Thu April 21, 2016
Cinema Soiree with Richie Unterberger - Asian Rock 'n' Roll Rarities
SEE EVENT DETAILS
Oddball Films invites you to a unique evening with author and musicologist Richie Unterberger for our Cinema Soiree Series, a monthly soiree featuring visiting authors, filmmakers and curators presenting and sharing cinema insights. Unterberger will be here to present film clips of rock performers based in Asia, as well as rock by Asian Americans and others of Asian descent from the 1960s to the present. It’s not possible to cover every Asian territory from which rock musicians have emerged or descended, but this program features artists based in or descended from more than half a dozen countries, including Japan, India, Korea, Vietnam, Cambodia, Indonesia, and the Philippines. Styles encompassed will include rockabilly, surf music, garage rock, indie rock, girl groups, psychedelia, punk, singer-songwriters, progressive rock, synth-pop, and more. Many of the performers are obscure to US audiences, yet there are also clips of songs and musicians who’ve made huge inroads into the American and global market. A couple of these records got to #1 in the United States; one of the most famous musicians of all time (and, later, his son) appear in a couple clips; and a few of the most renowned female fronted bands in the world are represented, as is an internationally acclaimed soundtrack composer and actor. Some of the more famous names include Shonen Knife, Yoko Ono, Mohammed Rafi, Kyu Sakamoto, Damo Suzuki (of Can), Fanny, Shanti, Cibo Matto, The Tielman Brothers, and the 5.6.7.8.'s. The evening will be foregrounded by 16mm films from the archive featuring more traditional Asian music including ethno-musicological short The Balinese Gong Orchestra (1971) and the campy educational primer Discovering the Music of Japan (1967).
Date: Thursday, April 21st, 2016 at 8:00pm
Venue: Oddball Films, 275 Capp Street San Francisco
Admission: $10.00 Limited Seating RSVP to [email protected] or (415) 558-8117
Web: http://oddballfilms.blogspot.com
Clips Include:
The Tielman Brothers: “Rollin’ Rock” (1959 or 1960, German TV).
Many Indonesians settled in the Netherlands in the mid-twentieth century. Of Indonesian descent, the Tielman Brothers were arguably the first band of Asian descent to make an international impact, though this was limited to Holland and some other parts of Europe. The influence of both rockabilly and early rock’n’roll bands like Bill Haley & the Comets is apparent from this early German television appearance, filmed in 1959 or 1960, depending on what source you read.
Kyu Sakamoto: “Ue o Muite Arukō” (aka “Sukiyaki”) (early 1960s, Japan).
One of the earliest clips in our program supplies the most famous song, by far, in this presentation. Certainly this is the most famous of the program’s songs in the United States, as it went all the way to #1 here for three consecutive weeks starting on June 15, 1963. To this day, it’s one of the few songs in a language other than English to top the US charts, and the only Japanese one. Originally released in Japan in 1961 under the title “Ue o Muite Arukō” (“I Look Up As I Walk”), it was retitled “Sukiyaki” for the US market when it was released in this country on Capitol Records.
Tiny Yong: “Tais-Toi Petite Fille” (1964)
As Vietnam was for many years a colony of France, many Vietnamese settled in France in the mid-twentieth century. Tiny Yong was born in Vietnam before moving to France, where she recorded some records in the French “yé-yé” style, which was heavily influenced by American girl groups, as well as a bit of the British Invasion. Fifty years ago (and still, to a certain degree, today) it was common for artists from non-English-speaking countries to record American and British hits in their own language, and “Tais-Toi Petite Fille” is actually a French-language cover of “Foolish Little Girl,” which had been a Top Five hit for one of the most successful US girl groups, the Shirelles, in 1963. In keeping with the girl group style, it’s more lushly arranged than the original version, Ms. Yong apparently having a hard time suppressing giggles in the instrumental break of this promotional video.
Mehmood Ali: “Aao Twist Karein” (1965, from the film Bhoot Bangla)
Mehmood Ali was something of the Chubby Checker of India. While songs about the twist had fallen out of fashion in the US by 1965, that didn’t stop Ali from featuring a twist number in this Indian movie, which gives the twist something of a Bollywood twist.
