Wednesday MidDay Medley
Produced and Hosted by Mark Manning
90.1 FM KKFI – Kansas City Community Radio
TEN to NOON Wednesdays – Streaming at KKFI.org

Wednesday, April 12, 2023

Guest Producer Patrick Sprehe

Today, we welcome back to the show, Patrick Sprehe as our special “Guest Producer.” Patrick Sprehe was an educator for 25 years, earning his Bachelor’s degree in Education from The University of Kansas, and his Masters in Secondary School Administration from the University of Central Missouri. He served with the Peace Corps in Kazakhstan after the fall of the Soviet Union, and then moved on to teaching English as a Second Language at a community college in Raleigh, NC, working primarily with refugees and immigrant families. After a couple of years teaching at an International Baccalaureate magnet middle school in Raleigh, he moved to Oakland, CA, and taught at an international language school in Berkeley, and then on to Tokyo, Japan, to teach English as a Foreign Language. He spent his last 13 years teaching middle school English at Academie Lafayette, a French language immersion school in Kansas City.

As he approached 50, a conversation with longtime best friend and high school classmate James Andrews led to the decision to make a difference in the Kansas City music community and industry. Founded in 2017, Center Cut Records’ mission is to illuminate the amazing collection of musical talent in Kansas City and solidify its place in the national discussion about sonic art.

Center Cut released Calvin Arsenia’s album “Cantaloupe” in the fall of 2018 to national acclaim, as well as the experimental EP “Honeydew” the following spring. Later in 2019, Center Cut released Calvin’s follow-up, “LA Sessions” which was recorded with legendary session players and showed another side of the multi-talented Arsenia. In March of 2020, right at the start of the pandemic, Center Cut released Fritz Hutchison’s solo debut “Wide Wild Acres.” Despite the pandemic, they soldiered on and nationally released The Black Creatures’ “Wild Echoes,” earning album of the year recognition from Nick Spacek at The Pitch. 2022 saw the next The Black Creatures’ release “By Thy Hand,” this time being voted Best Local Album by readers of The Pitch as well as 2nd place for Best Local Band.

Patrick and Center Cut have provided numerous services to artists including funding and assistance with recording, mixing, and mastering, physical production of vinyl, CDs, and other merchandise, music video production, public relations and marketing campaigns, press releases, management, bookings, tour support, and anything artists need to be successful and grow their audience. 2023 finds their focus on releasing or reissuing some lost gems from Kansas City artists as part of the label’s Buried Treasure series. More info at: http://www.centercutrecords.com

Patrick Sprehe, Thanks for being with us on Wednesday MidDay Medley

1. “Main Title Instrumental – It’s Showtime Folks”
   from: Orig. Motion Picture Soundtrack All That Jazz / Casablanca / December 20, 1979
   [WMM’s Adopted Theme Song]

2.Jorge Ben – “Ponta De Lanca Africano (Umbabarauma)”
from: Brazil Classics 1: Beleza Tropical / Luaka Bop / October 1, 1989
[Brazil Classics, Beleza Tropical is the first in a series compiled by Talking Heads singer David Byrne that preceded the big wave of interest in Tropicalia during the late ’90s by almost a decade. Performers include such influential Brazilian figures as Gilberto Gil, Caetano Veloso, and Jorge Ben, with several songs from each. The selected recordings span the 1970s and ’80s, also including tracks from Milton Nascimento, Nazare Pereira, and more. The liner notes feature the original lyrics as well as their English translations.]

3. Caetano Veloso – “O Leãozinho”
   from: Brazil Classics 1: Beleza Tropical / Luaka Bop / October 1, 1989  
   [“O Leãozinho” means Little Lion. Caetano Emanuel Viana Teles Veloso was born August 7, 1942. He is a Brazilian composer, singer, guitarist, writer, and political activist. Veloso first became known for his participation in the Brazilian musical movement Tropicalismo, which encompassed theatre, poetry and music in the 1960s, at the beginning of the Brazilian military dictatorship that took power in 1964. He has remained a constant creative influence and best-selling performing artist and composer ever since. Veloso has won nine Latin Grammy Awards and two Grammy Awards. On November 14, 2012, Veloso was honored as the Latin Recording Academy Person of the Year. Veloso was one of seven children born into the family of José Telles Veloso (commonly known as Seu Zeca), a government official, and Claudionor Viana Telles Veloso (known as Dona Canô). He was born in the city of Santo Amaro da Purificação, in Bahia, a state in the eastern area of Brazil, but moved to Salvador, the state capital, as a college student in the mid-1960s. Soon after that, Veloso won a music contest and was signed to his first label. He became one of the founders of Tropicalismo with a group of several other musicians and artists—including his sister Maria Bethânia—in the same period. However, the Brazilian military dictatorship viewed Veloso’s music and political action as threatening, and he was arrested, along with fellow musician Gilberto Gil, in 1969. The two eventually were exiled from Brazil and went to London where they lived for two years. In 1972, Veloso moved back to his home country and once again began recording and performing. He later became popular outside Brazil in the 1980s and 1990s.]

4. Moreno Veloso – “Sertão”
   from: Music Typewriter / Luaka Bop / 2001 
   [Moreno Veloso was born November 22, 1972. He is a Brazilian musician and singer. His parents are Brazilian singer Caetano Veloso and his first wife Andréa Gadelha (Dedé) Veloso. Brazilian singer Gal Costa is Moreno Veloso’s godmother. // Veloso studied physics at the Federal University of Rio de Janeiro. He turned later to music and singing. In 2000, he recorded his first album, Máquina de Escrever Música (English: Music Typewriter), but his songwriting debut came in 1982 with “Um Canto de Afoxé para o Bloco Do Ile”, a reference to African mythology.// In 1998, Veloso collaborated with Sadjo Djolo Koiate on the track “Coral” for the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the Red Hot Organization. // Again in 2011, he contributed to the song “Águas de Março” that featured ATOM™ Toshiyuki Yasuda and Fernanda Takai for the Red Hot Organization’s charitable album Red Hot+Rio 2. The album is a follow-up to the 1996, Red Hot + Rio. Proceeds from the sales were donated to raise awareness and money to fight AIDS/HIV and related health and social issues. // One of Moreno Veloso’s music groups is called Moreno + 2, including Moreno Veloso, Alexandre Kassin and Domênico Lancelotti. // When you’re the son of Caetano Veloso, one of Brazil’s most beloved singer/songwriters and men of letters, you have to face a lot of expectations when you release your debut record. But Moreno Veloso is no clone; while he’s inherited the wry iconoclasm of his father, he stamps himself all over this record, letting his personal musical idiosyncrasies flourish, like the theremin and sound processing that buzz like flies over his cover of the Brazilian classic “Das Partes.” While the majority of the songs come from Veloso’s pen, like fellow new generation artist (and musical scion) Bebel Gilberto he’s not afraid to pay homage to the inspirational samba and bossa nova that’s an integral part of his country’s musical heritage, even venturing as far as North America for a take on “I’m Wishing” from the movie Snow White, which pitches English and Portuguese vocals against each other in a luminously simple performance. His own material can range from the rhythmic and funky “Arrivederci” to the understated, relaxed “Nenhuma,” where he reaches into a falsetto range of a voice that’s admittedly limited. The experimental tendencies are just enough to give an interesting quirk factor, without overwhelming his natural melodicism. While this album won’t start another Tropicaliá movement, the way his father’s mix of Brazilian and rock did in the late ’60s, it establishes him as one of the brighter new lights in the MPB (Brazilian popular music) scene.]

