“Out Of Body Experience”

LP: Major Force/File MFAD-060 (1997.04)

CD: Major Force/File MFCD-055 (1997.04.18)

CASS:  promo-only cassettes exist from File Records


RK: Taro at File Records asked me to write liner notes for this album!



Slow Boat to Mars

How Did She Die (Like This)

Can You Take Me Home

Out Of Body Experience


  1. Into The Darkest Cave
  2. Gate of Dragon
  3. Flying (Over The Rice Terrace)

Sound Sculpture

(‘hidden’ track only on CD)


“Shinjuku Bladerunner”

CD: Alfa ALCA-5153 (1997.04.23) distributed by Toshiba

Collection of Alfa Melon material, single versions, TRA songs plus unreleased cuts.


Honey Dew


Eddie Spaghetti

I Will Call You

Do The Pithecan – Happy Age

Corazon De Melon                              (by Rigual – Valando – Carson) (Rosemary Clooney)

Final News

Terimakashe                                        (previously unreleased?)

Fun Fun                                               (previously unreleased?)

Communication Break Down              (previously unreleased?) (by Led Zeppelin)

Do You Like Japan?

Theme From Melon                             (previously unreleased?)




“Terimakashe” (6 track vinyl release of “Shinjuku Bladerunner”)

12”: Alfa MEL-1 (1997.04) distributed by File Records

(LP says “Made in U.S.A.”)


Terimakashe                                        (previously unreleased?)

Fun Fun                                               (previously unreleased?)

Communication Breakdown                (previously unreleased?) (by Led Zeppelin)


Theme From Melon                             (previously unreleased?)


Eddie Spaghetti



“Out Of Body Sessions”

CD: Major Force/File MFCD-064 (1997.07.26) digipak


How Did She Die (Like This) (I Dig Your Grave Mix)  (Stock, Hausen & Walkman)

Moon Shaker                           (Silver Apples Remix)

Out Of Body Experience        (Everton Nelson Remix)


“Major Force Classics”

2CD: Major Force/File MFCD-061 (1997.08.29)



T.P.O.:  Family Stoned Beat (1989)

ECD: Hand Made (1989)

THE ORCHIDS: I Will Call You (DJ Mark The 45 King Remix) (1989)

TYCOON TOSH: Country House (1989)                                          (Toshio Nakanishi)

T.P.O.: Hiroshi’s Dub (1989)

SEXY T.K.O.: Tribe Of Love (Club Mix) (1990)                               (Toshio Nakanishi)

SEXY T.K.O.: Touch Me, Take Me (Magic Mix) (1989)                   (Toshio Nakanishi)

T.P.O.: Hiroshi’s Dub (Dance Tracks Life Version) (1997)

TYCOON TOSH: Country House (Do You Want A Horse Riding Extended Mix) (1997)

(Toshio Nakanishi)



KOOL D.J. RED ALERT + MAJOR FORCE POSSEE – Prop Master’s Party (Quart Version)



“All Across The U.S.A. 1980”

CD: Speedstar/Victor VICL-60157 (1997.11.21)

Initial issue of CD came with VHS video for “Top Secret Man”

LP: Speedstar/Victor VIJL-60012 (1997.11.21)

LP issue has fewer tracks than the CD, and in a different order

Recorded Live in the U.S.A. 1980


I Am Plastic

Digital Watch



Park / Eight Days A Week

Deluxe (NG 1)


Deluxe (NG 2)


Diamond Head





Top Secret Man


Last Train to Clarksville

Back To Wigtown

Can I Help Me?