Yuzo Kayama & The Launchers: “Black Sand Beach” (1965, from the film Eleki No Wakadaisho) Surf-style instrumental music was huge in Japan in the 1960s, in large part due to the Ventures, who were huge superstars in the country. Yuzo Kayama & the Launchers were among the many Japanese surf-style bands that bore the Ventures’ influence.
Mohammed Rafi: “Gumnaam Dance Song” (1965, from the film Gumnaam)
Surf music is also an influence on this no-punches-pulled dance number from an Indian movie of the same era. It’s at least as much Bollywood as rock, but that shouldn’t prevent its inclusion in a program such as this. Right?
The Golden Cups: ? (1968)
Gotta admit I don’t know the title of this song or the source of this clip, but it’s an example of Japanese psychedelic rock in a more serious vein.
Fanny: “Charity Ball” (November 1971, German TV)
Pioneers on two fronts, Fanny were both one of the first all-women bands who played their own instruments and wrote their own material to release major-label albums, and fronted by two Asian Americans: sisters June and Jean Millington. Both were born in the Philippines, moving to Sacramento in 1961, shortly before entering their teens.
Shanti: “Shanti” (circa 1971)
Comprised of both Indian and US musicians, Shanti were one of the few, if not the only, group fusing traditional Indian music with rock in the early 1970s. Operating out of Marin County, they issued one self-titled album on Atlantic before breaking up. The most famous member, tabla player Zakir Hussein, has gone on to play on many records of both Indian music and fusions of Indian music with jazz and other styles, collaborating with famous US and UK musicians like Mickey Hart, Bill Laswell, and John McLaughlin. Sarod player Aashish Khan also went on to a long, still-running career, though more oriented toward Indian music. I’m not sure when this clip (eighteen minutes long!) is from, but as Shanti’s only album came out in 1971, that’s a good bet. For more on the band, see my liner notes to the Real Gone label’s CD reissue of the album.
Can: “Vitamin C” (1972)
Can, one of the most internationally famous and influential German progressive rock bands of the 1970s, originally featured an American singer, Malcolm Mooney. When Mooney left, Can unpredictably replaced him in 1970 with Japanese singer Damo Suzuki, whom they came across when Suzuki was busking at a cafe in Munich. Suzuki would sing lead on their next few albums, which are usually regarded as Can’s most notable records, until leaving himself in 1973.
Yoko Ono: “We’re All Water” (May 3, 1972, Dick Cavett Show)
One of the most polarizing figures in all of popular culture, Japanese artist, filmmaker, and musician Yoko Ono remains most well known for her relationship with John Lennon, whom she married in 1969. Since the late 1960s, she has released many records, often in collaboration with Lennon before his death in 1980. Lennon plays guitar on this performance of “We’re All Water,” from their 1972 album Some Time in New York City, which was dominated by radical political material. Backing Ono, besides Lennon, is the New York band Elephant’s Memory, which also backed the pair on the album. The woman embracing Yoko at the end of the clip is star actress Shirley MacLaine, another guest of this episode of the Dick Cavett Show.
The Sand Pebbles: “What Should I Do” (1977)
Although this film clip is dated as originating from 1977, this Korean band were playing in a psychedelic style more strongly associated with an era that had passed nearly a decade earlier.
The Yellow Magic Orchestra: “Firecracker” (1980, Soul Train)
With their early synth-pop sound, the Yellow Magic Orchestra made the biggest international impact of any Japanese act during the new wave era. Figurehead Ryuichi Sakamoto is one of the most renowned Japanese musicians on a global level, branching into soundtrack music on movies such as The Last Emperor and The Sheltering Sky, and acting alongside David Bowie in Merry Christmas Mr. Lawrence.
Shonen Knife: “Kappa Ex” (mid-1980s)
Possibly the most famous Japanese alternative rock bands, and certainly one of the most esteemed all-women alternative bands from anywhere, Shonen Knife have maintained a fervent cult following for decades with their pop-punk sound. Among their big fans was Kurt Cobain, who told Melody Maker after seeing them play in 1991, “I’ve never been so thrilled in my whole life.” Not sure of a date for this rather primitive if charming early promotional video, but it probably originates from the mid-1980s.
