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From conventional enka and miny melodies to contemporary J-pop and rock, Osaka's rich social history offers a suggestive range of styles that rise above sort limits. This third volume in our Japan series commends the city's extraordinary culture and bubbly character. From its neon-splashed midtown beating with science fiction power to its unfussy sauce-drenched dishes, Osaka's kaleidoscope of sounds and styles makes certain to excite!

In the mid 1980s, Osaka was home to a brief yet persuasive Japanese record mark called BGM. Its grainy records overflow with post-punk peculiarities, abrasive new-wave, insignificant synth and surrounding radio commotion tests. While the characters of its artists stay dark, BGM's gutsy ethos rings alluringly to global diggers today.

A critical figure behind the quirky music 大阪　歌　レコーディング and suggestive visual craft of Osaka Popstar is chief, vocalist and maker John Cafiero, a long-term Oddballs and Ramones colleague and platinum-selling movie and video chief. He collected a rotating cast of underground rock legends to go along with him on his presentation mission, Osaka Popstar and the American Legends of Troublemaker, including Jerry Just (THE Mavericks), Dez Cadena (Dark Banner), Ivan Julian (RICHARD Damnation and THE VOIDOIDS) and Marky Ramone (THE RAMONES).

The band's presentation LP 'Unadulterated' exhibited the astonishing visuals of epic visual craftsman John Pound (Weird Packs maker and Trash Bucket Children master). For the development, Rock Them O-Sock Them Live!, Pound returned and was joined by a group of similarly great fashioners. Notwithstanding the collection's striking cover workmanship, each restricted release LP incorporates a select Topps Air pocket Gum Youngster exchanging card highlighting the band in real life.

For the recording meetings, the band searched out a crude and fiery climate to catch its irresistible enthusiasm. At a club called Hard Downpour, they recorded melodies stripped down to their basics. The subsequent sound is crude and alive, with an accentuation on vigorous drums, fluffy guitars and mesmerizing track circles.

The band endeavored to keep up with the suggestive and puzzling emanation of its initial work, despite the fact that they were currently situated in Osaka. To this end, they picked to utilize monikers instead of family names for their individuals' names. For instance, guitarist Mitsunobu Kawaminami was credited as "Dada" on the first aggregation and as "Kawaminami" on The Crow. Bassist Taku Ito and drummer Masa Sato were credited as "Luchi" on the initial two collections, yet as "Dada" and "Kawaminami" on the later deliveries. Along these lines, the audience could all the more effectively envision the tricky gathering as it was performing in front of an audience in Osaka.