Paraiso is an album by Japanese artist Haruomi Hosono (renamed Harry Hosono on the cover), accompanied by The Yellow Magic Band (which includes Yukihiro Takahashi and Ryuichi Sakamoto who previously played for Hosono as backing instrumentalists). This album marks a collaboration between the three which culminated in the creation of Yellow Magic Orchestra. Other session players include the usual Tin Pan Alley band, consisting of Happy End guitarist Shigeru Suzuki and other artists affiliated to Hosono's early career.
Released in 1978 through Alfa Records, it is the third entry in Hosono's trilogy of Exotica albums (first one being Tropical Dandy and second one being Bon Voyage Co.) where elements akin to hawaiian culture or Okinawa folklore are featured. Compared to his previous records, synths such as the Yamaha CP-30 and the ARP Odyssey are prominently used, resulting in some tracks bordering on leftfield/experimental as well as predicting what Hosono would compose on his follow-up album Cochin Moon.
Tracklist:
Side 1- "Tokio Rush" (3:31)
- "Shimendoka" (4:44)
- "Japanese Rhumba" (3:34)
- "Asatoya-Yunta" (2:15)
- "Fujiyama Mama" (2:50)
Side 2
- "Femme Fatale" (5:00)
- "Shambhala Signal" (3:36)
- "Worry Beads" (4:28)
- "Paraiso" (4:35)
This album includes examples of:
- Album Title DropMmmh, Paradise, Paraiso
- Breaking the Fourth Wall: Hosono can be heard walking at the end of "Paraiso", telling the listener that "the next one will be better!".
- Cover Version: "Fujiyama Mama" is originally an American song from The '50s which received backlash in the US (due to the sexual nature of its lyrics) but reached the first spot of the Japanese charts (despite having lyrics referencing the bombing of Hiroshima and Nagasaki) when Country singer Wanda Jackson performed it in 1957.
- Following the song's success in Japan, it was covered by artists of the country, including Izumi Yukimura who later recorded an album with younger artists, including Hosono.
- Face on the Cover: Both on the front and back cover in a collage reminiscing of Tadanori Yokoo's work (although this album is designed by Kazuo Yasuhara).
- Fade Out: "Shimendoka".
- Fake-Out Fade-Out: "Paraiso" ends on a fade-out while we hear someone running away. A few seconds later, the footsteps come back and Hosono says "The next one will be better !" in japanese.
- Gratuitous English: On "Tokio Rush", "Fujiyama Mama" and "Paraiso".
- Heavy Meta: "Japanese Rhumba".
- Instrumentals: "Shambhala Signal".
- Intercourse with You: "Fujiyama Mama":I've been to NagasakiHiroshima tooThe same I did to them, baby, I can do to you'Cause I'm a Fujiyama mama and I'm just about to blow my top
- The sexual analogy caused the original song to be rarely played on American radios. In Japan, however, it became a hit.
- Location Song: "Tokio Rush" and "Fujiyama Mama" (though the second one is more of a sexual analogy).
- One-Word Title: "Shimendoka", "Asatoya-Yunta" and "Paraiso".
- Regional Riff: The intro of "Fujiyama Mama" showcases the "oriental riff", known for being used in Western depictions of Eastern Asia.
- Sequel Hook: "Paraiso" ends with Hosono saying "The next one will be better!", which either refers to Pacific (the next album released under his name, along with Tatsuro Yamashita and Shigeru Suzuki) or Philharmony (the next solo album he released).
- Special Guest
- Tib Kamayatsu, father of singer Hiroshi Kamayatsu, sings lead vocals on "Japanese Rhumba".
- City Pop icon Taeko Onuki provides backing vocals on "Tokio Rush" and "Japanese Rhumba".
- Spell My Name With An S: Hosono is credited under the name Harry Hosono, an anglicized moniker he also used for his previous album Bon Voyage Co..
- Spoken Word in Music: "Paraiso" ends with Hosono saying: "The next one will be better!".
- Title Track
- Vocal Dissonance: Hosono sings in a particularily low voice on "Fujiyama Mama".
- Vocal Range Exceeded: "Shimendoka" is one of the rare tracks where Hosono sings falsetto (another example being "Choo Choo Gatagoto" from the album Hosono House).
