Iio Yoshifumi: Recording Engineer/Producer [飯尾芳史 レコーディグエンジニア／プロデゥーサー]
1. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
2. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
3. Yano Akiko: Gohan ga dekita yo! [矢野顕子：ごはんができたよ] (1980)
4. Ohmura Kenji: Haru ga ippai [大村憲司: 春がいっぱい] (1981)
5. Yoninbayashi: Isshoku sokuhatsu [四人囃子: 一触即発] (1974)
Iio, who worked with the likes of YMO, Haruomi Hosono and Jun Togawa, eventually moved to London to work in Tony Visconti’s studio. Three of Iio’s picks are in the top twenty. Akiko Yano and Kenji Ohmura were associated with YMO. His picks display a preference for Japan’s “New Music” era.
Ikeezumi Hideo: Owner of the Modern Music store (MeiDaiMae). [生悦住英夫:明大前モダーンミュージック店長]
1. Fushitsusha: 1st [不失者: 1st] (1989)
2. Takayanagi Masayuki: Mou hitotsu no jiten suru mono [高柳昌行:もうひとつの自転するもの] (1975)
3. Mikami Kan, Yoshizawa Motoharu, and Haino Keiji: Heisei Ganen Live [三上寛＆吉沢元治&灰野敬二：平成元年ライヴ] (1989)
4. East Bionic Symphonia: East Bionic Symphonia [イーストバイオニックシンフォニア：イーストバイオニックシンフォニア] (1976)
5. Hallelujahs: Niku o kurahite seihi o tate yo [ハレルヤズ：肉を喰らひて誓ひをたてよ] (1986)
Ikeezumi was the founder of the neo-psych/noise label, PSF, and the Fushitsusha and Heisei Ganen Live records are on PSF. His picks reflected a preference for improvised noise/free jazz, except for the poppier psych sounds of Hallelujahs (precursor of Nagisa Nite).
Ishii Sohgo: Film Director [石井聰亙: 映画監督]
1. Roosters: The Roosters [ルースターズ：ザ ルースターズ] (1980)
2. Friction: Replicant Walk [フリクション：レプリカント ウォク] (1988)
3. Chikada Haruo and Vibrastone: Vibra is Back [近田春夫&ビブラストーン：VIBRA IS BACK] (1989)
4. Machida Machizou, P-Model, et al: Rebel Street [町田町蔵、P-MODEL,ほか：レベル ストリート] (1982)
5. Fools: Weed War [フールズ：WEED WAR] (1984)
Ishii (AKA Gakuryū Ishii) directed the infamous punk film, Burst City, which starred members of the Roosters, Inu (Machida Kou), and the Stalin. Friction fits the era too (though he picks a later, rather than an earlier punkier release from them). Vibrastone represents the beginning of Japanese hip-hop. Ishii filmed the Fools rehearsing (recently released on a reissue CD/DVD).
Ishii Keiichi: Toshiba/EMI director-general of Japanese music [石坂敬一: 東芝EMI邦楽 本部長]
1. Creation: Pure Electric Soul [クリエイション：ピュア エレクトリック ソウル] (1977)
2. Murahachibu: Live [村八分：ライヴ] (1973)
3. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
4. Stomu Yamashta: Go [ツトム ヤマシタ：GO] (1976)
Ishii, who became a prominent figure at Universal Japan, worked with The Beatles and Pink Floyd at Toshiba/EMI. Only four picks listed. Note: Creation and Sadistic Mika Band were Toshiba/EMI groups. Stomu Yamashta’s “international supergroup,” Go, included Steve Winwood (another Toshiba/EMI act) and Klaus Shultze.
