Futurismo Sincerely Hot Music Typewriter Afrodiaspora Seis Poemas Travesias Espiritu Vivo Eco de Sombras Susana Baca Pretaluz Bloque Amai Bright Moments - Natives Look Into The Eyeball Feelings David Byrne Uh Oh The Forest Rei Momo Disco and the Halfway to Discontent When I Was Born For The 7th Time Woman's Gotta Have It Wondervisions Into The Oh Sacred Cow Grand Opening Janka Nabay and the Bubu Gang - En Yay Sah Javelin - Hi Beams Javelin - EP 1 and EP 2 Javelin - Canyon Candy Javelin - No Más The Return of El Santo King Chango The Outsiders Are Back The Venezuelan Zinga Son Vol 1 Arepa 3000 The New Sounds of the Venezuelan Gozadera Cybertropic Chilango Power Soak Bande a Part Nouvelle Vague Live at the Barbican Theatre Everything is Possible Inspiration Information Si*Se A Funny Little Cross to Bear Transnormal Skiperoo Searching For the Wrong-Eyed Jesus No Such Place Drill A Hole.. Wrong-Eyed Jesus Gimme 5 Yonlu - A Society In Which No Tear Is Shed Is Inconceivably Mediocre Ancestry In Progress A Ma Zone Zap Mama - 7 Sabsylma Explaining Things So I Can Confuse You Estudando a Bossa Pagode Postmodern Platos Fabrication Defect Brazil Classics 5 Brazil Classics 4 What's Happening In Pernambuco? Beleza Tropical 2 Forro O Samba Beleza Tropical Diablo Al Infierno Grand Opening The Greatest Hits of Silvio Rodriguez Peppermint Tea House The South Indian Film Music of Vijaya Anand Telling Stories to the Sea The Best of Djur Djura The Soul of Black Peru The Funky Fuzzy Sounds of West Africa The Only Blip-Hop Record You Will Ever Need 21st Century 21st Year The Sound of Sound Zero Accidents on the Job

Shoukichi Kina, who was born in Koza City (now Okinawa City) in 1948, grew up listening to the sound of sanshin played by his father, Shoei, a master of Okinawan music. While in senior high school, Shoukichi Kina composed “Hai Sai Ojisan,” which later became one of the greatest hit tunes ever to originate in Okinawa.

After he entered university in Okinawa in 1966, Shoukichi Kina formed Champloose and, finding it difficult to take his studies seriously, devoted much of his time to music, eventually leaving school entirely. It was around this time that various stories began to emerge — some true, some not quite — of his being a kind of nocturnal “King of Koza,” that he managed the folk music club Mikado, and that he made quite a lot of money as a dealer in a gambling casino.

In any case, perhaps because his first efforts at forming a band were not too successful, it wasn’t until ten years later, in 1976, that he reformed the band around his father’s folk music group. It was from then that the distinctive “Champloose Sound” began to emerge — a unique combination of rock and Okinawan folk that was exactly right for those times, and these times, too.

Before long, the “sound” found avid listeners among musicians and fans on the Japanese main islands, and such was its power that an album was quickly planned and, in 1977, recorded (at the Mikado, as it happened.)

That album, Shoukichi Kina and Champloose, today considered a seminal chapter in the annals of Japanese rock, received overwhelming public attention, particularly as Makoto Yano, Akiko Yano and other famed musical innovators participated in the sessions as guests. Thanks to its nearly instant popularity — and to some adroit timing — the first Champloose concert outside Okinawa, in December 1977, was also a crowning success, with round after round of standing ovations from the sell-out crowd at Tokyo’s Nakano Sun Plaza.

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