Cibo Matto: “Birthday Cake” (May 6, 1997, Viva Variety)
Although New York-based, Cibo Matto were formed by two Japanese women, Yuka Honda and Miho Hatori. John Lennon and Yoko Ono’s son Sean Lennon became a member for their 1997 Super Relax, and plays bass on this clip. After splitting for nearly a decade, Cibo Matto reunited in 2011, playing the Hardly Strictly Bluegrass Festival in Golden Gate Park last year.
The 5.6.7.8’s: “Woo Hoo” (2002, The Jonathan Ross Show)
Probably the most internationally well-known Japanese all-women band except for Shonen Knife, the 5.6.7.8.’s take their inspiration from the rawer side of early American rock’n’roll. This song, with lyrics so minimal it verged on being an instrumental, was originally a hit for Virginia band the Rock-A-Teens in 1959.
show less
Date: Thursday, April 21st, 2016 at 8:00pm
Venue: Oddball Films, 275 Capp Street San Francisco
Admission: $10.00 Limited Seating RSVP to [email protected] or (415) 558-8117
Web: http://oddballfilms.blogspot.com
Clips Include:
The Tielman Brothers: “Rollin’ Rock” (1959 or 1960, German TV).
Many Indonesians settled in the Netherlands in the mid-twentieth century. Of Indonesian descent, the Tielman Brothers were arguably the first band of Asian descent to make an international impact, though this was limited to Holland and some other parts of Europe. The influence of both rockabilly and early rock’n’roll bands like Bill Haley & the Comets is apparent from this early German television appearance, filmed in 1959 or 1960, depending on what source you read.
Kyu Sakamoto: “Ue o Muite Arukō” (aka “Sukiyaki”) (early 1960s, Japan).
One of the earliest clips in our program supplies the most famous song, by far, in this presentation. Certainly this is the most famous of the program’s songs in the United States, as it went all the way to #1 here for three consecutive weeks starting on June 15, 1963. To this day, it’s one of the few songs in a language other than English to top the US charts, and the only Japanese one. Originally released in Japan in 1961 under the title “Ue o Muite Arukō” (“I Look Up As I Walk”), it was retitled “Sukiyaki” for the US market when it was released in this country on Capitol Records.
Tiny Yong: “Tais-Toi Petite Fille” (1964)
As Vietnam was for many years a colony of France, many Vietnamese settled in France in the mid-twentieth century. Tiny Yong was born in Vietnam before moving to France, where she recorded some records in the French “yé-yé” style, which was heavily influenced by American girl groups, as well as a bit of the British Invasion. Fifty years ago (and still, to a certain degree, today) it was common for artists from non-English-speaking countries to record American and British hits in their own language, and “Tais-Toi Petite Fille” is actually a French-language cover of “Foolish Little Girl,” which had been a Top Five hit for one of the most successful US girl groups, the Shirelles, in 1963. In keeping with the girl group style, it’s more lushly arranged than the original version, Ms. Yong apparently having a hard time suppressing giggles in the instrumental break of this promotional video.
Mehmood Ali: “Aao Twist Karein” (1965, from the film Bhoot Bangla)
Mehmood Ali was something of the Chubby Checker of India. While songs about the twist had fallen out of fashion in the US by 1965, that didn’t stop Ali from featuring a twist number in this Indian movie, which gives the twist something of a Bollywood twist.
Yuzo Kayama & The Launchers: “Black Sand Beach” (1965, from the film Eleki No Wakadaisho) Surf-style instrumental music was huge in Japan in the 1960s, in large part due to the Ventures, who were huge superstars in the country. Yuzo Kayama & the Launchers were among the many Japanese surf-style bands that bore the Ventures’ influence.
Mohammed Rafi: “Gumnaam Dance Song” (1965, from the film Gumnaam)
Surf music is also an influence on this no-punches-pulled dance number from an Indian movie of the same era. It’s at least as much Bollywood as rock, but that shouldn’t prevent its inclusion in a program such as this. Right?
The Golden Cups: ? (1968)
Gotta admit I don’t know the title of this song or the source of this clip, but it’s an example of Japanese psychedelic rock in a more serious vein.