“The Love Ritual” (version for Warner Brothers)

(not released;  early version of “Skylab #2”, approx. 1998)





Fuckable Redhead

? Part 1

? Part 2

Crocodile #1

Crocodile #2

Breakfast Girl

Trip #9







“Major Force West 93 – 97”

CD:  UK Mo’ Wax UK MWR 105 CD (1999)

2LP:  UK Mo’ Wax MWR 105 LP (1999)

            Japanese CD Toys Factory TFCK 87990 has a bonus track, “Butterfly”

(Mark Nishita Ramos = Money Mark)








MAJOR FORCE WEST E.M.S. ORCHESTRA: Here Comes the Funky Monkey



MAJOR FORCE WEST PRODUCTIONS: Sonic Scale for Percussion No. 12

MAJOR FORCE WEST PRODUCTIONS: Sonic Scale for Percussion No. 113



KAN TAKAGI: May the Force Be With You

MAJOR FORCE WEST E.M.S. ORCHESTRA: Mugen – in the Morning (Reprise)



“Album Sampler”

12”: Mo’ Wax UK MW105DJ (promo only)


A:        Circling Round

Here Comes the Funky Monkey


B:         Sonic Scale for Percussion No.12

Sonic Scale No.113




“Album Sampler”

12”: Mo’ Wax UK MWR105DJ (promo only)


A:        Mugen in the Morning


B:         Sonic Scale for Percussion No.12

Sonic Scale for Percussion No.113



NIGO featuring Tycoon Tosh

“Kung Fu Fightin’”

CDS: Toys Factory TFCC-88229 (1999.12.22)


Kung Fu Fightin’ (Original)                             Toshi: lyrics, vocal

Shorin Fightin’ (Instrumental)                         Toshi: vocal

After Fightin’

Shorin Fightin

Symphony No. 91025

~Escape from Planet of the Apes~


= = =


RK (to Hajime Tachibana):     What was your experience to work with Pizzicato Five?


HT:      (laughs) They asked me to play on a song I wrote, called “Good”.  I wrote that song a long time ago for The Plastics.  I was told “It’s going be a new version – a Pizzicato Five version” –  They sent me a tape.  “Play guitar as you like”, they told me.  So I thought, “What shall I do?  How shall I play?  Like this or like that?” – OK, it works.  So I went into the studio and I played what I wanted to at that time (laughs).  They told me, “Hajime, that’s great – I really think this is great – but I had hoped you could play like the original version”.  (laughs) “Original one?  Like this?”, I asked.  “Yeah, yeah, yeah!!”.  So I said, “OK”.




“Welcome to the Plastic World – Plastics Children”

CD: Epic/Sony ESCB 1979 (1999.04.21)


SPOOZYS: Diamond Head







PIZZICATO FIVE: Good                                                     (with Hajime Tachibana)

MOTOCOMPO: Delicious

TOSH ‘POSH’ SKYLAB: Desolate                                        (Toshio Nakanishi)




“Field Trip”

CD: Major Force/File MFCD-067 (1999.05.29)


Electronic Accupunkture

In The Cage

Two Dimensional Pagoda

Bamboo Highway

Studio 64

Singing Refridgerator

Simple Kind Of Love (with Jim White)

Little Isle


Prozac Princess

Kinky Moog Sex

Robert Johnson Meets Spaceman

Aztec Death Head

Lombok Incident





“Ruta De Evacuacion”

CD: Major Force/File MFCD-068 (1999.09.30)


Moonshaker (Live at Shibuya Club Quattro ’98)

Out Of Body experience (Live at Shibuya Club Quattro ’98)

How Did She Die (Like This) (Live at Shibuya Club Quattro ’98)

Jungle Flower (Live at Shibuya Club Quattro ’98)

Little Isle (Tycoon Tosh Beyond Imagination Mix)

Two Dimensional Pagoda (Indopepsychics Remix)

Studio 64 (Sweetback Unsteady Crew Remix)




“Skylab #2: 1999”

CD: Epic/Sony ESCA 8042 (2000.02.19)

CD:  UK Eye-Q





Fuckable Redhead A.K.A. Nickers of A Girl

? Pt. 1

? Pt. 2

Mothers Milk

Crocodile #1


Breakfast Girl

? Pt. 3


Crocodile #2



Mothers Milk (David Byrne Remix) (this track only on Japanese version)




“Year of Dragon 2000”

CD: Major Force/File MFCD-070 (2000.04.27)


China Syndrome Pt. 2

It’s True

Kool It Down

Designer’s Baby (Spaced Out)

Who Police the Police?