Itoh Hidetsugu: Music Writer [伊藤英嗣：音楽ライター等]
1. Flipper’s Guitar: Doctor Head’s World Tower [フリッパーズ ギター：ヘッド博士の世界塔] (1991)
2. Yellow Magic Orchestra: Technodelic [イエロー・マジック・オーケストラ: テクノデリック] (1981)
3. Jagatara: Kimi to Odori Akasou hinode o miru made [じゃがたら：君と踊り明かそう日の出を見るまで] (1985)
4. Pizzicato Five: Getsumen Nanchakuriku [Soft Landing on the Moon] [ピチカート ファイヴ：月面軟着陸] (1990)
5. Sakamoto Ryuichi: Merry Christmas, Mr. Lawrence [坂本龍一：メリー・クリスマス・ミスター・ローレンス] (1983)
Itoh translated the Creation Records Story and curated the Guitar Jamboree series for Sony, among other things. His interest in neo-acoustic guitar pop is reflected in the Flipper’s Guitar pick. YMO, Sakamoto, and Pizzicato Five are well known outside of Japan. Jagatara was an ethno-funk-punk band fronted by the charismatic tragic figure, Akemi Edo.
Imai Tomoko: Music Critic [今井智子 音楽評論家]
1. RC Succession: BLUE [RCサクセション: BLUE] (1981)
2. Reiran: Reiran [麗蘭:麗蘭] (1991)
3. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
4. Hosono Haruomi: Paraiso [細野晴臣: はらいそ] (1978)
5. Yano Akiko: Gohan ga dekita yo [矢野顕子：ごはんができたよ] (1980)
Imai was the host for several years of the Izakaya Rock interview series associated with Loft Plus One and music critic for the Asahi Shinbun. Her picks are fairly conventional “New Music”, with the exception of Reiran (a special project featuring RC Succession’s guitarist, Charbo).
1. Happy End: Happy End [はっぴいえんど: はっぴいえんど] (1970)
2. Murahachibu: Live [村八分:ライブ] (1973)
3. Hara Masumi: Imagination Tsuushin [原マスミ：イマジネーション通信] (1982)
4. Togawa Jun: Tama Himesama [戸川純：玉姫様] (1984)
5. Karate Bakabon: Bakabon no Zunou Kaikaku [空手バカボン：バカボンの頭脳改革]
Eguchi was working for a video game company at the time of the survey, but he is better known in music circles as the bass player for S-Ken and a guest musician on at least one Uchoten release. The first two picks are conventional, but the other three are idiosyncratic. Masumi Hara (better known as a visual artist these days) and Jun Togawa represent early 1980s new wave. Karate Bakabon was a new wave parody outfit featuring Kera (of Uchoten and Nagom Records) and Kenji Otsuki (Kinniku Shojotai).
Enokido Ichirou, writer [えのきどいちろう ライター]
1. Yuukadan: Namagiki 59 minutes [憂歌団:生聞５９分] (1977)
2. Yoshida Takuro: Live ’73 [吉田拓郎 LIVE ’73] (1973)
3. Moonriders: Modern Music [ムーンライダーズ: モダーン・ミュージック] (1979)
4. Southern All-Stars: Atsui Munasawagi [サザンオールスターズ :熱い胸騒ぎ] (1978)
5. Mute Beat: Flower [ミュートビート:フラワー] (1987)
Enokido was a columnist for Takarajima and a late-night radio personality. His picks are unconventional but mostly within the Japan rock mainstream. Yuukadan is a blues band, Yoshida Takuro is a popular singer songwriter, and the Southern All-Stars are perhaps the most popular rock band in Japanese history. Mute Beat was a dub band with a mid-80s US ROIR cassette release.
Ohnuki Kenshou, Music critic [大貫憲章 音楽評論家]
1. Chikada Haruo & HARUOPHON: Dengekiteki Tokyo [近田春夫＆ハルヲフォン: 電撃的 東京] (1978)
2.Flower Travellin’ Band: Make-up [フラワー・トラベリン・バンド: Make-up] (1973)
3. Carol: 1975.4.13 [キャロル: 1975.4.13] (1975)
4. The Mods: Fight or Flight [The Mods [ザ・モッズ: Fight or Flight] (1981)
5. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
Ohnuki is a music critic and DJ best known for his coverage of the late 70s punk scene. His picks are conventional, three in the top twenty. He chose a different Flower Travellin’ Band album than his peers and included a document of the superstar retro-rock band, Carol, during their final tour.