Fanny: “Charity Ball” (November 1971, German TV)
Pioneers on two fronts, Fanny were both one of the first all-women bands who played their own instruments and wrote their own material to release major-label albums, and fronted by two Asian Americans: sisters June and Jean Millington. Both were born in the Philippines, moving to Sacramento in 1961, shortly before entering their teens.
Shanti: “Shanti” (circa 1971)
Comprised of both Indian and US musicians, Shanti were one of the few, if not the only, group fusing traditional Indian music with rock in the early 1970s. Operating out of Marin County, they issued one self-titled album on Atlantic before breaking up. The most famous member, tabla player Zakir Hussein, has gone on to play on many records of both Indian music and fusions of Indian music with jazz and other styles, collaborating with famous US and UK musicians like Mickey Hart, Bill Laswell, and John McLaughlin. Sarod player Aashish Khan also went on to a long, still-running career, though more oriented toward Indian music. I’m not sure when this clip (eighteen minutes long!) is from, but as Shanti’s only album came out in 1971, that’s a good bet. For more on the band, see my liner notes to the Real Gone label’s CD reissue of the album.
Can: “Vitamin C” (1972)
Can, one of the most internationally famous and influential German progressive rock bands of the 1970s, originally featured an American singer, Malcolm Mooney. When Mooney left, Can unpredictably replaced him in 1970 with Japanese singer Damo Suzuki, whom they came across when Suzuki was busking at a cafe in Munich. Suzuki would sing lead on their next few albums, which are usually regarded as Can’s most notable records, until leaving himself in 1973.
Yoko Ono: “We’re All Water” (May 3, 1972, Dick Cavett Show)
One of the most polarizing figures in all of popular culture, Japanese artist, filmmaker, and musician Yoko Ono remains most well known for her relationship with John Lennon, whom she married in 1969. Since the late 1960s, she has released many records, often in collaboration with Lennon before his death in 1980. Lennon plays guitar on this performance of “We’re All Water,” from their 1972 album Some Time in New York City, which was dominated by radical political material. Backing Ono, besides Lennon, is the New York band Elephant’s Memory, which also backed the pair on the album. The woman embracing Yoko at the end of the clip is star actress Shirley MacLaine, another guest of this episode of the Dick Cavett Show.
The Sand Pebbles: “What Should I Do” (1977)
Although this film clip is dated as originating from 1977, this Korean band were playing in a psychedelic style more strongly associated with an era that had passed nearly a decade earlier.
The Yellow Magic Orchestra: “Firecracker” (1980, Soul Train)
With their early synth-pop sound, the Yellow Magic Orchestra made the biggest international impact of any Japanese act during the new wave era. Figurehead Ryuichi Sakamoto is one of the most renowned Japanese musicians on a global level, branching into soundtrack music on movies such as The Last Emperor and The Sheltering Sky, and acting alongside David Bowie in Merry Christmas Mr. Lawrence.
Shonen Knife: “Kappa Ex” (mid-1980s)
Possibly the most famous Japanese alternative rock bands, and certainly one of the most esteemed all-women alternative bands from anywhere, Shonen Knife have maintained a fervent cult following for decades with their pop-punk sound. Among their big fans was Kurt Cobain, who told Melody Maker after seeing them play in 1991, “I’ve never been so thrilled in my whole life.” Not sure of a date for this rather primitive if charming early promotional video, but it probably originates from the mid-1980s.
Cibo Matto: “Birthday Cake” (May 6, 1997, Viva Variety)
Although New York-based, Cibo Matto were formed by two Japanese women, Yuka Honda and Miho Hatori. John Lennon and Yoko Ono’s son Sean Lennon became a member for their 1997 Super Relax, and plays bass on this clip. After splitting for nearly a decade, Cibo Matto reunited in 2011, playing the Hardly Strictly Bluegrass Festival in Golden Gate Park last year.
The 5.6.7.8’s: “Woo Hoo” (2002, The Jonathan Ross Show)
Probably the most internationally well-known Japanese all-women band except for Shonen Knife, the 5.6.7.8.’s take their inspiration from the rawer side of early American rock’n’roll. This song, with lyrics so minimal it verged on being an instrumental, was originally a hit for Virginia band the Rock-A-Teens in 1959.