Voodoo Moon

Electric Guitar Changed My Life

A.C.P. (Acoustic Chaotic Pinball)





“China Syndrome Pt. 2”

12”: Major Force/File MFAD-071 (2001)


A:        China Syndrome Pt. 2 (Tycoon Tosh Self Remix)


B:         Designer’s Baby (Seiji’s Opaque Re-Dub)

Designer’s Baby (Seiji’s Opaque Re-Dub Version)




“Homework 2”

mail-order MD only release (2001)



PLASTICS – Origato 25

PLASTICS – Hard Copy

MELON – Ripe








TN:      We don’t take remixes too seriously, it’s just a job.  Mostly, it’s fun to do.  But sometimes it can be a pain in the ass (technically).



Sandii (Love T.K.O. remix)


Depeche Mode (Skylab remix)




Monday Michiru (Love T.K.O. remix)


Snakefarm (Skylab remix)


Jim White (new release in 2001, co-production)


Sweetback (one song by Love T.K.O.)


Kodama & Gota (Typhoon Toshi remix)


Cover art:


With a little bit of looking, I can find some cover art by Toshio Nakanishi on titles where he doesn’t appear to be performing.  For example:


Redboy “Contact From The Underworld” (UK Pussyfoot PUSSY 027, 1997)


V.A. “Best Foot Forward” (JPN: Toys Factory TFCK-87515, 1996)

(“Best Of Pussy Foot Japanese Edition”)


Howie B. “Butt Neat” (UK Polydor 575187.2, 1996)


Howie B. “Music For Babies” (UK Polydor 529464.2, 1996)


Howie B. “Snatch” (US Palm Pictures PALMCD 2010.2, 1999)


V.A. “Suck It And See” (US Palm Pictures PALMCD 2008.2, 1999)

With one track from Love T.K.O. “Love Thong”



Hajime Tachibana



HT:      A long time ago, I used to compare my work to the others, such as foreign artists, like Devo and Kraftwerk and I thought at that time that they were just great, compared to me.  I only thought my work was ‘so-so’, and that I should try harder.

I think I am very skillful or dexterous – I can do design, I can make music, I’ve had my own solo art exhibition.  With music and graphic design, I’ve worked for myself, others – such as The B-52’s, Talking Heads (designing record sleeves)… Playing saxophone and designing lower case type, touring with Yukihiro Takahashi (Y.M.O.), making music groups…design using computer…making my own ‘application’ for Macintosh ‘95…nowadays, this kind of stuff is much more interesting for me than music.



RK:      Is there any additional meaning surrounding the letter “H”?  Does it stand for anything special?


HT:      I just wanted to design with lower case type like that.  So, for me, “H” is kind of the most ‘constructive’ letter.  Not like “S”; “R” is kind of ‘constructive’, but “H” is very ‘classical’ and very ‘constructive’, for me.  Lower case type, something like that.




LP:  Yen YLR-28002 (1982)

CD:  Alfa ALCA-

Found in “Yen Box” #1



H (Theme from Clubfoot)

Robin’s Eye View of Conversation

Alps 2

Soprano Silhouette


The Bassman From LDK


Piano Pillows


Guitar Genius





LP:  Yen YLR-28007 (1983)

CD:  Alfa ALCA-

Found in “Yen Box” #1


Theme from “Hm”

Piano Pillows Going Abstract


This Is……!!! (Death Video)

Theme from “Sex Symbol Strikes Back”


Sex Symbol Strikes Back


Yoru No Tokkibutsu


Theme from “Nihon No Sugao”



HT:      “Miss Kipple” – not “Miss Kipple”, just “Kipple” was the woman from the science fiction novel called “Zen Gun”.


RK:      Are you “Mr. Techie”?


HT:      No.  It’s pronounced ‘tekkie’, not ‘techie’.


RK:      In English, it sounds like a play on your name…How did you hook up with the Survival Research Laboratory people in San Francisco?


HT:      Matt Heckert, one of the members of SRL (Survival Research Laboratory), belonged to the band called “Pink Section” in San Francisco.  We met them in NYC in 1980 or 1981…we, The Plastics, were playing in NYC – and they had come from San Francisco to NYC to play.  I liked them very much.  He is still one my few foreign friends.  Then Pink Section broke up and Matt told me “I’m working with Mark Pauline and that other guy…”  When I went to San Francisco in 1984, Matt introduced me to Mark Pauline.  I saw an SRL show in SF, it was great – weird.