5. Eliane Elias – “Samba De Uma Nota So”
   from: Eliane Elias Sings Jobim / Blue Note Records / July 28, 1998
   [“Samba De Uma Nota So” translates to “One Note Dancing.” Eliane Elias Sings Jobim is the thirteenth studio album by Brazilian jazz artist Eliane Elias. This is her second album solely dedicated to the works of Antônio Carlos Jobim after Eliane Elias Plays Jobim released in 1990. Eliane Elias is a Brazilian jazz pianist, singer, composer and arranger. Elias was born in São Paulo, Brazil on March 19, 1960. She started studying piano when she was seven, and at age twelve she was transcribing solos from jazz musicians. She began teaching piano when she was fifteen, and began performing at seventeen with Brazilian singer-songwriter Toquinho and touring with the poet Vinicius de Moraes. // In 1981 she moved to New York City, where she attended The Juilliard School of Music. A year later she became part of the group Steps Ahead. In 1993 Elias signed with EMI Classics to record classical pieces, which were released on On the Classical Side. // In 2001, Calle 54, a documentary film by Spanish director Fernando Trueba, included Elias performing “Samba Triste.” In 2002 she recorded The Lost Days with Denyce Graves, for whom she wrote a composition entitled “HaabiaTupi.” In 2002, Elias signed with RCA/Bluebird, which issued Kissed by Nature. Dreamer was released in 2004 and received the Gold Disc Award, as well as being voted Best Vocal Album in Japan. It reached No. 3 on the pop charts in France and No. 4 on the Billboard magazine charts in the U.S. Around the City was released by RCA Victor in August 2006. In 2007, Elias released Something for You, which won Best Vocal Album of the Year and the Gold Disc Award in Japan. Something for You reached No. 1 on the U.S. jazz charts, No. 8 on Billboard, and No. 2 on the French jazz charts. In 2008, she recorded Bossa Nova Stories to celebrate the 50th anniversary of bossa nova. // In 2009, EMI Japan released Eliane Elias Plays Live. Light My Fire, released in 2011, features four compositions written or co-written by Elias and includes covers of songs by the Doors, Stevie Wonder, and Paul Desmond. In September 2011, her song “What About the Heart (Bate Bate)” was nominated for a Latin Grammy in the category of Best Brazilian Song. In 2012 she collaborated with bassist Marc Johnson on the album Swept Away, the Editor’s and Critic’s choice in 2012 Downbeat and Jazztimes magazines, respectively. Her 2013 release, I Thought About You, reached No. 1 on the U.S. and French Amazon.com websites; No. 2 on iTunes U.S., France and Brazil; and No. 4 on Billboard. // Made in Brazil, was followed by Dance of Time, which debuted at No. 1 on two Billboard: jazz and world music. Both Made in Brazil and Dance of Time debuted at No. 1 on iTunes in seven countries and won Grammy awards for Best Latin Jazz Album of the Year. // Her 2019 album Love Stories reached the #1 position as Best Seller Amazon.com Latin Jazz, #1 Best Seller Amazon.com Brazilian Jazz and #2 Best Seller Amazon.com Orchestral. // Her 2021 album Mirror, Mirror, which she recorded with Chick Corea and Chucho Valdès, won the Grammy Award for Best Latin Jazz Album.] 

6. Marisa Monte – “Dança Da Solidão”
   from: Verde Anil Amarelo Cor De Rosa & Carvão / EMI-Odeon, Blue Note / 1994
   [Verde, anil, amarelo, cor de rosa e carvão (distributed in the United States as Rose and Charcoal) is Brazilian singer Marisa Monte’s third album, released in 1994. Contributors include well-known artists such as Gilberto Gil, Paulinho da Viola, Naná Vasconcelos, Carlinhos Brown, Arnaldo Antunes and the group Época de Ouro. The album includes the hits “Maria de verdade,” “Na estrada,” and “De mais ninguém.” // It was listed by Rolling Stone Brazil as one of the 100 best Brazilian albums in history. // Marisa de Azevedo Monte (Brazilian Portuguese was born July 1. 1967. She is a Brazilian singer, composer, instrumentalist, and producer of Brazilian popular music and samba. As of 2011, she had sold 10 million albums worldwide and has won numerous national and international awards, including four Latin Grammys, seven Brazilian MTV Video Music Awards, nine Multishow de Música Brasileira awards, 5 APCAs, and six Prêmio TIM de Música. Marisa is considered by Rolling Stone Brasil to be the second greatest singer, behind only Elis Regina. She also has two albums (MM and Verde, Anil, Amarelo, Cor-de-Rosa e Carvão) on the list of the 100 best albums of Brazilian music. // Monte was born in Rio de Janeiro, daughter of the engineer Carlos Saboia Monte and Sylvia Marques de Azevedo Monte. On her father’s side, she is descended from the Saboias, one of the oldest Italian families in Brazil. She studied singing, piano, and drums as a child, and began studying opera singing at 14. // After failing to break through into 1980s Brazilian pop rock she went into semi-exile in Italy, where she met the famous producer Nelson Motta. Thereafter she became a hybrid of MPB diva and pop rock performer. While most of her music is in the style of modern MPB, she has also recorded traditional samba and folk tunes, largely in collaboration with such musicians and songwriters as Carlinhos Brown, Arnaldo Antunes, and Nando Reis and producer Arto Lindsay. She has also collaborated with the New York pop music vanguard, including Laurie Anderson, David Byrne, Marc Ribot, Bernie Worrell and Philip Glass. ]

