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Notes from DVD about movie and soundtrack


Got my hands on disc recently, and there's few notes included. Sharing 'em here as plain text because why not.

«Background on Bust City»:

With the announcement of the release of «Crazy Thunder Road» only a year earlier, young genius Japanese director Ishii, at age 25, showed off his talent more and more. This film, «Bakuretsu Toshi / Burst City», was produced on a much larger scale then his last film and once again sets the stage on city streets. Guys of rivaling rock band are showcased in this thrilling new type of sci-fi action movie.

Then, there's the bursting city itself — which was actually a set built just outside of Kawaguchi City which is located on the southern edge of Saitama Prefecture, separated from Tokyo only by the Arakawa River. At that location they incorporated 6000 extras to make the largest panic scene in Japanese film history.

Appearing in the film were the new Japanese rock band of the time from «Mentai Bands» (a generic term used to describe band from that area). Stemming from this genera were «The Rockers», «The Roosters», and even «Inu» from the punk rock genera. Even the perverse rock band, «Staling», other young rockers, and even the film's very own multi-talented art director, Shigeru Izumiya participated. Even the pro-wrestler Umanosuke Ueda and the popular Shigeru Izumiya appeared, adding interesting faces to the cast. Also shown in the film was a live concert that had never been seen on the big screen previously.

The fashion these characters clothed themselves with (the leather pants and jackets and punk fashion imported from London) brought rock-fashion that had not been seen in Japan yet at that time.

A collection of young faces on this staff won a blue ribbon for the year 1980 and once again created a powerful tapestry of action.

As an amateur film or a student film or an independent film, or even as a minor-league film, the time has come for it to find its place in the new age. «Bakuretsu Toshi / Burst City» helped usher in a new age of films for Japan, and it will likely influence the lives of today's youth.

This is not an «explosive movie», but a «movie explosion».

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«Translated from the Burst City soundtrack booklet»:

In the past, there were several films that showcased the musical talents of Kenichi Akihara and Shigeru Izumiya, but this was probably the first film in which so much rock music was used. «Burst City». Until then, there was «High School Big Panic» and «Crazy Thunder Road» that had anarchy as the theme. 1982 was a year that showed Director Sogo Ishii as a leading figure in the genera of «indie films».

Ler's start with a glance at the film. Those appearing in the film were «The Rockers» and «The Roosters, and even the punk band «Inu». There were also innovators of the time such as «Machida» and Michiro Endo of «Stalin»... At that time, movies such as this that used live concert houses as the central focus caused quite a stir. Add in personal touches of Togetsu (Tozuki) Toi and Shigeru Izumiya, and a team of non-professionals and original ideas can be created more easily than in the world of professional films.

The streets set the steage for freakish anarchists to duel... I suppose it's proper to say the film is a showcase of a crazy world. The violent aspects of the film, however, were not entirely innovative. However, for its time, the visual effect of these scenes was very realistic. Much of this credit can be given to Shigeru Izumiya for his work as art director. His attention to detail and his ideas to add spectacle to the film... Every detail down to the characters' fashion and makeup shows us a possible «future» world. The sensations experienced from viewing this film were very ahead of its time.

Going a little off track, Director Ishii had been getting into punk music at the time. Shortly after, he released a self-titled album under the name «Bacilus Army». The album, released in 1983, though not successful on its own did make way for the success of his future direction of music videos.

He assisted in making music videos for «Anarchy» and «Stalin», showing once again his amazing ability to use innovation in music production. At this time, whenever he was interviewed, he would often mention wanting the viewer to, «Experience the video not with just the eye and the ear, but to feel it through the whole body...» Just when the words «mixed media» had begun to blend into mainstream vocabulary, he had already been experimenting with his own combination of video and music, challenging the thoughts of the time. I feel a good example of the sort of revolutionary work he was creating is the film, «Burst City».

This CD is the soundtrack album that was released along with «Burst City». Four groups contributed to the songs in this film: The Rockers, Takanori Jinnai with the Battle Rockers, and a group credited as «1984». While passionate fans of the film may be upset, we have decided to only include songs from The Rockers and Battle Rockers..