1. Carol: 1st [キャロル: ファースト] (1974)
2. YMO: Solid State Survivor [イエロー・マジック・オーケストラ: ソリッド・ステイト・サヴァイヴァー] (1979)
3. BOØWY: Beat Emotion [BOØWY: ビート・エモーション] (1986)
4. X Japan: Blue Blood [X: Blue Blood] (1989)
5. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
Ohno, editor of the online magazine, Fuzz, is a leading rock critic/liner-note author, best known as a Japanese heavy metal/visual-kei enthusiast. His jrock preference is reflected in his choice of the BOØWY and X Japan records.
Ogura Eiji, music critic [小倉エージ 音楽評論家]
1. Happy End: Happy End [はっぴいえんど: はっぴいえんど] (1970)
2. Moonriders: Modern Music [ムーンライダーズ: モダーン・ミュージック] (1979)
3. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
4. Southern All-Stars: Ballad ’72-’82 [サザンオールスターズ :バラッド ’77～’82] (1982)
5. Sakamoto Ryuichi: [坂本龍一：B2-ユニット] (1983)
Okura, who played twelve-string guitar on the Happy End album, is a prominent music critic and radio personality, as well as a food writer. His choices are conventional “new music” oriented.
Onojima Dai, literary professional[小野島大 文筆業]
1. Friction: Atsureki [フリクション: 軋轢] (1980)
2. Panta & HAL: Malakka [パンタ&HAL: マラッカ] (1979)
3. Murahachibu: Live [村八分：ライヴ] (1973)
4. Hotei Tomoyasu : Guitarrhythm [布袋寅泰：ギタリズム] (1988)
5. Flipper’s Guitar: Doctor Head’s World Tower [フリッパーズ ギター：ヘッド博士の世界塔] (1991)
Onojima, is a rock historian, has curated a number of new wave compilations (including the Fine Time tribute series), and lectured on music writing at Ikebukuro Community College. His picks are eclectic, ranging from hard rock to pop rock to post punk to the neo-acoustic scene.
Kajimoto Manabu, Expert on Idols [梶本学 アイドルに詳しい人]
1. Inoue Yosui: Koori no Sekai [井上陽水: 氷の世界] (1973)
2. Tulip: Live/Act/Tulip [チューリップ：ライブ／アクト／チューリップ] (1972)
3. Yoshida Takuro: Genki desu [吉田拓郎 元気です] (1972)
4. Chikada Haruo & HARUOPHON: Dengekiteki Tokyo [近田春夫＆ハルヲフォン: 電撃的 東京] (1978)
5. Jacks: Vacant World [ ジャックス: ジャックスの世界] (1968)
Kajimoto, 1970s idol otaku, goes for early 1970s soft rock, with a nod to the future (Chikada) and reference to origins (Jacks).
Kawai Michael, Sony Records employee [河合マイケル ソニーレカード社員]
1. Yano Akiko: Tadaima [矢野顕子：ただいま] (1981)
2. Hosono Haruomi: Tropical Dandy [細野晴臣: トロピカルダンディ] (1975)
3. Haniwa-chan: Kanashibari [はにわちゃん: かなしばり] (1984)
4. Budohbatake: Slow Motion [葡萄畑 :スローモーション] (1976)
5. Pizzicato Five: Couples [ピチカート ファイヴ：カップルズ] (1987)
Kawai, former drummer for fusion group, The Square, as well as Oe Senri’s band, shows a clear preference for the softer experimental sounds of “new rock.” Note: His group was associated with the eclectic fusion supergroup, Haniwa-chan; he participated in the making of the Pizzicato Five album.
