2012 Japanese promotional sample issue of the limited deluxe edition 2-disc set, issued to radio stations and reviewers ahead of the actual release date. Comprising the 17-track CD, their fifth studio album which includes the single 'Bring 'Em Down', and the Bonus Tracks Young Pretender and Undefeated, plus the Bonus NTSC DVD.
The 184.108.40.206's are an all-female Japanese garage rock trio, whose music is reminiscent of American surf music, rockabilly and garage rock. While their biggest international exposure was a cameo in the Tarantino flick Kill Bill, 220.127.116.11's are much more than one-hit wonders, bearing the proud distinction of being the prime and longest-enduring Japanese garage rock girl band. Featuring a revolving cast of musicians (only one of them ever being a boy) and possessing small but loyal fanbases in countries from China to the United States. The group have so named themselves because they play music reminiscent of 1950s, '60s, '70s, and '80s rock. Currently this CD Collection includes 9 CDs.
Reissue with the latest remastering. Comes with liner notes. Phil Woods toured Japan in 1975 with the Japanese Rhythm Machine (pianist Hideo Ichikawa, bassist Mitsuaki Furuno, and drummer George Otsuka), recording this album at during a concert at Kosei Nenkin Kaikan in Tokyo. The alto saxophonist is at the top of his game, while the rhythm section provides excellent support, with Ichikawa especially shining in the solo spotlight.
Beautiful late Blue Note work from Bobby Hutcherson – laidback, warm, electric, and with a mixture of CTI funk and some of the more lyrical soul jazz work of his years with Harold Land! Part of the credit for the set should go to George Cables – who plays both acoustic and electric keys on the record, and who gives the album a sweetly dancing feel that really warms things up wonderfully – and all other players are wonderful too, including drummer Eddie Marshall, bassist James Leary, and horn players Freddie Hubbard, Hadley Caliman, and Manny Boyd. Includes a great remake of "Little B's Poem", the mellow groover "Why Not", and the cuts "Til Then", "Knucklebean", and "So Far So Good".
Emy Jackson (エミー・ジャクソン) was born in Essex, England as Emy Eaton. As a teenager in Yokohama she still couldn’t read Japanese well, but her ability to speak both English and Japanese fluently landed her a job as a youth DJ for the Good Hit Parade on Radio Kanto. In her notes to the excellent compilation Nippon Girls: Japanese Pop, Beat & Bossa Nova 1966-1970 Sheila Burgel writes: Her DJ career was cut short when her colleague Reiko Yukawa found Jackson singing “You Are My Sunshine” whilst strumming the guitar and sent word to A&R man Akira Izumi at Columbia Records. Akira insisted that Jackson break with the cover-pops tradition and tackle original songs written by Japanese songwriters in her native language of English…
The Gossip close Music for Men with a song called "Spare Me from the Mold," but Beth Ditto, Nathan Paine, and Hannah Billie could never be accused of conforming. They were still a relatively underground group when Standing in the Way of Control's passionate mix of punk, soul, and disco became their breakthrough – and they sounded so confident on it, it felt like the mainstream was coming to them rather than vice versa. They've got their own piece of the pop (and pop culture) mainstream now, and Music for Men feels aboveground in the best possible way. Befitting its major-label debut, this is the band's most polished music yet, a balance of Control's ferocity and the sleek remixes of the album's singles, but it's still not slick. Most of Music for Men finds The Gossip sticking to their roots and using their success to get their messages out to as many people as possible. These songs are just as empowering as their earlier work, though they're more subtly defiant.
There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.