RK:      Was it at a show where machines were operated by animals?


HT:      Yeah.  SRL had a very strong confidence.  A very strong ‘spirit’.



“Mr. Techie & Miss Kipple”

LP:  Yen YLR-28020 (1984.11.28)

CD:  Alfa ALCA-

Found in “Yen Box” #2


Replicant J.B.

Steel Necro Music

Theme from Barricade

Ma Ticarica

Lunchtime Dapanpis


There’s No Diasppointment In jesus

Mr. Techie and Kiss Kipple

Steel Necro Music II





“Replicant J.B.”

12”:  Yen YLR-12003 (1985)


A:        Replicant J.B. (Remix Version)

Ma Ticarica


B:         Replicant J.B. (Remix Edit Version)





LP:  School/Midi MIL-1006 (1985)

CASS:  School/Midi MIT-1006 (1985)

CD:  School/Midi 35MD-1006


Taiyo Sun

Modern Things


Il Y A Des Pommes Sur La Table

Mother Sun


Chicken Consomme

Hogonomo (For Go No More)

Comme De Taiyo Sun

Father Sun



HT:      10 years ago (in 1987), my image was very active – I was jumping around on stage, dancing…I danced using hydrolics (like SRL)…but in the past 10 years, I haven’t been playing many live shows.



“Beauty & Happy”

LP:  School/Midi MIL-1027 (1987)

CD:  School/Midi 35MD-1027 (1987)



“Beauty & Modern Things”

12”:  School/Midi MIS-504 (1986)

etched 12” disc, music only on 1 side, other side is Osamu Tezuka artwork


A:        Beauty

Modern Things



“Beauty & Modern Things + Happy”

CD5:  School/Midi MID-1504 (1987)



HT:      For me, “Bambi” is just ‘pop music’ – very easy to understand.




LP:  Toshiba/Eastworld promo-only LP?

CD: Toshiba/Eastworld TOCT-6269 (1991.09.27)


RK:      I’ve recently seen a “Tribute to Hajime Tachibana” CD…


HT:      I’ve got nothing to do with that!  I’m still alive!  I haven’t listened to that CD very much, but…how can I stop them?  They said to me that they wanted to play my songs, my music – they asked me if I wanted to design the cover for their CD…but I couldn’t do that!  How could I design something like “A Tribute to Hajime Tachibana”?  A tribute album is, you know, ‘somebody else’!  I’m not interested in music like that, club music, house music…


HT:      These days, ‘individual stuff’ is the most important thing.  Very ‘individual’.  I don’t care if my record’s coming out outside of Japan or not.  I’m only interested in making it (the recording), that’s all.  I tried very hard to make this one, “Low Power”.


RK:      When I first saw “Low Power” in it’s 25cm/10” sleeve, I thought it was a 25cm/10” record.


HT:      Some friends complained directly to me, “I thought this was a 10” record, so I bought it!”…but it’s not a record, it’s a CD.




“Low Power”

CD:  For Life FLCF-3675 (1997.01.22)

First CD issue in 25cm LP-style cover



“Low Powers”

LP:  For Life FLJF-9520 (1997.10.22)

CD:  For Life FLCF-



“The End”

LP: (2000.11.22)

CD: (2000.12.20)

(note:   I cannot confirm the existence of this item!)


Mute Beat        (Kazufumi Kodama and friends)


“No. 0”

CASS:  Tra Project (1985?)

LP:  Respect RES-9 (1996) also re-released in 2002 on LP

CD:  Respect RES-7 (1996)

Original 1st TRA cassette came in a wooden box, with a newspaper.

Also released by R.O.I.R. in the US, first as a cassette-only album, later as a CD called

“Mute Beat In Dub”.