7. Bebel Gilberto – “August Day Song (King Britt Remix)”
   from: Tanto Tempo Remixes / Ziriguiboom – Crammed Discs / April 25, 2000
   [Tanto Tempo (lit. “So Much Time”) is an album by Brazilian bossa nova singer Bebel Gilberto. Tanto Tempo was produced by Serbian producer Suba and co-produced by Béco Dranoff for the Ziriguiboom imprint of Crammed Discs. Suba died from smoke inhalation while saving the newly recorded album from a studio fire. The album was included in the book 1001 Albums You Must Hear Before You Die. // Isabel Buarque de Hollanda Gilberto de Oliveira (born May 12, 1966), known as Bebel Gilberto, is an American-born Brazilian popular singer often associated with bossa nova. She is the daughter of João Gilberto and singer Miúcha. Her uncle is singer/composer Chico Buarque. // Gilberto was born in New York City to Brazilian parents, bossa nova pioneer João Gilberto and singer Miúcha, who were briefly living in the city at the time of her birth. She often traveled with her father when he recorded albums in different countries; she lived in Mexico at age three and moved to Rio de Janeiro at age five. Gilberto’s parents separated when she was seven, and she spent her time between Rio de Janeiro with her mother and New York with her father. Gilberto has been performing since her youth in Rio de Janeiro, Brazil. // Gilberto recalls that her childhood was “music nonstop”; when reflecting on her father’s influence, Gilberto states, “He taught me to be a perfectionist. But my mother taught me how to lose it. And you can hear it in my music today, I think.” She grew acquainted with popular artists such as Caetano Veloso, David Byrne, and Stan Getz, who often visited her father’s home to collaborate. She began singing with her mother at a young age and participated in professional musicals such as Saltimbancos and Pirlimpimpim. At the age of seven, she made her recording debut on her mother’s first solo album, Miúcha & Antônio Carlos Jobim (1977). Two years later, she performed at Carnegie Hall with her mother and Stan Getz. // Gilberto was a great friend of Cazuza and composed several songs with him in addition to “Eu preciso dizer que te amo”, including “Amigos de Bar”, “Mais Feliz”, and “Mulher sem Razão”. // Gilberto next participated in the project Red Hot + Rio, joining major music stars such as Everything but the Girl, Maxwell, George Michael, and others for the benefit CD recording. She also collaborated on Towa Tei’s CD Future Listening!, singing on the hits “Technova” and “Batucada,” and also participated in Peeping Tom with Mike Patton (lead singer of Faith No More), singing “Caipirinha”. // Tanto Tempo, an electronic bossa nova album released in 2000, was popular at clubs around the world and positioned Gilberto as one of the best-selling Brazilian artists in the U.S. since the 1960s. With her second album, Bebel Gilberto (2004), she refined her sound to create an acoustic lounge style that showcased her strengths as a Brazilian composer. // With Momento (2007), her third album in seven years, she wanted to do a fusion of both. Mixing the taste of Rio’s Orquestra Imperial with the melting pot of New York’s Brazilian Girls, and following the direction of the English producer Guy Sigsworth (Madonna’s partner in “What It Feels Like for a Girl”), Momento reaffirmed the international character of Gilberto’s music. In 2007, she was a judge for the 6th annual Independent Music Awards to support independent artists’ careers. // Gilberto recorded her fourth studio album, All in One, in New York, Jamaica, and the Brazilian state of Bahia. It was released worldwide on September 29, 2009, on the American jazz label Verve, and was released in Brazil by Universal Music. It is the least electronic-infused of her albums, and brings to the forefront more of Gilberto’s personality and love for organic styles. All in One had a team of accomplished producers including Mark Ronson (Amy Winehouse, Lily Allen), John King (Dust Brothers, Beck), Daniel Jobim, Carlinhos Brown, Didi Gutman (Brazilian Girls) and Mario Caldato Jr (Beastie Boys, Björk, Jack Johnson). Gilberto also provided the voice of the bird Eva in the animated film Rio (2011), an experience she called “amazing”. // Since the launch of Tanto Tempo in 2000, she has sold over 2.5 million records and has been featured on seven film soundtracks including Next Stop Wonderland, The Bubble, Closer and most recently 2010s Eat Pray Love and 2011’s Rio; and seven TV series including Sex and the City, Six Feet Under, and Nip/Tuck. // In 2011, she contributed a track entitled “Acabou Chorare” to the Red Hot Organization’s most recent charitable album, Red Hot+Rio 2. The album is a follow-up to the 1996 Red Hot+Rio. Proceeds from the sales will be donated to raise awareness and money to fight AIDS/HIV and related health and social issues. In 2015, her song “Tudo” was nominated for the 16th Latin Grammy Awards in the Best Brazilian Song category.]

10:32 – Underwriting

8. Everything But The Girl – “Corcovado”
   from: Red Hot + Rio / Antilles – Verve / October 15, 1996
   [“Corcovado” (known in English as “Quiet Nights of Quiet Stars”) is a bossa nova song and jazz standard written by Antônio Carlos Jobim in 1960. English lyrics were later written by Gene Lees. The Portuguese title refers to the Corcovado mountain in Rio de Janeiro. // Tony Bennett recorded the first popular English cover of “Quiet Nights” with new lyrics by Buddy Kaye in 1963. Numerous English cover recordings then followed sometimes credited to Lees and/or Kaye and Lees, including the Andy Williams recording of the song with English lyrics, reaching #92 in the Billboard Hot 100 and #18 in the Hot Adult Contemporary Tracks chart in 1965. Also receiving air-play, contemporaneously with Andy Williams’ recording of “Quiet Nights,” was Kitty Kallen’s version. Her album, titled “Quiet Nights,” was released by 20th Century-Fox Records in 1964. // Everything But The Girl have recently released their new track “Caution To The Wind” and its accompanying lyric video. The track is taken from the band’s upcoming album Fuse out April 21, 2023. // Red Hot + Rio is a compilation album produced by Béco Dranoff and Paul Heck as part of the Red Hot AIDS Benefit Series intended to promote AIDS awareness. This installment is a contemporary tribute to the bossa nova sound, especially the music of Antonio Carlos Jobim. This release has proven to be one of the Red Hot series’ more successful projects, generating hundreds of thousands of dollars for AIDS charities around the world. // Brazilian recording artists including Jobim, Astrud Gilberto and Gilberto Gil are among the contributors to the project. Along with them, many contemporary pop music performers are featured on this release, including Incognito, David Byrne, Sting and PM Dawn. // Its success made it the 2nd most celebrated entry in the Red Hot Series. The album was sent out to music and lifestyle retail locations (3–5,000 copies) across the country that gave it widespread exposure, including shops such as Urban Outfitters and The Gap as well as upscale shops like Wilkes-Bashford and Louis Boston. Its release coincided with a renewed interest in tourism to Brazil and the Tropicalia music revival of the early 1960s. // In part, the success of the initial album has prompted a second Red Hot + Rio project, a live concert event slated for December 2008 in New York City’s Brooklyn Academy of Music. Contrasting with the 1996 album, Red Hot + Rio 2: The Next Generation of Samba Soul will contain works from Brazil’s samba music heritage. The concert will benefit AIDS-related projects coordinated through the Brazil Foundation, founded in New York in 2000 to promote social development throughout communities in Brazil. // Everything But The Girl broke through on the UK indie scene in 1982 with a stark jazz-folk cover of Cole Porter’s “Night and Day.” They then released a string of UK gold albums throughout the 80s, experimenting with jazz, guitar pop, orchestral wall-of-sound and drum-machine soul. After Watt’s near-death experience from a rare auto-immune condition in 1992, the pair returned unbowed with the million-selling ardent folktronica of Amplified Heart in 1994. It includes their biggest hit, “Missing,” after New York DJ-producer Todd Terry’s remix unexpectedly made the leap from heavy club play to global radio success (Number 2 US Hot 100; Number 3 UK Top 40). The sparkling Walking Wounded – emotional songs brimming with ideas from the mid 90s electronic scene – followed in 1996 (Number 4 UK Album Chart). Spawning four UK Top 40 hits, the record became the band’s first platinum selling album. After their final show at the Montreux Jazz Festival in 2000, the pair chose to quit Everything But The Girl on a high. // Everything but the Girl is an English musical duo formed in Kingston upon Hull in 1982, consisting of lead singer and occasional guitarist Tracey Thorn and guitarist, keyboardist, producer and singer Ben Watt. The group’s early works have been categorized as sophisti-pop with jazz influences before undergoing an electronic turn following the worldwide success of the 1994 hit single “Missing”. // The duo have accomplished four top ten and twelve top 40 singles in the UK and have received eight gold and two platinum album BPI certifications in the UK as well as one gold album RIAA certification in the US. Their cover of “I Don’t Want to Talk About It” reached number three on the UK Singles Chart in 1988, a feat which would later be matched by “Missing”, which charted high in several countries and reached number two on the U.S. Billboard Hot 100 in 1995 and spent over seven months on the UK Singles Chart thanks to an extremely popular remix by Todd Terry which later led to a Brit Award nomination for Best British Single. // Their ninth album Walking Wounded (1996) set a new career best by entering the UK albums chart at number four; it spawned the top ten singles “Walking Wounded” and “Wrong”. The band went inactive in 2000, with Thorn declaring that she would no longer perform live. Thorn and Watt, who did not publicise their romantic relationship with each other while active, married in 2009, both released solo albums and said it was unlikely that Everything But the Girl would be active again. // However, in November 2022, Thorn announced that a new album had been recorded for release in spring 2023. Fuse, the band’s first new material in 24 years, will be released on 21 April 2023. // When Thorn and Watt met, they were both attending the University of Hull and both had contracted with the independent record company Cherry Red Records, as solo artists. Thorn was also a member of the trio Marine Girls. The pair each had solo album releases through Cherry Red: Thorn’s 1982 LP was A Distant Shore, an eight-track mini-album. Watt’s 1983 debut LP – the follow-up to his 1982 5-track EP Summer Into Winter featuring Robert Wyatt – was entitled North Marine Drive. // 1985 view of Turners, with the slogan Everything but the Girl. They formed a duo and adopted the name “Everything but the Girl” from the slogan used by the Hull shop Turner’s Furniture on Beverley Road.]