In addition to providing a lot of the music for this film, members of the band Battle Rockers contributed greatly to the acting. Their members are a sort of combination from The Rockers and The Roosters: Jinnai (lead vocals, in the film, the name of his character is «Commando Sasaki»), Ogawa (guitarist, and, playing the role of «Flying Wind»), Tsurukawa (guitarist, playing the role of «Miracle Evil»), Ikebatake (drums, playing the role of «Steel Man»), and a man who was chosen from and audition, Yuuto (who played bass and the role of «Punk Warrior»). Yuuto's style is «much like a Japanese Sid Vicious and his acting is strong...» is how one of the staffers described him when casting the film. His picture, along with the pictures of the other four, stood out to create the picturesque cast in the final film.

Most of the songs on this album were composed by Jinnai and Ogawa. Songs like «Cell Number 8», «Wild Supermarket», and «Sister Darkness» possess such insane speed and noise with juxtaposing calm touches and are prime examples of the style of The Rockers and The Roosters. While the band was created exclusively for the film, they developed a film. Bond together that went beyond the confines of the film. Ogawa was even noted to say after filming was complete, «It felt like we really had formed a new band.» The desire for such a band to be created after the film showed just how poignant the fictitious band was.

1984 was another band created solely for this film, but most of their contributions lay in the sound score. Members included Ikebatake, Hanada, Yuusuke (guitar), Inoue Fujio (bass), and others. They displayed another side of The Roosters, but their edginess in sound was completely different. In the film, Ikebatake's «Soldier» and Inoe's «Solo» and Hanada's «Kicks» showed us very imaginative innovation in addition to instrumental tracks one might typically find on a soundtrack album.

Incidentally, under Ishii's visual direction, the members of 1984 continued to work event after the film was completed. We saw examples of how they used tape effects and others experimental sounds in their music, but their sound also brought on a slight ethnic flavor... that is what most fans remember the most. This is yet another example of what Ishii wanted to accomplish by «having a viewer experience with the whole body».

It can be said that there is no other film that has possessed such a director like Ishii Sogo, whose musicality has facilitated the creation of rock groups just for a film. One last aspect of the film that cannot be ignored is the undeniable presence of Takanori Jinnai. His harsh, yet sexual and delicate vocals heard with the Battle Rockers contrast sharply with the three songs of The Rockers.

Another memorable song is the one composed by Takanori Jinnai himself, «Worst Woman in the World». Shigeru Izumiya's lyrics gave the song a light feel, but the melody is reminiscent of old-school pop music, contrasting with the dark feel of the film. While Takanori went on after this film to act even more, it can be said that this film was the first showcase of his unique atmosphere and talent.

... And so, we request that you can enjoy this album not as a «soundtrack to Burst City», but as an ordinary rock album. The four groups not only show considerable innovation and originality, but the rich variety of songs makes the album a good listen on its own. Remember also as you listen to these songs that these were one-time groups created for the sole purpose of making a film — a film that brought so many people together.


Unfortunately we were unable to gain permission to include the soundtrack with our DVD release. The import soundtrack is currently available for purchase on Amazon.

Burst City Soundtrack song names and lyrics:

01. 1984 — Soldier [Instrumental]
02. Battle Rockers — Cell Number 8
03. Battle Rockers — Wild Supermarket
04. The Rockers — Sharp Shoes de Keri Agero! («Kick Him with Sharp Shoes!»)
05. The Rockers — Poor Boy
06. 1984 — Solo [Instrumental]
07. Battle Rockers — Sister Darkness
08. Jinnai Takanori — Worst Woman in the World
09. 1984 — Kicks [Instrumental]
10. The Rockers — Might Guy
11. Battle Rockers — Bancillus Bomb
12. Battle Rockers — Frustration
13. Battle Rockers — BoroBoro («falling apart»)
14. Battle Rockers — Cell Number 8 — reprise

....

Song #2: There's a note that says, «due to the wishes of the creators, the lyrics are not included» (this song is subtitled in the movie)

Song #3:

Wild Beat in the Super Market [4x]

A missile smashed into an all-night supermarket.
And I burst out from inside of it.
My name is «son of Mars»
From within my multicolored face,
Green eyes shine out.