“1st 12” ”

12”: Overheat (Canyon) C12Y-0208 (1986.10.05)

Kazufumi Kodama, Akihito Masui, Hirofumi Asamoto, Takayoshi Matsunaga, Izumi “Dub Master X” Miyazaki, Gota Yashiki


A:        Coffia

Echo’s Song


B:         Summertime – Frozen Sun



“Still Echo”

12”: Overheat (Canyon) C12Y-0223 (1986.12.05)

Kazufumi Kodama, Akihito Masui, Hirofumi Asamoto, Takayoshi Matsunaga, Izumi “Dub Master X” Miyazaki, Gota Yashiki (Side A), Hideyuki Imai (Side B)


A:        Still Echo – Melodica Mix


B:         Still Echo



“Organ’s Melody”

12”: Overheat (Canyon) C12Y-0238 (1987.03.21)

Kazufumi Kodama, Akihito Masui, Hirofumi Asamoto, Takayoshi Matsunaga, Izumi “Dub Master X” Miyazaki, Gota Yashiki (Side A), Hideyuki Imai (Side B)

and Yann Tomita (as “Space Funkateer”)


A:        Organ’s Melody

After The Rain


B:         No Problem



“Sunny Side Walk”

12”: Overheat (Canyon) C12Y-????



“Still Echo”

CD:  Overheat (Canyon) D32Y-0114 (1987.05.21)

CD re-issue:  Overheat OVE-0024 (1996?)




LP:  Overheat (Canyon) C28Y-0258 (1987)

CD:  Overheat (Canyon) D32Y-0117 (1987.06.21)

CASS:  Overheat (Canyon) 28Y-6677 (1987)



“Lover’s Rock”

LP:  Overheat (Pony Canyon) C28Y-0337 (1988)

CD:  Overheat (Pony Canyon) D32Y-0194 (1988.07.06)

CASS:  Overheat (Pony Canyon) 28PO-37024 (1988)



“Mute Beat Dub Wise”

CD:  Overheat (Pony Canyon) D22Y-0315




CD:  Overheat (Pony Canyon) D22Y-0320 (1989.07.21)




CD:  Overheat (Pony Canyon) PCCY-00041 (1989.11.21)



“Document 1989 – Live At Inkstick” (2CD)

2CD:  Off Note ON-10 (1996)

Recorded live at Inkstick Shibaura Factory 1989.06.17



“Mute Beat Meets R. Alphonso”

CD:  Overheat OVE-0066 (1999)

Recorded live at Shibuya Club Quattro 1988.07.17



Kazufumi Kodama


“Quiet Reggae”

CD:  Sony SRCS 6519 (1992.10.21)



“Dread Beat Tokyo”

CD:  Overheat OVE-0056




CD:  Speedstar/Victor VICL-60467 (1999.09.22)

            Also released as limited edition 3 x 12” singles



“Return of the Dread Beat”

CD:  Absord/King ABCS-22 (2002.01.26)



Kodama & Gota          (Kazufumi Kodama and Gota Yashiki)



CD:  Sony SRCS 8163 (1998.10.20)

Artwork by Toshio Nakanishi



“Natural Mystic”

CD:  Sony SRCS 8164 (1998.10.20)

Artwork by Toshio Nakanishi



“I Don’t Want This Love to End”

CD:  Sony SRCS 8193 (1998.11.30)

Artwork by Toshio Nakanishi



“Something – Remix:

CD:  Sony SRCS 8194 (1998.12.11)

Artwork by Toshio Nakanishi

“Twilight – Typhoon Toshi Mix”        (Remixed by Toshio Nakanishi)

Yann Tomita



Production for Seiko Ito, “Mess/Age” (File) and “Body Blow” (Pony Canyon)



“Music for Astro Age”

2CD:  Sony SRCS 6526/7 (1992.11.01)



“Happy Living – Gas Music from Earth”


Produced by Yann Tomita for Audio Science Laboratory

CD: Sony SRCS 7415 (1994.07.21)



“Music for Living Sound – Cool Sounds From Real Life

– The Music of Yin & Yang Tomita”

3CD + CD-ROM: For Life FLCF-3715 (1998.05.20)



“An Adventure of Inevitable Chance”

CD:  A.S.L. ASL-5809 (2000.06.25)



And as “Doopees”:


“Doopee Time”

CD: For Life FLCF-3594 (1995.10.20)



CD: For Life FLCF-3635 (1996.05.17)