Back to Kenji Omura with Spring is here (1981), Gaijin Heaven (1983)

 

I couldn't resist going back to complete his discography, based on how strong the first two records were with the energetic and enjoyable, perhaps a bit too accessible fusion. In the next two, he is definitely in tune with the eighties because you'll hear those dreaded drum machines, the jumpy rhythms, and simple sounds and chords which you'd fully naturally expect, as well as relatively simple and commercial songs. There isn't the same crazy progressive fusion of the absolutely brilliant guitarist Kazumi Watanabe which I put in several parts way back when and who carried on to the next decade with his Kaylyn, To Chi Ka, etc. continuing on even to recent years. I mean, not many people could resist the commercial allure of that period, considering paradigmatic prog originators Peter Gabriel and Phil Collins completely sold out.

It was worth finding these records though because on 1981's Spring is Here, he does a wonderful vocal rendition of a track I'd completely forgot existed: Far East Man, the sweet and easy laidback hit song written by mostly George Harrison (from his 1974 Dark Horse album) but co-credited to Ronny Wood:

You might remember the 'Far East Man' to whom the song refers is Ravi Shankar.

Otherwise a few good tracks to listen to, here and there.

On the follow up called Gaijin Heaven we can say just about the same: minimal progressive fusion, the instrumental electric intensity has been abandoned in favour of more accessible music. But on this one he does a cover song of what I thought was a Robert Wyatt song, At Last I Am Free, but to my shock I found out it was by Chic-- of "Freak Out" fame.  You can read the story of that here, interestingly enough. (And an article in the Financial Times, no less!) Having listened to all the versions though, I have to say that Omura's is by far the best, because it's well arranged, he sped it up a bit, and in the end he makes it altogether more emotional than his predecessors.  I just love the unusual irony (for a pop song), juxtaposing the repeated "At last I am free," with the next line, "I can hardly see in front of me" (referring I guess to a sad breakup):