[repeat chorus]

From the cracks in between the tired buildings,
And from the underground, ruled by clocks,
Exploding brains will fly out.
Smashing grossly into the concrete.
5-4-3-2-1-2-3 Go!

[repeat chorus]

Song #4:

Yet another unexciting day is coming to a close.
Another day on these unexciting streets is ending.
Before they push you down, kick them out. Kick them out.

Your boring is coming to a close.
Another day on these boring streets is ending.
Before they push you down, kick them out. Kick them out.
Break their nails, bolt them out.
Slash the up.
Kick them with sharp shoes. Kick them out.

A day full of exhaustion is coming to a close.
A day full of exhaustion is ending.

Song #5:

Dreams shatter, hearts die. Ah, in the night.
In a dark alley where the sun never reaches.
A hungry heart and a quiet night.
Your whispers seem to cry to me.
The veil of night fog and the blues of a stray dog,
I stare at the sad rows of buildings.
My jackknife shines out.
Poor boy, Oh! Lonely boy.
At an old hotel outside the city.
Someone has taken off your party dress.
Tonight, I'll teach you how to dance!
I'm sick of your excuses and apologies.
Stop being a stupid, moody woman.
My jackknife shines out.
Poor boy, Oh! Lonely boy.
My jackknife shines out.
Poor boy, Oh! Lonely boy.

Song #7:

I lie down on a glass bed.
Your face is pale from the drugs.
Your nails are unusually red.
My dream has been reborn

[Chorus]:
Oh Sister Darkness
Blow breaths of ice on me.
Oh Sister Darkness
Let me sleep

You're almost like an old horror film.
Your makeup is thick and your voice is scratchy.
The midnight bell tolls.
Let me hear your voice heavily and coldly.

[repeat chorus]

Song #8:

You just don't see it.
You'll never see it, no matter how far you run.
I just get pissed off for no reason.
I get caught up in pointless rage.

Chased by a strange woman.
Will the strange woman get me?
The wings of night laugh at me.
The exit of night laugh at me.

[Chorus]:
The worst woman in the world.
The worst city in the world.
The worst punks on the world.

You don't see my victory.
The city I was supposed to have won disappears.
I just get pissed off for no reason.
I get caught up in pointless rage.

Until I get this unreachable night in my hands.
I'll continue to run through this glass city.
The wings of night laugh at me.
The exit of night laugh at me.

[repeat chorus]

Song #10:

[*There's some word-play in this song. The «might» comes from «dynamite» and the «my» comes from «might». The spelling in Japanese makes it all work, but it only works in English if spoken outloud.]

The Might-Guy in the aley.
Blows them all away with dynamite.
The streets and the time for love.
Will be awakened with dynamite.

Don't you sleep? [4x]
Blow it away!!

The Might-Guy of the withered city
With his nonchalant Tokyo Smile
And his lonely pen and pistol
Blow it all away with dynamite!

My, my, Might-Guy [4x]

Crying to the sound of saints
My generation cannot be saved
Jesus Christ is closing his eyes.
Let's destroy those cities.
London Town to N.Y. City
From the VIPs to the Cadalacs,
He's a sinner, that Might Guy.
He's a tough one, that Might Guy.
Those noble saints.
Will get what they deserve, Might Guy.

My, my, Might-Guy [4x]

Song #11:

Let the go bang bancillus bomb [4x]

An explosive device bursts into the city.
A light beam fries the back streets.
The busty lady is at full volume.
And rattles over and over.
My pelvis is falling apart,
Freak stomp music
At the speed of 20,000 light years.

Let the go bang bancillus bomb [4x]

The chicken hair glitters.
Exhaustion comes with a speed flood.
On top of the dead body, a lot of milk has formed.
Pound it all in.
Inside my head are so many colors.
Bang, bang, we're in the middle of an explosion.

[Chorus]:
Rocket brats strange hips
Change the might-channel.
To a big special.
An explosion beat.

A powerful earth echo sounds.
The space dome begins to collapse.
Letting off orange-green light.
The planet is blown away.
Brought by the explosive wind, it appears before my eyes:
Up, up, smash up dreams.