Kawakatsu Masayuki, editor [川勝正幸 編集者]
1. Crazy Cats: Crazy Cats Singles [クレージー キャッツ：シングルズ] (1986)
2. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
3. Hosono Haruomi: Paraiso [細野晴臣: はらいそ] (1978)
4. Chikada Haruo & HARUOPHON: Dengekiteki Tokyo [近田春夫＆ハルヲフォン: 電撃的 東京] (1978)
5. S-KEN & Hot Bomboms: Jungle da [エスケン&ホットボンボンズ：ジャングル ダ] (1985)
Kawakatsu, who was a columnist for on-line pop culture magazine, Bunkadelic, peppered his three conventional picks with two oddities. The Crazy Cats were a popular comic band and sketch comedy team with roots in the postwar afro-cuban jazz scene. The Hot Bomboms album features Cuba-style retro pop.
Kawamura Kyoko, writer [川村恭子 ライター]
1. Kosaka Chu: Horo [小坂忠: ほうろう] (1975)
2. Saito Tetsuo: Good Time Music [斉藤哲夫: グッドタイムミュージック] (1974)
3. Funny Company: Funny Company Again [ファニー・カンパニー：ファニー・カンパニー・アゲイン] (1972)
4. Ueda Masaki & Ariyama Junji: Botchibotchi iko ka [上田正樹と有山淳司:ぼちぼちいこか] (1975)
5. Hosono Haruomi: HOSONO HOUSE [細野晴臣: HOSONO HOUSE] (1973)
Kawamura’s picks reflect a particular interest in 1970s Japanese Rock/Folk.
Kikuni Masahiko, cartoonist [喜国雅彦, マンガ家]
1. Loudness: Disillusion [ラウドネス：ディスイリュジョン] (1984)
2. The Stalin: Stop Jap [ザ・スターリン：ストップ・ジャップ] (1982)
3. Ziggy: Sore Yuke R&R Band [ZIGGY: それゆけ!R&Rバンド] (1987)
4. Yuukadan: Namagiki 59 minutes [憂歌団:生聞５９分] (1977)
5. RC Succession: Rhapsody [RCサクセション: ラプソディー] (1980)
Kikuni, who wrote ROCKOMANGA for the heavy metal magazine, BURRN!, shows a preference for the harder side of Japanese rock, including the premier heavy metal act, Loudness, and the notorious punk band, The Stalin.
Qusumi Masayuki, cartoonist [久住昌之 漫画家]
1. Timers: The Timers [タイマーズ : ザ・タイマーズ] (1989)
2. Yuukadan: Namakiki(?) 59 minutes [憂歌団:生聞５９分] (1977)
3. Suzuki Shigeru: Bandwagon [鈴木茂：バンドワゴン] (1975)
4. Ueda Masaki & South to South: Kono Atsui Omoi o Tsutaetainya [上田正樹とサウス・トュ・サウス](1975)
5. Endo Kenji: Saki no Ukelele [遠藤賢司:咲きのウケレレ] (1972)
Qusumi is a hetauma cartoonist/singer-songwriter. Most of his picks are from the bluesy, folky 1970 rock era, with exception of the Timers–a retro “high-concept” band led by RC Succession’s Imawano Kiyoshiro.
Kubo Norimasa(?) , cameraman [久保憲昌 カメラマン]
1. Carol: Louisiana [キャロル: ルイジアンナ] (1973)
2. Lizard: Lizard [ リザード: リザード] (1980)
3. Friction: Atsureki [フリクション: 軋轢] (1980)
4. P-Model: In a Model Room [P-Model: In a Model Room] (1979)
5. The Blue Hearts: The Blue Hearts [ザ・ブルーハーツ：ザ・ブルーハーツ] (1987)
Kubo picks three from the punk/new wave era, one from the retro-rockers, Carol, and one from rock’s future, The Blue Hearts.