Oddball Films invites you to a unique evening with author and musicologist Richie Unterberger for our Cinema Soiree Series, a monthly soiree featuring visiting authors, filmmakers and curators presenting and sharing cinema insights. Unterberger will be here to present film clips of rock performers based in Asia, as well as rock by Asian Americans and others of Asian descent from the 1960s to the present. It’s not possible to cover every Asian territory from which rock musicians have emerged or descended, but this program features artists based in or descended from more than half a dozen countries, including Japan, India, Korea, Vietnam, Cambodia, Indonesia, and the Philippines. Styles encompassed will include rockabilly, surf music, garage rock, indie rock, girl groups, psychedelia, punk, singer-songwriters, progressive rock, synth-pop, and more. Many of the performers are obscure to US audiences, yet there are also clips of songs and musicians who’ve made huge inroads into the American and global market. A couple of these records got to #1 in the United States; one of the most famous musicians of all time (and, later, his son) appear in a couple clips; and a few of the most renowned female fronted bands in the world are represented, as is an internationally acclaimed soundtrack composer and actor. Some of the more famous names include Shonen Knife, Yoko Ono, Mohammed Rafi, Kyu Sakamoto, Damo Suzuki (of Can), Fanny, Shanti, Cibo Matto, The Tielman Brothers, and the 5.6.7.8.'s. The evening will be foregrounded by 16mm films from the archive featuring more traditional Asian music including ethno-musicological short The Balinese Gong Orchestra (1971) and the campy educational primer Discovering the Music of Japan (1967).
Date: Thursday, April 21st, 2016 at 8:00pm
Venue: Oddball Films, 275 Capp Street San Francisco
Admission: $10.00 Limited Seating RSVP to [email protected] or (415) 558-8117
Web: http://oddballfilms.blogspot.com
Clips Include:
The Tielman Brothers: “Rollin’ Rock” (1959 or 1960, German TV).
Many Indonesians settled in the Netherlands in the mid-twentieth century. Of Indonesian descent, the Tielman Brothers were arguably the first band of Asian descent to make an international impact, though this was limited to Holland and some other parts of Europe. The influence of both rockabilly and early rock’n’roll bands like Bill Haley & the Comets is apparent from this early German television appearance, filmed in 1959 or 1960, depending on what source you read.
Kyu Sakamoto: “Ue o Muite Arukō” (aka “Sukiyaki”) (early 1960s, Japan).
One of the earliest clips in our program supplies the most famous song, by far, in this presentation. Certainly this is the most famous of the program’s songs in the United States, as it went all the way to #1 here for three consecutive weeks starting on June 15, 1963. To this day, it’s one of the few songs in a language other than English to top the US charts, and the only Japanese one. Originally released in Japan in 1961 under the title “Ue o Muite Arukō” (“I Look Up As I Walk”), it was retitled “Sukiyaki” for the US market when it was released in this country on Capitol Records.
Tiny Yong: “Tais-Toi Petite Fille” (1964)
As Vietnam was for many years a colony of France, many Vietnamese settled in France in the mid-twentieth century. Tiny Yong was born in Vietnam before moving to France, where she recorded some records in the French “yé-yé” style, which was heavily influenced by American girl groups, as well as a bit of the British Invasion. Fifty years ago (and still, to a certain degree, today) it was common for artists from non-English-speaking countries to record American and British hits in their own language, and “Tais-Toi Petite Fille” is actually a French-language cover of “Foolish Little Girl,” which had been a Top Five hit for one of the most successful US girl groups, the Shirelles, in 1963. In keeping with the girl group style, it’s more lushly arranged than the original version, Ms. Yong apparently having a hard time suppressing giggles in the instrumental break of this promotional video.
Mehmood Ali: “Aao Twist Karein” (1965, from the film Bhoot Bangla)
Mehmood Ali was something of the Chubby Checker of India. While songs about the twist had fallen out of fashion in the US by 1965, that didn’t stop Ali from featuring a twist number in this Indian movie, which gives the twist something of a Bollywood twist.