Let the go bang bancillus bomb [4x]

[repeat chorus]

Song #12:

[Chorus]:
Talkin' about my frustration
Go as crazy as I want
Talkin' about my frustration
Without thinking, I throw a punch.
Talkin' about my frustration
Sparks are flying in my brain.
Talkin' about my frustration

[Chorus 2]:
Raise the baseball bat
And aim. Hey-hey-hey-hey-hey.

Talkin' about my frustration
Your face is so full of spider webs.
Talkin' about my frustration
I let out an electric kick.
Talkin' about my frustration

[repeat chorus 2, 1, then 2 again]

Song #13:

[Chorus]:
Falling apart
My pride is shed.
Rattle, rattle, rattle.
My unreachable dream is destroyed.

[Chorus 2]:
A doll with a poker-face.
Has a crystal heart of cool hues.

If I screw around.
Then I'll be late and lose the race.
Rattle, rattle, rattle, rattle.
This city is colored in lies.

[repeat chorus 2 and 1]

A doll with a poker-face.
Has a cool crystal heart.
Has a cool crystal heart.
Crystal, crystal, crystal, crystal.

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«See Saw»:

A new, free feel. The Label that foresaw Japan's new rock era was «See Saw».

Back when I was in school (in the 70's and 80's), I observed Japanese bands. That was during a time when live concert houses were rare. The places where I saw these bands were the places like convention centers and youth centers and places that don't really exist much anymore.

The place I attended the most was probably Nihitani Outdoor Stage. The joint concerts performed in that venue brought me to a different world each week, but the one that sticks out the most in my mind is «Real Rock See Saw Scene Vol. 1». Exactly. The Rockers, Tensaw, Kodomo Band, and Johny, Louis & Char — these four groups performed at the Rock Festival for the See Saw Label. This took place in July of 1980. That day, the biggest anticipation was Johny, Louis & Char. But naturally, the band that had just come to life, Tensaw, was also high on the list. I had seen Kodomo Band several times and was always drawn to their huge energy. I hadn't really been paying much attention to The Rockers, but I had heard of a certain «band from Northern Kyushu that has a unique flare».

I cannot think of another music festival that brought so much positive energy from both the performers and audience members. During that time, festivals of that sort were usually devoted to hard rock or the blues or other forms of music that were not too popular. What they all had in common was the fact that they were «slightly unique rock», which I found very interesting to experience all the different flavors it had to offer. Though I don't remember many specific detail about most of the bands, what I do remember is what fun I always had at these events.

This See Saw Level event allowed the rock musicians to express themselves without fitting any «mold», allowing them to create truly original music. The whole thing started in 1975. Canyon Records (present-day, Pony Canyon) bands: Emu, Yamauchi Tetsu, and Char had their music promoted by these events. Later, bands such as Tensaw, Kodomo Band, and The Rockers were added into the mix as well as Yonin Hayashi and the Okinawa band, Condition Green. This was just when rock music was beginning to emerge as a legitimate industry to become what it is today. It can be said now that the events protected and nurtured these band so they could grow until big record companies developed an interest for their unique sound.

Since such a label signed these band, needles to say, not all the band were that successful. First, Tetsu and the favorite of the time, Char, possessed such a strange edge that the listening audience was not expanded with their several album releases. Tensaw and Condition Green, though, always fulfilled their expectations and produced plenty of music overflowing with power and risk.

And as interest in this new age began to build, Yonin Hayashi ushered in yet a new kind of sound. Their constant drive to evolve and experiment with each new record release is very admirable. The Rockers and Kodomo Band as well managed to keep some of the feel of current trends in rock while still using sounds and techniques ahead of their time.

In such an age where it was difficult to record sound authentically, it was also difficult for these bands to promote themselves successfully to a wide audience. But each one of these bands presented their own take on rock music... And such a label devoted itself to the preservation of the freedom and innovation of these bands.

The 15 titles that have been re-released have recreated a vivid of that era. This is because each band considered its uniqueness and its music first before considering how well sales would go. Not decorated with fancy gimmicks, each band's asset is in its «individuality», which brings the eras from which they came back to us with clear echoes. To those who lived through the era and to new listeners as well, new things will be learned and experienced from the lineup of albums you see below.


— Hijiri Oshima

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