Kuwamoto Masashi, photographer [桑本正士 写真家]
1. Happy End: Kazemachi Roman [はっぴいえんど: 風街ろまん] (1971)
2. Yellow Magic Orchestra: Technodelic [イエロー・マジック・オーケストラ: テクノデリック] (1981)
3. Moonriders: Mania Maniera [ムーンライダーズ: マニア・マニエラ] (1982)
4. Phew: Phew [Phew: Phew] (1981)
5. Newest Model: Cross Breed Park [ニューエスト・モデル: クロスブリード・パーク]
Kuwamoto, who was a ubiquitous rock photographer, showed a preference for the odder, new wave sounds (Phew was singer for no-wave group, Aunt Sally) plus a couple of older and newer “Nihongo” rockers.
Koizumi Masafumi, Remix chief editor [小泉雅史 リミックス編集長]
1. Les Rallizes Denudes: Les Rallizes Denudes ‘77 LIVE [裸のラリーズ: Les Rallizes Denudes ‘77 LIVE] (1991)
2. VA: 60’s Japanese Psyche-garage Sampler [60’s ジャパニーズ サイケガレージ サンプラー]
3. Can: Tago Mago (1971)
4. 19: Ninety Seven Circles [19: ナインティー・セブン・サークルズ] (1981)
5. Guernica: Kaizou e no Yakudou [ゲルニカ：改造への躍動] (1982)
Koizumi, who was editor-in-chief for the club music magazine, Remix, features noisy psych and psychy noise. 19 was a major Boredoms inspiration. Guernica featured Jun Togawa. Tago Mago is an interesting choice: Damo Suzuki didn’t sing in Japanese but represents an important Japanese voice in world rock history.
Kokami Shoji, head of The Third Stage [鴻上尚史: 第三舞台主宰]
1. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
2. Carmen Maki & OZ: Carmen Maki & OZ [カルメン・マキ＆OZ: カルメン・マキ＆OZ] (1975)
3. Inoue Yosui: Koori no Sekai [井上陽水: 氷の世界] (1973)
4. RC Succession: Single Man [RCサクセション: シングルマン] (1976)
5. Ozaki Yutaka: Jyunanasai no Chizu [尾崎豊: 十七歳の地図] (1984)
Kokami, a playwright with an international following, is fairly conventional in his picks. Carmen Maki & OZ played blues rock; Yutaka Ozaki is a cult tragic jpop-rock figure.
Ko Mamoru, SFC Music Publishing [高護 :SFC音楽出版]
1. Gedoh: Gedoh [外道：外道] (1974)
2. Carol: Funky Monkey Baby [キャロル: ファンキー・モンキー・ベイビー] (1973)
3. Zunoh Keisatsu: Zunoh Keisatsu 3 [頭脳警察:頭脳警察サード] (1972)
4. The Folk Crusaders: 紀元貮阡年 [ザ・フォーク・クルセダーズ:紀元貮阡年] (1968)
5. Jacks: Vacant World [ ジャックス: ジャックスの世界] (1968)
Ko, whose publishing company specialized in Japan rock history, focuses on origins here.
Shinohara Akira, music critic [篠原章: 音楽評論家]
1. Happy End: Happy End [はっぴいえんど: はっぴいえんど] (1970)
2. Sadistic Mika Band: Kurofune [サディスティック・ミカ・バンド: 黒船] (1974)
3. Sugar Babe: Songs [シュガーベイブ：ソングス] (1975)
4. Carol: Louisiana [キャロル: ルイジアンナ] (1973)
5. YMO: Solid State Survivor [イエロー・マジック・オーケストラ: ソリッド・ステイト・サヴァイヴァー] (1979)
Shinohara, who has written several books on Japan rock history, is conventional in his picks here.