9. Кино – “Верь мне”
   from: Это не любовь / Moroz Records / 1985
   [Eto ne lyubov… (Russian: Это не любовь…, lit. ’This is not love…’) is the fourth studio album by Soviet rock band Kino. It was released in 1985. // Kino (Russian: Кино, lit. ’cinema, film’, IPA: [kʲɪˈno]) was a Soviet rock band formed in Leningrad in 1982, considered to be one of, if not the, greatest rock band in the history of Russian music. The band was co-founded and headed by Viktor Tsoi, who wrote the music and lyrics for almost all of the band’s songs. Over the course of eight years, Kino released over 90 songs spanning over seven studio albums, as well as releasing a few compilations and live albums. The band’s music was also widely circulated in the form of bootleg recordings through the underground magnitizdat distribution scene. Viktor Tsoi died in a car accident in 1990. Shortly after his passing, the band broke up after releasing their final album, consisting of songs that Tsoi and the group were working on in the months before his death. // In 2019, the band announced a reunion with concerts planned in the fall of 2020 for the first time in 30 years, however they were later postponed to 2021 due to the COVID-19 pandemic.]

10. Кино – “Уходи”
    from: Это не любовь / Moroz Records / 1985
    [Kino was formed in 1981 by the members of two earlier groups from Leningrad (now Saint Petersburg), Palata No. 6 and Piligrimy. They initially called themselves Garin i giperboloidy (Russian: Гарин и гиперболоиды, lit. ’Garin and the Hyperboloids’) after Aleksei Tolstoi’s novel The Hyperboloid of Engineer Garin. The group consisted of Viktor Tsoi, guitarist Aleksei Rybin, and drummer Oleg Valinsky [ru]. They began rehearsing, but Valinsky was drafted and had to leave the band. In the spring of 1982, they began to perform at the Leningrad Rock Club and met with influential underground musician Boris Grebenshchikov. It was around this time that they changed the band’s name to Kino. The name was chosen because it was considered short and “synthetic,” and the band members took pride in that it had only two syllables and was easy to pronounce by speakers all over the world. Tsoi and Rybin later said that they had the idea for the name after seeing a bright cinema sign.]

11. Bravo (Браво) – “Zapolarniy Tvist”
    from: Moskovskiy Bit (Moscow Beat) / Московский бит / 1994
    [Bravo was founded in 1983 in Moscow, Russia by guitarist Evgeny Havtan. Drawing heavy inspiration from 1950s western music, Bravo was a part of the Soviet rock & roll revival of the 1980s, along with Secret. Their first album was made in 1983.// Despite the fact that at that time rock and roll and beat music (except for The Beatles) were less popular among Soviet citizens than classic rock, the band was one of the most popular underground acts in Russia in the 1980s, until the departure of original lead singer Zhanna Aguzarova in 1988. Since then Bravo has achieved success with several different singers, Valeriy Syutkin (1990-1994) and Robert Lenz (since 1996). // In 2011, after a ten-year break from studio recordings, Bravo released an album Fashion receiving positive reviews from critics and good attention from younger audiences. The band recorded the album using vintage instruments from the 50s & 60s. The album was produced by Ghian Wright. The album cover includes a photography of Audrey Hepburn from the US-American romantic comedy Roman Holiday.]

12. Bravo – “Wonderful Country”
    from: Live In Moscow / Bravo / 1994

11:00 – Station ID

13. Машина Времени (Mashina Vremeni) – “Разговор в поезде”
    from: Лучшие песни 1979-1985 (Greatest Hits) / Sintez Records / May 27, 1993
    [Разговор в поезде translates to “Conversations on a Train.” // Mashina Vremeni (Russian: Машина времени, lit. ’Time Machine’) is a Russian rock band founded in 1969. Mashina Vremeni was a pioneer of Soviet rock music and remains one of the oldest still-active rock bands in Russia. The band’s music incorporates elements of classic rock, blues, and bard’s song. Mashina Vremeni’s best known members are Andrei Makarevich (founder, principal singer-songwriter, public face of the band), Alexander Kutikov (bass player and producer/sound engineer), and Evgeny Margulis (guitarist/songwriter). // Andrei Makarevich’s musical career can be traced to a school band called The Kids, which was made up of two male guitarists and two female vocalists. The group sang mostly English-language folk songs and performed primarily at talent shows put on in Moscow schools. According to Makarevich, the momentous event in his musical career came when the Soviet group VIA Atlanty (Russian: ВИА «Атланты») visited his school and allowed him to play a couple of songs on their equipment during a break in the performance. On the heels of this experience, Makarevich joined with other musically talented students from his school and another school to form Mashiny Vremeni (Russian: Машины времени, lit. ’Time Machines’ – in plural form imitating The Beatles, The Rolling Stones, etc.). The most significant founding members included Sergey Kawagoe and Andrey Makarevich. The band’s repertoire consisted of eleven songs in English, now lost.// Mashina Vremeni started playing during the last years of the Brezhnev era, but could not get official bookings as a professional band. In 1979 Makarevich signed the band up with Rosconcert, becoming legitimate in the State music system.]

14. Квартал – “Там на Таити (In Tahiti)”
    from: Резиновые джунгли (Rubber Jungle) / 1994

15. Shonen Knife – “Till The End Of The Day”
    from: The Birds And The B-Sides / Virgin Records / 1996
    [Shonen Knife is a Japanese pop-punk band formed in Osaka in 1981. Influenced by 1960s girl groups, pop bands, the Beach Boys, and early punk rock bands such as the Ramones, the band crafts stripped-down songs with simple yet unconventional lyrics sung both in Japanese and English. // The band has been credited with making “the international pop underground more international” by “opening it up to bands from Japan”. They have also performed as a Ramones tribute band under the name the Osaka Ramones. Guitarist/singer Naoko Yamano is the only member to have remained with the band for its entire history; her sister Atsuko Yamano was a founding member and, after a long hiatus, returned to the band in 2016. They have released 22 studio albums; their most recent album Our Best Place was released in February 2023. // In the words of the Boston Globe, “something oddly spellbinding occurs when deceivingly silly lyrics are sandwiched between a buoyant guitar and a rapid-fire, pop-punk drum kit. Which perhaps explains why the Japanese female alternative rock/pop punk trio Shonen Knife is still singing songs about cookies, sushi, jelly beans, and, of course, banana chips.” // Shonen Knife was formed in December 1981 in Osaka, Japan, by Naoko Yamano on guitar and vocals; her college friend Michie Nakatani on bass, keyboards, and vocals; and Naoko’s then 17-year-old sister Atsuko Yamano on drums. Naoko and Michie had both worked at office jobs; Atsuko had received training as a fashion designer and has created many of the band’s stage outfits. The band was named after an old brand of pen knife that had been marketed to Japanese boys. Female rock bands were rare in Japan at the time. While cultivating a punk rock sound, the band emphasized positivity using catchy, upbeat melodies and simple, carefree lyrics that often dealt with sweets, animals, and consumer culture. As explained by Nakatani in an interview, “We’ve always enjoyed writing songs about everyday things. Besides, there are already enough bands out there singing about pollution, war and poverty. While we all care very much about those things, we also feel that music should be fun.” // They played their first gig in Osaka in March 1982, and self-released the cassette-only album Minna Tanoshiku later that year. Their first full-length album Burning Farm was released in 1983, followed by Yama-no Attchan in 1984. While the band’s early albums were only officially released in Japan, imported copies attracted a cult following among alternative rock fans in the United States. In 1985, Burning Farm attracted the attention of K Records in Olympia, Washington, which re-released the album in America. // In 1986 the band released multiple international versions of the album Pretty Little Baka Guy, with the American version issued by Sub Pop, their song “One Day of the Factory” appeared on an international compilation released by that label. In 1987, Shonen Knife was invited to open for Sonic Youth in Osaka, and played internationally for the first time at a concert in Los Angeles with organizational support from Sonic Youth and Redd Kross. The band’s cult following among musicians was illustrated by the 1991 tribute album Every Band Has a Shonen Knife Who Loves Them, with cover songs by 23 punk and alternative rock acts.]