Yuzo Kayama & The Launchers: “Black Sand Beach” (1965, from the film Eleki No Wakadaisho) Surf-style instrumental music was huge in Japan in the 1960s, in large part due to the Ventures, who were huge superstars in the country. Yuzo Kayama & the Launchers were among the many Japanese surf-style bands that bore the Ventures’ influence.
Mohammed Rafi: “Gumnaam Dance Song” (1965, from the film Gumnaam)
Surf music is also an influence on this no-punches-pulled dance number from an Indian movie of the same era. It’s at least as much Bollywood as rock, but that shouldn’t prevent its inclusion in a program such as this. Right?
The Golden Cups: ? (1968)
Gotta admit I don’t know the title of this song or the source of this clip, but it’s an example of Japanese psychedelic rock in a more serious vein.
Fanny: “Charity Ball” (November 1971, German TV)
Pioneers on two fronts, Fanny were both one of the first all-women bands who played their own instruments and wrote their own material to release major-label albums, and fronted by two Asian Americans: sisters June and Jean Millington. Both were born in the Philippines, moving to Sacramento in 1961, shortly before entering their teens.
Shanti: “Shanti” (circa 1971)
Comprised of both Indian and US musicians, Shanti were one of the few, if not the only, group fusing traditional Indian music with rock in the early 1970s. Operating out of Marin County, they issued one self-titled album on Atlantic before breaking up. The most famous member, tabla player Zakir Hussein, has gone on to play on many records of both Indian music and fusions of Indian music with jazz and other styles, collaborating with famous US and UK musicians like Mickey Hart, Bill Laswell, and John McLaughlin. Sarod player Aashish Khan also went on to a long, still-running career, though more oriented toward Indian music. I’m not sure when this clip (eighteen minutes long!) is from, but as Shanti’s only album came out in 1971, that’s a good bet. For more on the band, see my liner notes to the Real Gone label’s CD reissue of the album.
Can: “Vitamin C” (1972)
Can, one of the most internationally famous and influential German progressive rock bands of the 1970s, originally featured an American singer, Malcolm Mooney. When Mooney left, Can unpredictably replaced him in 1970 with Japanese singer Damo Suzuki, whom they came across when Suzuki was busking at a cafe in Munich. Suzuki would sing lead on their next few albums, which are usually regarded as Can’s most notable records, until leaving himself in 1973.
Yoko Ono: “We’re All Water” (May 3, 1972, Dick Cavett Show)
One of the most polarizing figures in all of popular culture, Japanese artist, filmmaker, and musician Yoko Ono remains most well known for her relationship with John Lennon, whom she married in 1969. Since the late 1960s, she has released many records, often in collaboration with Lennon before his death in 1980. Lennon plays guitar on this performance of “We’re All Water,” from their 1972 album Some Time in New York City, which was dominated by radical political material. Backing Ono, besides Lennon, is the New York band Elephant’s Memory, which also backed the pair on the album. The woman embracing Yoko at the end of the clip is star actress Shirley MacLaine, another guest of this episode of the Dick Cavett Show.
The Sand Pebbles: “What Should I Do” (1977)
Although this film clip is dated as originating from 1977, this Korean band were playing in a psychedelic style more strongly associated with an era that had passed nearly a decade earlier.
The Yellow Magic Orchestra: “Firecracker” (1980, Soul Train)
With their early synth-pop sound, the Yellow Magic Orchestra made the biggest international impact of any Japanese act during the new wave era. Figurehead Ryuichi Sakamoto is one of the most renowned Japanese musicians on a global level, branching into soundtrack music on movies such as The Last Emperor and The Sheltering Sky, and acting alongside David Bowie in Merry Christmas Mr. Lawrence.
Shonen Knife: “Kappa Ex” (mid-1980s)
Possibly the most famous Japanese alternative rock bands, and certainly one of the most esteemed all-women alternative bands from anywhere, Shonen Knife have maintained a fervent cult following for decades with their pop-punk sound. Among their big fans was Kurt Cobain, who told Melody Maker after seeing them play in 1991, “I’ve never been so thrilled in my whole life.” Not sure of a date for this rather primitive if charming early promotional video, but it probably originates from the mid-1980s.