Jibiki Yuuichi, Telegraph Factory [地引雄一: テレグラフファクトリー]
1. VA: Tokyo Rockers [東京ロッカズ] (1979)
2. Friction: Atsureki [フリクション: 軋轢] (1980)
3. Lizard: Lizard [ リザード: リザード] (1980)
4. VA: CRACK! Godzilla Records Complete Collection [CRACK! ゴジラレコード・コンプリート・コレクション] (1979)
5. Ankoku Tairiku Jagatara: Nanban Torai [暗黒大陸じゃがたら：南蛮渡来] (1982)
Jibiki, a key figure in the punk indies movement in the late 1970s, stays true to form here. His label, Telegraph Records, recorded Lizard. His publishing company put out the short-lived alternative culture magazine, EATER, in the mid 1990s (it persists online).
Shindō Mitsuo, Art Director [信藤三雄: アートディレクター]
1. Hosono Haruomi: Paraiso [細野晴臣: はらいそ] (1978)
2. Agata Morio: Nippon Shonen [あがた森魚:日本少年] (1976)
3. Jacks: Legend [ ジャックス: レジェンド] (1988)
4. Plastics: Forever Plastico [プラスティックス：フォエヴァ・プラスティコ] (1988)
5. The Spiders: Golden Age of The Spiders [ザ・スパイダース ：ゴールデン・エイジ・オヴ・ザ・スパイダース]
Shindō, album cover art director and film maker, chooses three best-of records (ranging from Group Sounds to New Wave) and two classic new music albums from the mid-1970s.
Shinbo Miyuki, music critic [真保みゆき：音楽評論家]
1. HIS: Nihon no Hito [HIS: 日本の人] (1991)
2. Vibrastone: Entropy Productions [ビブラストーン：ENTROPY PRODUCTIONS] (1991)
3. Sandii: Mercy [サンディ：MERCY] (1990)
4. Yamashita Tatsuro: Artisan [山下達郎：ARTISAN] (1991)
5. Char: Edoya Best [チャー：江戸屋ベスト] (1991)
Shinbo, a prominent music critic best known for her writing about women in rock, seems to have misunderstood the question (this is her best five from 1991, it seems).
Suga Takehiko, music critic [ 菅岳彦: 音楽評論家]
1. Moonriders: Don’t trust over 30 [ムーンライダーズ: ドント・トラスト・オーバー・サーティ ] (1986)
2. Hosono Haruomi: Paraiso [細野晴臣: はらいそ] (1978)
3. Panta & HAL: Malakka [パンタ&HAL: マラッカ] (1979)
4. Endo Kenji: Tokyo Wasshoi [遠藤賢司:東京ワッショイ] (1979)
5. E.D.P.S.: E.D.P.S. [E.D.P.S.: エディプス] (1984?)
Suga, prominent rock critic, prefers the later new music stuff.
Sekikawa Makoto, Takarajima Editor in Chief [関川誠:宝島編集局長]
1. RC Succession: Rhapsody [RCサクセション: ラプソディー] (1980)
2. YMO: Solid State Survivor [イエロー・マジック・オーケストラ: ソリッド・ステイト・サヴァイヴァー] (1979)
3. The Blue Hearts: The Blue Hearts [ザ・ブルーハーツ：ザ・ブルーハーツ] (1987)
4. The Stalin: Trash [ザ・スターリン：トラッシュ] (1981)
5. Happy End: Kazemichi Roman [はっぴいえんど: 風街ろまん] (1971)
Sekikawa’s picks are pretty conventional.
Takada Takuya, Rockin’ Copy Editor [高田卓弥: ロックン校正業]
1. Cock c’ Nell: Boys’ Tree [コクシネル: BOYS’ TREE] (1986)
2. Yagi: iL NEiGE [やぎ：イルネージュ] (1989)
3. Chakra: Satekoso [チャクラ：さてこそ] (1981)
4. Tomokawa Kazuki: Sakura no kuni no chiru naka o [友川かずき：桜の国の散る中を] (1980)
5. ZIN-SÄY!: Kao toshite [人生：顔として] (1988)
Takada, an early punk fanzine publisher, shows a clear preference here for the indie/alternative scene.
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