Nippon Girls. Japanese Pop Beat and Bossa Nova 1967-1969 12inch
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Another volume in the killer GS I Love You series on Aceandrsquo;s Big Beat imprint reveals the sultry, swaggering, and tough, hip-shaking young pop and bossa sounds of Japanandrsquo;s girl pop scene from 1966 through 1970, which is considered one of the more revolutionary eras in Japanese rock modernism. The sounds were adapted straight from America, whether they were the Farfisa-driven pulses of andldquo;Kaze to Otoko No Koandrdquo; by Mieko Harada that contained more than a hint of the melody and arrangement of John Phillips' andldquo;California Dreamin',andrdquo; or the dreamy Brazilian pop sounds of Ryoko Moriyama's andldquo;Ame Agari No Sambaandrdquo; that was adapted straight from the Los Angeles-produced Sergio Mendes and Brazil andrsquo;66 sound. Thereandrsquo;s some sassier stuff here, as well, such as the brassy andldquo;Suki Yo Ai Shiteandrdquo; by the infamous Mari Atsumi, with its popping snares, big horns, and strings that come off sounding like Hugo Montenegro writing for Twiggy. andldquo;Peacock Baby,andrdquo; by Reiko Ohara, is equal parts acoustic Ramsey Lewis Trio and Brazil andrsquo;66. The beautiful rave-up in andldquo;Hatsu Koi No Letterandrdquo; by Miki Obata is a more drunken Petula Clark if she were backed by the Dave Clark Five. In sum, this is a 25-cut delight, and shows no let up in the sheer campy quality in the GS I Love You compilations.