Cibo Matto: “Birthday Cake” (May 6, 1997, Viva Variety)
Although New York-based, Cibo Matto were formed by two Japanese women, Yuka Honda and Miho Hatori. John Lennon and Yoko Ono’s son Sean Lennon became a member for their 1997 Super Relax, and plays bass on this clip. After splitting for nearly a decade, Cibo Matto reunited in 2011, playing the Hardly Strictly Bluegrass Festival in Golden Gate Park last year.
The 5.6.7.8’s: “Woo Hoo” (2002, The Jonathan Ross Show)
Probably the most internationally well-known Japanese all-women band except for Shonen Knife, the 5.6.7.8.’s take their inspiration from the rawer side of early American rock’n’roll. This song, with lyrics so minimal it verged on being an instrumental, was originally a hit for Virginia band the Rock-A-Teens in 1959.
read more
Date: Thursday, April 21st, 2016 at 8:00pm
Venue: Oddball Films, 275 Capp Street San Francisco
Admission: $10.00 Limited Seating RSVP to [email protected] or (415) 558-8117
Web: http://oddballfilms.blogspot.com
Clips Include:
The Tielman Brothers: “Rollin’ Rock” (1959 or 1960, German TV).
Many Indonesians settled in the Netherlands in the mid-twentieth century. Of Indonesian descent, the Tielman Brothers were arguably the first band of Asian descent to make an international impact, though this was limited to Holland and some other parts of Europe. The influence of both rockabilly and early rock’n’roll bands like Bill Haley & the Comets is apparent from this early German television appearance, filmed in 1959 or 1960, depending on what source you read.
Kyu Sakamoto: “Ue o Muite Arukō” (aka “Sukiyaki”) (early 1960s, Japan).
One of the earliest clips in our program supplies the most famous song, by far, in this presentation. Certainly this is the most famous of the program’s songs in the United States, as it went all the way to #1 here for three consecutive weeks starting on June 15, 1963. To this day, it’s one of the few songs in a language other than English to top the US charts, and the only Japanese one. Originally released in Japan in 1961 under the title “Ue o Muite Arukō” (“I Look Up As I Walk”), it was retitled “Sukiyaki” for the US market when it was released in this country on Capitol Records.
Tiny Yong: “Tais-Toi Petite Fille” (1964)
As Vietnam was for many years a colony of France, many Vietnamese settled in France in the mid-twentieth century. Tiny Yong was born in Vietnam before moving to France, where she recorded some records in the French “yé-yé” style, which was heavily influenced by American girl groups, as well as a bit of the British Invasion. Fifty years ago (and still, to a certain degree, today) it was common for artists from non-English-speaking countries to record American and British hits in their own language, and “Tais-Toi Petite Fille” is actually a French-language cover of “Foolish Little Girl,” which had been a Top Five hit for one of the most successful US girl groups, the Shirelles, in 1963. In keeping with the girl group style, it’s more lushly arranged than the original version, Ms. Yong apparently having a hard time suppressing giggles in the instrumental break of this promotional video.
Mehmood Ali: “Aao Twist Karein” (1965, from the film Bhoot Bangla)
Mehmood Ali was something of the Chubby Checker of India. While songs about the twist had fallen out of fashion in the US by 1965, that didn’t stop Ali from featuring a twist number in this Indian movie, which gives the twist something of a Bollywood twist.
Yuzo Kayama & The Launchers: “Black Sand Beach” (1965, from the film Eleki No Wakadaisho) Surf-style instrumental music was huge in Japan in the 1960s, in large part due to the Ventures, who were huge superstars in the country. Yuzo Kayama & the Launchers were among the many Japanese surf-style bands that bore the Ventures’ influence.
Mohammed Rafi: “Gumnaam Dance Song” (1965, from the film Gumnaam)
Surf music is also an influence on this no-punches-pulled dance number from an Indian movie of the same era. It’s at least as much Bollywood as rock, but that shouldn’t prevent its inclusion in a program such as this. Right?
The Golden Cups: ? (1968)
Gotta admit I don’t know the title of this song or the source of this clip, but it’s an example of Japanese psychedelic rock in a more serious vein.