16. Guitar Wolf – “カワサキZII 750 ROCK’N’ROLL”
    from: 狼惑星 PLANET of THE WOLVES / Matador Records / October 21, 1997
    [Planet of the Wolves is the fifth studio album by Japanese rock band Guitar Wolf. It was released in Japan on September 21, 1997/. It features covers of The Rolling Stones’ “(I Can’t Get No) Satisfaction”, Link Wray’s “Rumble”, Milan the Leather Boy’s “Motor Cycle Leather Boy”, and Teengenerate’s “Let’s Get Hurt.” // Guitar Wolf (Japanese: ギ タ ー ウ ル フ) is a Japanese garage rock power trio founded in Tokyo in 1987. They coined the phrase “jet rock ‘n’ roll”, which they use to describe their musical style. The band is signed to Sony Music Japan’s Ki/oon Records division. // Guitar Wolf has released thirteen studio albums internationally as well as a live album, numerous singles, and a retrospective compilation called Golden Black. The band members have also been featured in two B-grade science fiction horror films: Wild Zero and Sore Losers. A collection of Guitar Wolf’s most popular videos and live performances have been compiled into a limited-edition DVD titled Red Idol. // Guitarist Seiji was born in Nagasaki Prefecture but moved to nearby Shimane Prefecture while he was still young. Upon graduating high school, he moved to Tokyo, where he became lead vocalist for the band Far East Punch. With a strong desire to play guitar, Seiji dedicated himself to the instrument after coming across a copy of the single “Rumble” by Link Wray & His Ray Men at Tower Records in Shibuya. He has stated that the 1958 instrumental “saved his music life”. // Seiji met bassist Billy (Hideaki Sekiguchi) while the two were working in Harajuku. Realizing they shared similar musical tastes, they decided to form a rock band together. After convincing Seiji’s coworker Narita to accompany them on drums, Guitar Wolf formed in Harajuku in 1987. Each member adopted a Ramones-style surname reflecting the instrument he played: Seiji became Guitar Wolf, Billy became Bass Wolf, and Narita became Drum Wolf, though Narita would depart the group shortly thereafter. For a brief period, Seiji’s younger brother Masaharu filled in on drums before current drummer Tōru was found. // In time, the band would come to develop its own unique strain of punk rock music, fusing multiple genres together into what the band described as Jet Rock ‘n’ Roll. Although Guitar Wolf has cited Joan Jett as an important musical and stylistic influence, contrary to some reports, the term Jet Rock is not derived from Joan Jett’s name. The term’s origin is, rather, attributed to the sound of a jet plane. In an interview conducted in St. Louis on 5 April 2012, Seiji clarified: “I love jet plane. I love noisy music, too. So…there were records…many records…every record have no big sounds. So…easy to listen. I hate that! So! I add jet sounds. Bwaaaahng! Explosion!” In the same interview, when asked who created the term Jet Rock, Seiji replied, “Me. Yeah, yeah. So we are #1 Japanese Jet Rock Band”. // By 1994, the band had released three albums and a single. Their first album, Wolf Rock!, was recorded in Seiji’s basement and released in the US on vinyl by Goner Records. Their second album, Kung Fu Ramone, was released through Bag of Hammers; their third, titled Run Wolf Run, contains a number of re-recorded tracks from Kung Fu Ramone. 1994 also saw the release of their first single, “Somethin’ Else b/w Red Rockabilly”, again through Bag of Hammers. // Guitar Wolf at Burger Boogaloo, Mosswood Park, Oakland, 2017. The period between 1994 and 2000 is when Guitar Wolf released much of their best-known material. In 1996, a performance at a New York City record store secured the band a contract with Matador Records, who issued their fourth album, Missile Me!, that same year. Guitar Wolf would continue releasing albums with Matador until 1999’s Jet Generation, an album that the company claimed was the loudest ever put to wax, and which included a warning that playing it could potentially damage the listener’s audio equipment. // On 24 April 2019, it was announced that Guitar Wolf’s latest album, Love & Jett, would be released on Jack White’s Third Man Records on 10 May 2019. A US tour with Nashville Pussy was organized to promote the album.]

17. The 5, 6, 7, 8’s – “Woo Hoo”
    from: Bomb The Twist / Sympathy For The Record Industry / January 11, 1996
    “Woo Hoo” was featured in the 2003 film Kill Bill Volume 1, directed by Quentin Tarantino. // The 5.6.7.8’s are a Japanese rock band from Tokyo. They first started performing as a quartet in Tokyo, and recruited guest performers during their Australian tour. They became a trio in 1992, before touring Australia. // The 5.6.7.8’s formed when Sachiko and Yoshiko “Ronnie” Fujiyama, two sisters from Tokyo who both shared a passion for rock and roll, founded the band in 1986 with two other members. Originally, the line-up consisted of Yoshiko on vocals and guitar, Rico on second guitar, Yoshie on bass guitar and Sachiko on drums. After several line-up changes (including the bassist Yoshiko “Yama” Yamaguchi, who was the bassist featured in the Kill Bill movie), the band eventually became a trio after Rico’s and Yoshie’s departures. Yoshiko and Sachiko are still the main components in the band, and now Akiko Omo has rejoined the band as the bass guitarist (She originally joined the 5.6.7.8’s in the early 1990s). // Even though the group mostly sing their songs in Japanese, they do many covers of American rock and roll records from the 1950s to the 1980s. However, their official website and most of their fansites and fanclubs are in Japanese, as they have their biggest following in their home country. // Yoshiko, who plays a Teisco guitar and sports a “Teenage Queen Delinquent” tattoo on her upper right arm, was initially the lead vocalist, but as the band performed more rock and roll songs originally performed by female groups, every member had equal parts in vocals and many songs are performed singing simultaneously. // The 5.6.7.8’s became known in the West after their appearance in Kill Bill Vol. 1, in which they performed “I Walk Like Jayne Mansfield”, “I’m Blue” (a cover of The Ikettes’ song) and “Woo Hoo” in a Tokyo club, “The House Of Blue Leaves”. On the Special Bonus Features of the Kill Bill Volume 1 DVD, one of the specials featured a live performance which shows the 5.6.7.8’s singing “I Walk Like Jayne Mansfield” and “I’m Blue” during filming of the movie. The 5.6.7.8’s song “The Barracuda” is featured in The Fast and the Furious: Tokyo Drift soundtrack. // According to Quentin Tarantino, he discovered the music of the 5.6.7.8’s after hearing it in an urban clothing store in Tokyo, hours before going to the airport. // They also became renowned for the use of their cover of The Rock-A-Teens song, “Woo Hoo”, in advertisements for Carling lager and Vonage VoIP service in the mid-2000s. The song reached No. 28 on the UK Singles Chart in 2004. The follow-up song was “I’m Blue”; it peaked at No. 71 on the same chart two months later. //. The 5.6.7.8’s have also toured many countries including China, Australia, the United States, and their native Japan. // The 5.6.7.8’s music draws from multiple genres of American music, including rock and roll, surf, rockabilly, doo-wop, punk rock and psychobilly. According to Yoshiko “Ronnie” Fujiyama, the band wanted to “deconstruct rock ‘n’ roll into punk music by using distortion and noise and screaming.” The band’s influences include Chuck Berry and Sex Pistols. The 5.6.7.8’s sound has been classified as garage rock, rock and roll, garage punk, punk rock, rockabilly, roots rock, surf punk and surf rock.]

