When Light In The Attic released Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. Pacific Breeze included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of AOR, R&B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Stomu Yamashta's first two Island albums are combined on this two-disc 2008 reissue. From 1972, Floating Music - actually credited to Stomu Yamashta & Come to the Edge - was an unusually long (51-minute) LP for the era. Side one consisted of two long studio compositions; side two had two similarly lengthy instrumental tracks, recorded on January 10, 1972, at the Queen Elizabeth Hall in London. Recording with non-Japanese musicians, percussionist Yamashta with this album established himself as an accomplished purveyor of complex, versatile, and quite cerebral fusion music, though of the sort too challenging to get an audience that wide even by fusion standards. Including some world music-flavored interludes, the music nonetheless remained pretty electronic-based, and pretty serious in mood…

Born in Osaka. The roots are South Korea. When she was in junior high school, she became fascinated by the song of Harry Connick Jr. from the TV commercial and became interested in jazz. Debuted in October 2003 with her album "better than anything". In January 2004, she also succeeded in a solo tour centered on the national Blue Note, which is unusual for a newcomer. Her debut album will be released in Korea and she will visit Korea for promotion. From January 2004, the song "Close to you" will be used for the TV commercial of Toyota Home.

The band Vodka Collins was like a comet that burned briefly and brightly across the sky of the Tokyo rock scene. In their two years as a unit they easily dominated the rock n roll world of Japan in the early 1970s, and their vinyl 33 RPM debut album "Tokyo New York" on EMI / Toshiba Records is a milestone. It is considered a ground breaking LP in the domestic Japan rock scene. The album still sells today in CD reissues in both the English and Japanese languages. There were three hit singles on the album, "Sands Of Time", "Automatic Pilot" and Billy Mars" and a TV theme song with "Scratchin' " was used for a Yakusa style series starring singer actor Kenichi (Shoken) Hagiwara.

Born in Osaka. The roots are South Korea. When she was in junior high school, she became fascinated by the song of Harry Connick Jr. from the TV commercial and became interested in jazz. Debuted in October 2003 with her album "better than anything". In January 2004, she also succeeded in a solo tour centered on the national Blue Note, which is unusual for a newcomer. Her debut album will be released in Korea and she will visit Korea for promotion. From January 2004, the song "Close to you" will be used for the TV commercial of Toyota Home.

BAUS ‘93 contains the storied comeback performance from Baus Theater in Kichijoji, Tokyo, which took place on February 13, 1993 in what was their first live appearance in five years. BAUS ‘93 follows the widely acclaimed worldwide release of CITTA’ ‘93, which captured the Rallizes’ fiery gig that took place four days later at Club Citta’ in Kawasaki.