Fanny: “Charity Ball” (November 1971, German TV)
Pioneers on two fronts, Fanny were both one of the first all-women bands who played their own instruments and wrote their own material to release major-label albums, and fronted by two Asian Americans: sisters June and Jean Millington. Both were born in the Philippines, moving to Sacramento in 1961, shortly before entering their teens.
Shanti: “Shanti” (circa 1971)
Comprised of both Indian and US musicians, Shanti were one of the few, if not the only, group fusing traditional Indian music with rock in the early 1970s. Operating out of Marin County, they issued one self-titled album on Atlantic before breaking up. The most famous member, tabla player Zakir Hussein, has gone on to play on many records of both Indian music and fusions of Indian music with jazz and other styles, collaborating with famous US and UK musicians like Mickey Hart, Bill Laswell, and John McLaughlin. Sarod player Aashish Khan also went on to a long, still-running career, though more oriented toward Indian music. I’m not sure when this clip (eighteen minutes long!) is from, but as Shanti’s only album came out in 1971, that’s a good bet. For more on the band, see my liner notes to the Real Gone label’s CD reissue of the album.
Can: “Vitamin C” (1972)
Can, one of the most internationally famous and influential German progressive rock bands of the 1970s, originally featured an American singer, Malcolm Mooney. When Mooney left, Can unpredictably replaced him in 1970 with Japanese singer Damo Suzuki, whom they came across when Suzuki was busking at a cafe in Munich. Suzuki would sing lead on their next few albums, which are usually regarded as Can’s most notable records, until leaving himself in 1973.
Yoko Ono: “We’re All Water” (May 3, 1972, Dick Cavett Show)
One of the most polarizing figures in all of popular culture, Japanese artist, filmmaker, and musician Yoko Ono remains most well known for her relationship with John Lennon, whom she married in 1969. Since the late 1960s, she has released many records, often in collaboration with Lennon before his death in 1980. Lennon plays guitar on this performance of “We’re All Water,” from their 1972 album Some Time in New York City, which was dominated by radical political material. Backing Ono, besides Lennon, is the New York band Elephant’s Memory, which also backed the pair on the album. The woman embracing Yoko at the end of the clip is star actress Shirley MacLaine, another guest of this episode of the Dick Cavett Show.
The Sand Pebbles: “What Should I Do” (1977)
Although this film clip is dated as originating from 1977, this Korean band were playing in a psychedelic style more strongly associated with an era that had passed nearly a decade earlier.
The Yellow Magic Orchestra: “Firecracker” (1980, Soul Train)
With their early synth-pop sound, the Yellow Magic Orchestra made the biggest international impact of any Japanese act during the new wave era. Figurehead Ryuichi Sakamoto is one of the most renowned Japanese musicians on a global level, branching into soundtrack music on movies such as The Last Emperor and The Sheltering Sky, and acting alongside David Bowie in Merry Christmas Mr. Lawrence.
Shonen Knife: “Kappa Ex” (mid-1980s)
Possibly the most famous Japanese alternative rock bands, and certainly one of the most esteemed all-women alternative bands from anywhere, Shonen Knife have maintained a fervent cult following for decades with their pop-punk sound. Among their big fans was Kurt Cobain, who told Melody Maker after seeing them play in 1991, “I’ve never been so thrilled in my whole life.” Not sure of a date for this rather primitive if charming early promotional video, but it probably originates from the mid-1980s.
Cibo Matto: “Birthday Cake” (May 6, 1997, Viva Variety)
Although New York-based, Cibo Matto were formed by two Japanese women, Yuka Honda and Miho Hatori. John Lennon and Yoko Ono’s son Sean Lennon became a member for their 1997 Super Relax, and plays bass on this clip. After splitting for nearly a decade, Cibo Matto reunited in 2011, playing the Hardly Strictly Bluegrass Festival in Golden Gate Park last year.
The 5.6.7.8’s: “Woo Hoo” (2002, The Jonathan Ross Show)
Probably the most internationally well-known Japanese all-women band except for Shonen Knife, the 5.6.7.8.’s take their inspiration from the rawer side of early American rock’n’roll. This song, with lyrics so minimal it verged on being an instrumental, was originally a hit for Virginia band the Rock-A-Teens in 1959.
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275 Capp Street, San Francisco, CA 94110
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