18. Pizzicato Five – “The Earth Goes Round”
    from: Happy End of The World / Matador / June 21, 1997
    [Happy End of the World (ハッピー・エンド・オブ・ザ・ワールド) is the tenth studio album by Japanese pop band Pizzicato Five. The album was released on June 21, 1997, by Readymade Records. In the United States, it was released by Matador Records on September 9, 1997, and peaked at number 32 on Billboard’s Heatseekers Albums chart. A companion remix album, Happy End of You, was released in 1998.[6] Happy End of the World was reissued by Readymade on March 31, 2006. // On Happy End of the World, Pizzicato Five incorporated influences from contemporary styles of electronic music, including breakbeat, downtempo and drum and bass, into their trademark Shibuya-kei sound. Tokyo Weekender writer Ed Cunningham found that the album saw the band expanding on the “beat-driven experimentation” that had been hinted at on previous albums such as Sweet Pizzicato Five (1992) and Bossa Nova 2001 (1993). He describes it as having “both the density and adventurousness of a plunderphonics record (despite much of it being performed live) and the chilled, featherweight listenability of lounge and easy-listening pop.”]

19. Pizzicato Five – “Trailer Music”
    from: Happy End of The World / Matador / June 21, 1997
    [Pizzicato Five (formerly typeset as Pizzicato V and sometimes abbreviated to P5) was a Japanese pop band formed in Tokyo in 1979 by multi-instrumentalists Yasuharu Konishi and Keitarō Takanami. After some personnel changes in the late 1980s, the band gained international fame as a duo consisting of Konishi and vocalist Maki Nomiya. With their music blending together 1960s pop, jazz and synth-pop, the group were a prominent component in the Shibuya-kei movement of the 1990s. // Pizzicato Five was a hugely prolific group during its existence, usually releasing at least a studio album each year in addition to various EPs and remix albums. Their music has appeared in numerous movies, television episodes, and video games. // Pizzicato V began in 1979 when university students Yasuharu Konishi and Keitarō Takanami first met at a local music society conference. Ryō Kamomiya, Mamiko Sasaki, and Shigeo Miyata were soon recruited after a few years. Miyata left the group almost immediately but the four remaining members kept the name Pizzicato V. The band released its first single on Haruomi Hosono’s Non-Standard label (Teichiku Records), a 12-inch release titled “The Audrey Hepburn Complex” which was produced by Hosono, in 1985. They followed this with the single “Action”. // In 1986, Pizzicato V signed with CBS/Sony (now Sony Music Entertainment Japan). In 1987, the band released their first all-new album, Couples. It was a commercial failure, and the record company began pressuring the band to find a new lead singer. Kamomiya and Sasaki decided to quit. Takao Tajima, Original Love’s frontman, joined the band soon as the new vocalist. He decided to work at these two bands. With Tajima, the band released its second album, Bellissima! in 1988. // The next two albums, 1989’s On Her Majesty’s Request and 1990’s Soft Landing on the Moon, were also commercial failures. // In 1990, Maki Nomiya, who had previously released one solo album, joined as the third lead vocalist. Takao Tajima left to concentrate on his own band Original Love. In 1991, Pizzicato Five signed with Nippon Columbia/Seven Gods (later Triad Records). // Following three EPs showcasing Nomiya’s vocals, Pizzicato Five released This Year’s Girl. Inspired by the advent of sampling (De La Soul’s 3 Feet High and Rising is said to have been a major influence), the group put together a sound which would help start the burgeoning Shibuya-kei scene. The album would spawn two of their best-known songs: “Twiggy Twiggy” and “Baby Love Child”. // 1992 saw a change in direction as the clubby Sweet Pizzicato Five was released. // The band began to get increasing exposure via the theme songs it recorded for television dramas (a common practice for pop bands in Japan), achieving widespread fame with the 1993 single “Sweet Soul Revue”, which was featured in a major spring advertising campaign for Kao Corporation (Kanebo Cosmetics). In December, the single “The Night Is Still Young” (東京は夜の七時, tōkyō wa yoru no shichiji) (literally, 7 p.m. in Tokyo) became another smash hit after it was used as the opening theme of the children’s television programme UgoUgo Rūga Ni-gō. // The band’s American debut came in 1994 with the release of the EP Five by Five on Matador Records. This was quickly followed by a full-length album, Made in USA, a compilation of tracks from their last three Japanese albums which sold 200,000 copies worldwide. // Shortly before the release of the next album Overdose in the same year, Keitarō Takanami quit the band, leaving Konishi and Nomiya as the only remaining members. In February 1995, the two set off on a successful 14-stop tour of Europe and America. Another compilation, The Sound of Music by Pizzicato Five, was released in October 1995, again featuring various tracks from the Maki-era albums. // After the 1996 release of the album Romantique 96 and several singles, including the hit “Baby Portable Rock”, in 1997 the band formed its own label, Readymade Records, and released the commercially successful album Happy End of the World – the only Pizzicato Five album to be released unchanged in both Japan and the rest of the world. // In 1998, the band released The International Playboy & Playgirl Record in Japan. It would be released a year later worldwide with a slightly different track listing and the shortened title (which was also its Japanese title) of Playboy & Playgirl. // 1999 came and Pizzicato Five released the JBL Maxisonic series of EPs, followed by the album Pizzicato Five. It included songs from each of the three EPs in very different forms: “Darlin’ of Discothèque” is shorter and instrumental, “A Perfect World” is a lounge-style rearrangement sung by guest vocalist Mieko Hirota and the new song “20th Century Girl” is based on the B-side “Room Service”, originally written by Masumi Arichika of TV Jesus. // In 2000, Matador Records released Pizzicato Five under the somewhat less confusing name of The Fifth Release from Matador. The CD version of this left out the first song “Love Again” but added three extra tracks (one from each of the JBL Maxisonic EPs), while the LP version shared the same title but deviated still further from the original track listing. It would also be Pizzicato Five’s last American release. // 2001 saw the Japanese release of the album Çà et là du Japon and the announcement that the band was to break up, followed by a series of live events featuring guest performances by old members and two further Big Hits and Jet Lags albums – Pizzicato Five R.I.P. (1998–2001) and Singles (1993–2001).]

