Totally Obscure Records?

The late lamented fRoots magazine used to have a regular feature known as Rocket Launcher in which the same list of questions would be fired off to a roots person – usually a musician. One of these questions was always: ‘Which totally obscure record do you most treasure and would like more people to know about?’

I often pondered what my answer to that might be. Some of my friends would say my favourite records are all obscure to them. After some thought (but not too much) I’m going to indulge myself and choose not just one but five albums that I still really like. Most, if not all, could be described as obscure in one way or another.

At the top of my list is an Okinawan album, Miwaku no Duet by Yuki Yamazato and Minoru Kinjo. In fact, I’ve been going on about this recording for a few years now and boring anyone who will listen about just how good it is. Certainly, the artists themselves are not unknown, on these islands anyway, and for my money Yuki Yamazato is still the best of all the many wonderful female singers from the Ryukyus.

I discovered Miwaku no Duet quite by chance on CD at Bisekatsu’s fine Campus Records shop and bought it not really knowing what to expect, but the first few tracks brought me close to tears (in a good way). The CD has very little information and no details of the original recording or release dates. Never mind, it’s a cracker.

Moving from Okinawa all the way to Scotland, the next choice is an album by Dick Gaughan. (Dick and I have something in common as we share the same date of birth – what an auspicious day that was!) He is best known for his 1980s album Handful of Earth, chosen by fRoots as album of the decade. I’m going for a lesser-known record of his made in the same decade – True and Bold.

Its full title is True and Bold: Songs of the Scottish Miners. Not exactly a title that promises lots of fun and laughter, but it’s a wonderful collection of songs about the mining community. There are some lovely melodies and delicate acoustic guitar playing along the way as Gaughan shows off his uncompromising support for the miners and their struggles.

Next, a Japanese album, Ullambana by Tadamaru Sakuragawa. This was originally released in 1991 and is the only album he made. Sakuragawa is from Osaka and he sang in the goshu ondo style at obon festivals. He is joined on this remarkable album by the band Spiritual Unity who frequently played as live backing musicians for Nenes. The original Nenes also appear, all too briefly, to sing the Indonesian song ‘Bengawan Solo’.

Apparently, Ullambana has since been re-released as a 2 CD set so it might not be quite so little known now as it was when I started dancing to it in my head.

Mike Heron will be known as an original member of The Incredible String Band. In 1971 he made a solo album that sank almost without trace until released on CD at the beginning of the 21st century – when it sank once again. It’s called Smiling Men with Bad Reputations and is Heron’s diversion into rock music.

It took me over 30 years to pluck up the courage to buy Heron’s album. In the end I succumbed when I saw it in a record shop in London on a visit back to the UK. What a surprise to find it’s actually pretty good. It’s all over the place, of course, with many guests and wild changes of style but I always liked Mike Heron. Despite the rock agenda, quite a bit of it sounds like the ISB without all the Robin Williamson noodling and meandering.

Back to the Ryukyu Islands for my last choice, Takao Nagama’s Umi Dunan. Nagama was a member of Shoukichi Kina’s Champloose back in the day and was married to his sister. (Kina’s sister Sachiko, that is, not his own sister – that would surely have been illegal). He then left and formed Ayame Band. He also found time to make this solo album with members of Champloose in 1982. It was recorded in mono and was only on tape until finally released on CD in 2006.

Umi Dunan sounds more like a bunch of demos but for me it captures the spirit of Okinawa and especially of Nagama’s island Yonaguni. Even the great Shoukichi Kina himself would surely be pleased to have made it. Or maybe not. It’s totally obscure anyway.

Explore posts in the same categories: Notes from the Ryukyus

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