Sunday, October 15, 2006

Osaka Popstar - Osaka Popstar & the American Legends of Punk


70%

The rather simple concept of a "supergroup" (a band featuring members who have been previously successful individiually) leads to some logical problems: clashing egos, lack of clear direction, and high, possibly unreachable expectations.

Though Osaka Popstar is, strictly speaking, a punk rock supergroup (founded by producer John Cafiero, who sings, featuring ex-Ramone Marky on drums, ex-Misfit Jerry Only on bass, ex-Black Flag Dez Cadena on lead guitar and ex-Voidoid Ivan Julian on rhythm guitar) the band fits an entirely different vision: essentially, fun, old-school punk mixed with Japanese cartoons.

Though it sounds weird on the surface, it's not that weird when you think about it: there's a certain quirkiness and fun that you can find in both punk and anime. Osaka Popstar makes the connection explicit by covering the themes to "Astro Boy" and "Sailor Moon".

Punk music is largely built on "punks" as musicians, that is, amateurs. So in a lot of ways, the mere idea of a punk supergroup seems self-contradictory: how can successful, proffesional musicians be amateurs? However, the members still play with a lightness and fun, plus sincere enthusiasm for the subject matters (which is many times ridiculous). The band can pull out the tricks if need be, but usually they just blast the songs out, which is preferable. Cafiero is a competent, if unremarkable vocalist. Some of the leads are also highl melodic by punk standards, which help bring more personality to the songs musically.

The band's cover of the bluegrass standard of "Man of Constant Sorrow" breathes new life into an old song, though it feels overly long (not that it is in any other standards besides punk, it's only 3:20). Songs like "Insects" would sound perfectly in place as the theme to some Saturday morning cartoon.

Marky Romane gives a stellar performance, giving the music a tight Ramones beat, and it only makes sense: he invented and defined it. The christmas song, "The Christmas That Almost Wasn't" has weird percussion to it that make it interesting, but it ultimately suffers from a symptom of the whole album: a lot of it to fels too kitschy, too much like a novelty to really have a lasting value. Two back-to-back Richard Hell covers ("Love Comes in Spurts" and "Blank Generation") are standouts, especially the latter. "Monster" continues the punk rock anime theme song trend, the bizarre "Where's the Cap'n?" (about the tragedies of running out of cereal - I feel your pain, brother), and the final song "Shaolin Monkeys" sounds like another bizarre cartoon theme song.

The album suffers from too much of a gimmicky feeling; how many times can you play punk rock songs that sound like they want to be cartoon theme songs? Even still, it's a fun listen, and the musicianship is supergroup-worthy (in terms of punk music). The artwork included is also well-done and fun to look at. It all boils down to what kind of a reaction you have to the idea of "punk rock supergroup plays anime theme songs". If you think it's too stupid to listen to, stay away. If you find it to be the work of absolute genius, by all means, get it, its execution is top-shelf. If you are like most people and think "hah, that's cool", you will most probably grow tired of the idea quickly, though you will get some enjoyment from it. It's as simple as that.

-Luis

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