20. PUFFY – “渚にまつわるエトセトラ (Etc Etc.)”
    from: THE VERY BEST OF PUFFY ～amiyumi JET FEVER～ / Epic / 2000
    [Puffy (パフィー, Pafī, stylized as PUFFY) is a Japanese pop rock duo formed in Tokyo in 1995, consisting of singers Ami Onuki and Yumi Yoshimura. In the United States, they adopted the name Puffy AmiYumi to avoid legal naming conflicts with Sean Combs, who also performed under the name Puffy. They sing in Japanese and English. // Onuki and Yoshimura were scouted by Sony-affiliated talent agencies and put together in the mid-1990s. Most of their work was produced or co-written by Tamio Okuda and Andy Sturmer, formerly of the bands Unicorn and Jellyfish, respectively. // The pair’s first release “Asia no Junshin” (1996) sold a million records. They gained mainstream success in Japan during 1998, following the release of their album Jet CD and continued with several more full-length releases (totaling 15 million sales in Japan).// In 2004, an animated series featuring cartoon versions of Onuki and Yoshimura, Hi Hi Puffy AmiYumi, premiered on the US Cartoon Network. Although their characters were voiced by actresses, the singers portrayed themselves for short live-action segments taped in Japan. // When she was in high school, Ami sang for a band called “Hanoi Sex”. In her sophomore year, the band auditioned during the Sony SD Audition and passed, becoming employees of Sony Music Entertainment. Years went by with little action by either the band or the record label, as Ami took vocal lessons and attended a professional school to learn how to become a better performer. Eventually the band dissolved, leaving only Ami under Sony’s employment. She was encouraged to stay, despite lacking a band and a clear musical direction. // Separately, Yumi had learned of the Chotto Sokomade talent search underway by Sony Music Artists when she was “around 18”. She also auditioned and passed. She moved on her own from Osaka to Tokyo, where she eventually met Ami by chance in the Sony Music offices and then at a concert after-party, when the two hit it off. Both felt alone within the large Sony organization and neither were confident in their abilities as solo artists, so even though Ami had already recorded a solo CD under the guidance of former Unicorn front-man Tamio Okuda (it would later become half of solosolo), they requested Sony pair them as a duo. // Producer and American pop musician Andy Sturmer christened them “Puffy”, and is considered by Ami and Yumi as “the godfather of Puffy”. Ami had previously met Tamio Okuda at a Sparks Gogo concert, and he had produced her then-unreleased solo CD. He was eventually signed on to produce Puffy’s first album AmiYumi. Their debut single, “Asia no Junshin”, launched Puffy-mania. Asked if they were surprised by the attention after its success, Yumi told an interviewer “… everything that was put together for that song all came together and made it happen, but we didn’t expect it. It was luck.” // As “Puffy-mania” exploded, they became multimedia stars, including hosting their own weekly TV show Pa-Pa-Pa-Pa-Puffy with guests such as Lenny Kravitz, Sylvester Stallone, Harrison Ford, and rock band Garbage. // Puffy made their first US appearance as part of Music Japan’s “An Evening with Japan’s All-Stars” showcase at the 2000 South by Southwest (SXSW) festival in Austin, Texas. After their performance at SXSW, attorneys for Sean “Puffy” Combs sent the band a cease and desist letter asking them to change their name. After changing their name in the US to Puffy AmiYumi, they told Entertainment Weekly: Yumi: It doesn’t bother us at all. We respect the fact that Puff Daddy is Puffy in the U.S. Ami: The bottom line is that we don’t know what puffy means. We were given our name by somebody else six years ago, and we really don’t have a clue. // After Pa-Pa-Pa-Pa-Puffy ended production in 2002, Puffy focused on performing in the United States. Several of their previous Japanese albums were released for the US market and they recorded theme songs for the animated series Teen Titans and SD Gundam Force. They have also done a cover version with Cyndi Lauper of her hit “Girls Just Wanna Have Fun”. They were also interviewed on Jimmy Kimmel Live! by Jimmy Kimmel and performed their songs “Hi Hi” and “Akai Buranko” (Red Swing) on the show. They came back to the US in 2006 for their Splurge Tour, and also toured with Tally Hall for Super-Ultimate Awesome Exploration America 2006 In January 2017, they announced for the US tour titled Puffy AmiYumi US TOUR 2017: NOT LAZY in April 2017. In the same month, the band made an appearance at Anime Boston for autograph signings. After their appearance at Boston Anime Convention they undertook a three city USA Tour which they called their ‘Not Lazy Tour’ of the cities of San Francisco, Los Angeles, and Dallas, Texas.]

11:28 – Underwriting

21. PUFFY – “日曜日の娘 (Sunday Girl)”
    from: THE VERY BEST OF PUFFY ～amiyumi JET FEVER～ / Epic / 2000

22. Yellow Magic Orchestra – “Behind The Mask”
    from: YMO Go Home / Alfa Music / September 22. 1999
    [Japanese electronic music band formed in Tokyo in 1978 by Haruomi Hosono (bass, keyboards, vocals), Yukihiro Takahashi (drums, lead vocals, occasional keyboards) and Ryuichi Sakamoto (keyboards, vocals). The group is considered influential and innovative in the field of popular electronic music. They were pioneers in their use of synthesizers, samplers, sequencers, drum machines, computers, and digital recording technology, and effectively anticipated the “electropop boom” of the 1980s. They are credited with playing a key role in the development of several electronic genres, including synthpop, J-pop, electro, and techno, while exploring subversive sociopolitical themes throughout their career. // The 3 members were veterans of the music industry before coming together as YMO, and were inspired by eclectic sources, including the electronic music of Isao Tomita and Kraftwerk, Japanese traditional music, arcade games, funk music, and the disco productions of Giorgio Moroder. They released the surprise global hit “Computer Game” in 1978, reaching the UK Top 20 and selling 400,000 copies in the U.S. For their early recordings and performances, the band was often accompanied by programmer Hideki Matsutake. The group released several albums before pausing their activity in 1984. They briefly reunited several times in subsequent decades before Takahashi and Sakamoto’s deaths in 2023. // Prior to the group’s formation, Sakamoto had been experimenting with electronic music equipment at the Tokyo National University of Fine Arts and Music, which he entered in 1970, including synthesizers such as the Buchla, Moog, and ARP. The group leader Haruomi Hosono had been using an Ace Tone rhythm machine since early in his career in the early 1970s. Following the break-up of his band Happy End in 1972, Hosono became involved in the recording of several early electronic rock records, including Yōsui Inoue’s folk pop rock album Kōri no Sekai (1973) and Osamu Kitajima’s progressive psychedelic rock album Benzaiten (1974), both of which utilized synthesizers, electric guitars, electric bass, and in the latter, electronic drums, and rhythm machines. Also around the same time, the band’s future “fourth member” Hideki Matsutake was the assistant for the internationally successful electronic musician Isao Tomita. Much of the methods and techniques developed by both Tomita and Matsutake during the early 1970s would later be employed by Yellow Magic Orchestra. // Sakamoto first worked with Hosono as a member of his live band in 1976, while Yukihiro Takahashi recruited Sakamoto to produce his debut solo recording in 1977 following the split of the Sadistic Mika Band. Hosono invited both to work on his exotica-flavoured album Paraiso, which included electronic songs produced using various electronic equipment. The band was named “Harry Hosono and the Yellow Magic Band” as a satire of Japan’s obsession with black magic at the time, and in late 1977 they began recording Paraiso, which was released in 1978. The three worked together again for the 1978 album Pacific, which included an early version of the song “Cosmic Surfin”. Hosono and Sakamoto also worked together alongside Hideki Matsutake in early 1978 for Hosono’s experimental “electro-exotica” fusion album Cochin Moon, which fused electronic music with Indian music, including an early “synth raga” song “Hum Ghar Sajan”. The same year, Sakamoto released his own solo album, The Thousand Knives of Ryuichi Sakamoto, experimenting with a similar fusion between electronic music and traditional Japanese music in early 1978. Hosono also contributed to one of Sakamoto’s songs, “Thousand Knives”, in the album. Thousand Knives was also notable for its early use of the microprocessor-based Roland MC-8 Microcomposer music sequencer, with Matsutake as its music programmer for the album. // While Sakamoto was working on Thousand Knives, Hosono began formulating the idea of an instrumental disco band which could have the potential to reach success in non-Japanese-language territories, and invited Tasuo Hayashi of Tin Pan Alley and Hiroshi Sato of Uncle Buck as participants, but they declined. Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra and they began recording their self-titled album at a Shibaura studio in July 1978. // YMOs 1978 self-titled album Yellow Magic Orchestra was successful and the studio project grew into a fully fledged touring band and career for its three members. The album featured the use of computer technology (along with synthesizers) which, according to Billboard, allowed the group to create a new sound that was not possible until then. Following the release of the album Yellow Magic Orchestra, a live date at the Roppongi Pit Inn was seen by executives of A&M Records of the USA who were in the process of setting up a partnership deal with Alfa Records. This led to the YMO being offered an international deal, at which point (early 1979) the three members decided the group would be given priority over their solo careers. The most popular international hit from the album was “Firecracker”, which would be released as a single as “Computer Game”, which became a success in the United States and Europe.]

23. Kim Jung Mi – “난 정말 몰라요(I Really Don’t Know)”
    from: 이건 너무 하잖아요 (This Is Too Much) / Kim Jung Mi / 2000
    [Kim Jung Mi is a South Korean psychedelic rock singer. // Born on April 23, 1953, in Seoul, as the second daughter of Kim Sun Sung, an entrepreneur who owned a transportation company. In 1971, when she was in her last year of high school, Kim joined Shin Jung-hyeon’s band to record film soundtracks for The Women in the Waiting Room and Wolves and Cats. She continued her singing career as a vocalist for Shin Jung Hyun & Yup Juns, and recorded Now. However, after six years of musical success, Kim was forced to leave the scene in 1977 due to repetitive censorship criticizing her “vulgar voice”.During the 1975 Marijuana Incident, Kim was arrested and all the music albums she produced were believed to have been discarded.]

24. 신중현과 엽전들 (Shin Jung Hyun & Yup Juns) – “생각해 (Think)”
    from: 신중현과 엽전들 1집 / Jigu Records / November 1, 1974
    [Shin Jung Hyun & Yup Juns (신중현과 엽전들) was a South Korean rock band formed by Shin Jung-hyeon (lead guitarist, lead vocal), Lee Nam-yi (), and Kim Ho-sik (). ” Yup Jun” is an ad hoc romanisation of yeopjeon (“leaf coin”), a kind of old brass coin with a square hole.. The band’s album Shin Jung Hyun & Yup Juns Vol. 1, released in 1974, sold more than one million copies.]

25. 작은 거인 (Little Big Man) – “행복 (Happiness)”
    from: 별리/어쩌면 좋아 (Separation/What Do I Do) / 1987

26. Kim Jung Mi – “Blow Spring Breeze”
    from: Now / Kim Jung Mi / 1973

27. Morelenbaum² / Sakamoto – “Vivo Sonhando – Dreamer”
    from: Casa / Warner Music Japan / 2001 [Casa is a 2001 studio album by the trio Morelenbaum²/Sakamoto, consisting of cellist Jaques Morelenbaum, vocalist Paula Morelenbaum, and pianist Ryuichi Sakamoto. It is a tribute to Brazilian musician and composer Antônio Carlos Jobim, with most of the songs recorded in his house in Rio de Janeiro, using his grand piano. Casa featured the first recording ever of Jobim’s composition entitled “Tema para Ana.” The album was released in the United States by Sony Classical. // Ryuichi Sakamoto (Japanese: 坂本 龍一[a], Hepburn: Sakamoto Ryūichi, January 17, 1952 – March 28, 2023) was a Japanese composer, record producer, and actor who pursued a diverse range of styles as a solo artist and as a member of Yellow Magic Orchestra (YMO). With his bandmates Haruomi Hosono and Yukihiro Takahashi, Sakamoto influenced and pioneered a number of electronic music genres. // Sakamoto began his career while at university in the 1970s as a session musician, producer, and arranger. His first major success came in 1978 as co-founder of YMO. He concurrently pursued a solo career, releasing the experimental electronic fusion album Thousand Knives in 1978. Two years later, he released the album B-2 Unit. It included the track “Riot in Lagos”, which was significant in the development of electro and hip hop music. He went on to produce more solo records, and collaborate with many international artists, David Sylvian, Carsten Nicolai, Youssou N’Dour, and Fennesz among them. Sakamoto composed music for the opening ceremony of the 1992 Barcelona Olympics, and his composition “Energy Flow” (1999) was the first instrumental number-one single in Japan’s Oricon charts history. // As a film score composer, Sakamoto won an Oscar, a BAFTA, a Grammy, and two Golden Globe Awards. Merry Christmas, Mr. Lawrence (1983) marked his debut as both an actor and a film-score composer; its main theme was adapted into the single “Forbidden Colours” which became an inter after which he continued earning accolades composing for films such as The Sheltering Sky (1990), Little Buddha (1993), and The Revenant (2015). On occasion, Sakamoto also worked as a composer and a scenario writer on anime and video games. He was awarded the Ordre des Arts et des Lettres from the Ministry of Culture of France in 2009 for his contributions to music.]

28. Noel Coward – “The Party’s Over Now”
    from: Noel Coward in New York / drg / 2003 [orig. 1957]

Big THANK YOU to all of our wonderful listeners and friends who generously and thoughtfully donated to support KKFI 90.1 FM – Kansas City Community Radio during our Wednesday MidDay Medley broadcast today! Through the airwaves, and through social media, a total of 55 people donated a total of $3149.00 to allow us to continue our mission. THANK YOU to my incredible co-hosts: Betse Ellis & Marion Merritt, and special guest J Kelly Dougherty, and very special guest Hermon Mehari for sharing your brilliance with our listeners. Thank you to Scott Bunte, Lincoln Dreher and Darryl Oliver for taking our donations over the phones.

Next week on Wednesday MidDay Medley on April 19 Sondra Freeman joins us to share all of the details about Midwest Music Foundation’s Annual Spring Donation Drive Dinner Show 7:00 to 9:00 PM hosted by Kris & Havilah Bruders AND LateShow with Radkey, DJ Thundercuts, Pamper The Manman and Gascan at 10:00 Saturday, April 22 at The Ship 1221 Union Avenue, KCMO WEST BOTTOMS AND we’ll also talk with Alison Hawkins & Fritz Hutchison about the new True Lions / Fritz Hutchison Split Cassette Release Show on Wednesday, April 26 at 7:00 PM with Jass & The Boys at The Ship 1221 Union Avenue, KCMO WEST BOTTOMS. AND Alicia Ellingsworth, Executive Director and Co-Founder of The KC Farm School at Gibbs Road joins us to talk about gardening and EARTH DAY!

Our Script/Playlist is a “cut and paste” of information.
Sources for notes: artist’s websites, bios, wikipedia.org

Wednesday MidDay Medley in on the web:
http://www.kkfi.org,
http://www.WednesdayMidDayMedley.org,
http://www.facebook.com/WednesdayMidDayMedleyon90.1FM

On your local radio dial 90.1 FM or
STREAMING LIVE at: kkfi.org

Show #989